By autobiography retrospection and self reflection, this research aims to describe what influence an individual and his learning process pose on a teacher¡¦s way of creative teaching. Personal creative teaching ideas and implementation patterns are presented through the case-sharing of creative teaching. I attempted to find out the teaching concept and the method of cultivating students¡¦ creativity, further to promote teaching efficiency, and to share with parents and education-related personnel with the results as the reference for future planning and executing creative teaching activities. Main findings in this research are: 1. Growing in a respectful, liberal, open family lays the solid foundation of future creative teaching. 2. During schooling and working, theories discussion and teaching experiences sharing with professors and colleagues benefit the practice of creative teaching. 3. That a school respects teachers¡¦ professional teaching provides the room of freedom of creative teaching, which benefits teachers conducting creative teaching activities. 4. Maintaining characteristics such as curiosity, independence, and innocence gives the researcher the impetus to urge creative teaching. 5.Creative teaching should be that on the basis of students learning demands and their living experiences, teachers carefully design the teaching content both informatively and entertainingly; in addition, provide students the effective learning pattern to absorb knowledge and skills by actual operation. In the end, according to the findings of this research, suggestions are made and shared with parents and teachers for future reference of planning and executing creative teaching activities.

The purpose of the present study aimed to develop a comprehensive model that measures the autoethnographic/biographic relevance of dreams, memories, and reflections as they relate to understanding the self and others. A dream, memory, and reflection (DMR) ten item questionnaire was constructed using aspects of Freudian, Jungian, and Lacanian Theory of Dream Interpretation. Fifteen dreams, five memories, and five reflections were collected from the participant at the waking episode or during a moment of deep thought. The DMR analysis was used as the prime matter for creating a narrative document that uses autoethnography and autobiography to deliver a philosophical story about the unconscious reality of the participant. The results of the dissertation study produced a ten section narrative document titled The Shadow of Joaquin that portrayed the benchmarks of the life of the participant that led him to the completion of a doctoral degree in curriculum and instruction. At the final section of the narrative document the postmodern philosophical theory of Labor Percolation is proposed by the researcher as a direct result of the DMR analysis.

Among Charlotte Bronte's four full-length novels, three are composed in the form of autobiography: Jane Eyre (1847), Villette (1853), and The Professor (published posthumously in 1857). The abundance of first-person narratives in Bronte's juvenile writings also highlights her marked preference for the first-person perspective in telling stories. In fact, due to the vital sense of truth inherent in first-person narration, Bronte is often identified by her readers as the heroines in her novels. This thesis aims to deal with the complex relationships of the authoress, her works, and the first-person narration. As a famous woman writer in the nineteenth century, Bronte satisfies her desire for self-expression by means of writing autobiographical fictions instead of composing her real autobiography. The first chapter examines the social and cultural contexts as well as Bronte's personal reasons behind such a choice. There is also the discussion of Bronte's presentation of the different characteristics of Victorian autobiographies by men and women in her novels. The second chapter investigates into Bronte's narrative strategy, and provides answers to her insistence on first-person narration while the omniscient narration is the mainstream of novel writing. The development of Bronte's narrative technique and her transition from the early masculine narrative to the later female discourse are also traced. The third chapter reviews the everlasting subject of Bronte's novels¡Xlove and marriage. With a careful textual study of Bronte's novels and a comprehensive examination of her biographical documents, I find that Bronte's fictional hero and heroines have faithfully reflected the authoress's real thoughts and true beliefs. As can be detected, to deliver the truth that she knows of and to influence her readers on issues that concern her most have always been Bronte's main preoccupations in respect of novel writing.

<p>Boyhood: Scenes from provincial life by J.M. Coetzee tells the story about John Coetzee from the age of ten until thirteen. Since many details in the story point to the idea that the protagonist might be the author, it is often said to be an autobiography. However, it is not a conventional one. A third person narrator tells the story in the present tense, which is rather different from the autobiographiy’s conventional first person narrator speaking in the past tense. The definition used in order to define the genre to which Boyhood belongs is Lejeune’s criterion author=narrator=protagonist. According to this theory, Boyhood is a biography. However, Lejeune does not take the connection author=protagonist inte sonsideration, but focuses only on the connection narrator=protagonist. Thus an additional description of the text’s generic style must be used.</p><p>Furthermore, the theme of otherness is analysed. A close reading of the novel shows that the protagonist often feels different from his family and peers. He makes a distinction between two kinds of different – a good and a bad kind. The good means that he is better than his peers, and the bad kind means that he has failed to accomplish something he thinks is important.</p><p>Although the author wrote the story about his boyhood in a rather unconventional style and the protagonist perceives himself as different, the otherness in the two do not parallel each other. What they might have in common is perfectionism. Thus, the theme of otherness is only to be found in the protagonist, whereas the author’s style of writing is merely unconventional.</p>

<p>In 1959, Capote’s nonfiction novel entitled, <em>In Cold Blood</em> was written using artistic methods related to fictional writing.  In consciously writing in this manner, Capote revealed a controversial shift away from a more objectivity based, journalistic truth, prevalent at the time. By using these methods to portray in particular Perry Smith, Capote has provoked doubts surrounding his commitment to “truth” within the book. </p><p>Using a narratological analysis of certain significant passages of the book, Capote’s presence and a notable relation he has to Perry is implied and brought to the forefront.  In turn, this essay looks through these passages from the perspective of the genre of autobiography.  From this viewpoint, how the reader is able to uncover Capote’s “intentions” by identifying with and presenting himself through Perry in the narrative, is discussed.</p><p>This essay concludes with the claim that due to Capote’s use of these artistic methods, the reader is provided with an autobiographical dimension to the narrative.  Consequently, the essay claims that it is because such autobiographical dimensions are described by Linda Anderson (in her book <em>Autobiography) </em>as having an “honest intention which then guarantees the truth of the writing” (3)<em>, </em>that Truman Capote’s “<strong><em>true</em></strong><em> account of a multiple murder and its consequences”, </em>[own emphasis added]<em> </em>should thus be justifiable, and in his way, honestly true.</p>

Thesis (M.A.) - Simon Fraser University, 2005. / Theses (Faculty of Education) / Simon Fraser University. Also issued in digital format and available on the World Wide Web.

Thesis (Ph. D.)--University of Missouri-Columbia, 2000. / Typescript. Vita. Includes bibliographical references (leaves 301-314). Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 2000. / Typescript. Vita. Includes bibliographical references (leaves 301-314). Also available on the Internet.

Thesis (Ph.D.)--Ohio University, June, 2009. / Title from PDF t.p. Release of full electronic text on OhioLINK has been delayed until June 1, 2014. Includes bibliographical references (leave 168)

Thesis (Ph.D.)--Ohio University, June, 2009. / Release of full electronic text on OhioLINK has been delayed until June 1, 2014. Includes bibliographical references (leave 168)