Habilitation - Universität, Hamburg. / Description based on print version record. Includes bibliographical references (p. [307]-327) and indexes.

Thesis (Ph. D.)--University of Washington, 2003. / Vita. Includes bibliographical references (leaves 173-178).

In this dissertation, I provide a discourse and narrative analysis of actual conflict talk episodes from mediation sessions that took place in a university conflict resolution center. Specifically, qualitative analytical methods are applied to five videotaped actual mediation sessions to (1) identify examples of the adversarial narrative pattern, pervasive in the literature, and (2) closely analyze the discourse in the cases where a different narrative pattern emerges to understand how these differing patterns are interactively co-constructed by the disputants and mediators. The literature in many fields contains research and theorizing on conflict, narrative, and numerous interaction variables in interpersonal conflict talk. However, the study of actual discourse within conflict events is relatively recent. Little empirical research explicates the situated communicative practices and mechanisms by which interlocutors interactively and emergently construct, resist, reproduce, and transform dispute narratives to produce outcomes consonant with their interests. This study applies microanalytic discourse analysis and narrative theory to examine how dispute narratives are interactively created in conflict talk episodes through work at the utterance level, including the manner in which narratives can be intertextually transformed through the interaction process. The findings herein illuminate the emergent nature of dispute narratives and some of the communicative practices and mechanisms disputants and mediators use to construct them. This study contributes to an understanding of the role of narratives in conflict talk and how narratives can be interactively constructed, co-constructed, challenged, and transformed in the course of a conflict talk event. / text

published_or_final_version / Literary and Cultural Studies / Master / Master of Arts

Not available / text

In this study, differences between literary and digital storytelling are identified as a context for the issues explored within this thesis. I argue both the strengths and weaknesses of both the written and digital arratives. It is difficult to apply the same standards to two exceptionally different genres, but it is the truest way to compare and contrast the two. I will examine a few of the studies that have already been done that are similar and some of the assertions they have concluded. / Storytelling : past and present -- An objective comparison of narrative -- Literary and digital narrative -- Digital media and the digital narrative -- Objective and subjective issues. / Department of Telecommunications

No description available.

I intend, with this thesis, to investigate how Michel Foucault's concept of ???a positive unconscious of knowledge??? can be illustrated by overlapping narrative segments. I have coined the term ???friction???, as a writing practice, to describe the space in-between narrative conception and conscious, ordered reflection upon that narrative. Thus, the thesis comprises an exploration of Foucault's intersecting marginal zone, which is an integral aspect of his philosophic concept of ???positive unconscious???. The ???positive unconscious??? is where the overlapping sections of what Foucault calls, a ???table??? (creative narrative) and ???tabula??? (the ordering of the narrative) are situated. The frictional form is synonymous with Foucault's concept. It is as a developing narrative conception that becomes an ordered practice, and also aims to be what Jacques Derrida calls ???a new writing???. Hence, Foucault's ???positive unconscious???, Derrida's ???new writing???, and the frictional narrative process all comprise, along with and through the multiple inclusions of myriad theorists, philosophers, fiction writers, lyric poets, etc., an amalgamated whole ???new??? narrative (the frictionalised thesis). The paradox of the ???new??? (frictional) narrative is that through mimesis comes characterised difference - a ???new??? hybridised space is opened up which both fascinates and appals, railing as it does against fixed, constraining and systematised linguistic and discursive structures. Yet this is a stimulating space that ultimately brings new focus to stifling self-conformity. It is a frictional space comprised of a profusion of literary ???voices??? made singular, a singularity that is also mutiplicitous in its composite origin. It is a frictional observance that refutes the injunction of needing definite closure given its inclusion of potentially unlimited sources.

Thesis (Ph. D.)--University of Toronto, 2004. / Adviser: F. Michael Connelly.

Thesis (B.A.)--Haverford College Dept. of Classics, 1993. / Includes bibliographical references.