Master of Visual Arts / We all play roles in life. This paper is a personal reflection on identity, and the questioning of this identity. The writer allows the reader into a dream like environment where a life role is acted out as autobiographical narrative through appropriation and reference to the other. Theoretical sources include Walter Benjamin, Roland Barthes, Jacques Lacan and Joseph Kosuth. With reference to these sources, comparison is made between Jan Vermeer’s seventeenth century portraits of women and Bertolt Brecht’s early twentieth century epic theatre.

This thesis is based primarily on work published in academic refereed journals between 1994 and 2003. Taken as a whole, the thesis explores and enacts an evolving methodology for curriculum inquiry which foregrounds the generativity of fiction in reading, writing and representing curriculum problems and issues. This methodology is informed by the narrative and textual 'turns' in the humanities and social sciences - especially poststructuralist and deconstructive approaches to literary and cultural criticism - and is performed as a series of narrative experiments and 'intertextual turns'. Narrative theory suggests that we can think of all discourse as taking the form of a story, and poststructuralist theorising invites us to think of all discourse as taking the form of a text; this thesis argues that intertextual and deconstructive readings of the stories and texts that constitute curriculum work can produce new meanings and understandings. The thesis places particular emphasis on the uses of fiction and fictional modes of representation in curriculum inquiry and suggests that our purposes might sometimes be better served by (re)presenting the texts we produce as deliberate fictions rather than as 'factual' stories. The thesis also demonstrates that some modes and genres of fiction can help us to move our research efforts beyond 'reflection' (an optical metaphor for displacing an image) by producing texts that 'diffract' the normative storylines of curriculum inquiry (diffraction is an optical metaphor for transformation). The thesis begins with an introduction that situates (autobiographically and historically) the narrative experiments and intertextual turns performed in the thesis as both advancements in, and transgressions of, deliberative and critical reconceptualist curriculum theorising. Several of the chapters that follow examine textual continuities and discontinuities between the various objects and methods of curriculum inquiry and particular fictional genres (such as crime stories and science fiction) and/or particular fictional works (including Bram Stoker's Dracula, J.M. Coetzee's Disgrace, and Ursula Le Guin's The Telling). Other chapters demonstrate how intertextual and deconstructive reading strategies can inform inquiries focused on specific subject matters (with particular reference to environmental education) and illuminate contemporary issues and debates in curriculum (especially the internationalisation and globalisation of curriculum work). The thesis concludes with suggestions for further refinement of methodologies that privilege narrative and fiction in curriculum inquiry.

The literature and research investigating why people choose social work as a career has tended to focus on motivational traits rather than on the choice experience itself. Whereas the vocational sector has moved to include a focus on the narrative processes involved with selecting a career, much of the social work research fails to capture the meaning-making processes individuals engage in to make sense of their career choices within their personal and social contexts. This research project describes the meaning-making processes two students participating in the social work program at Central Queensland University and I employ to understand our career choice experiences. Over a period of four years, using a research approach that combines Clandinin and Connelly’s (2000) narrative inquiry with Riessman’s (2003) emphasis on social positioning within narratives, Geraldine, John and I explore the interplay between individual, community and professional agendas in our past, present and imagined career choice experiences – particularly focusing on the impact of gender. Identifying the importance of caring as a hallmark of the profession and what draws us to social work, this co-constructed research text highlights the agendas that predominantly support women’s entrance into the profession and challenge men’s participation. Drawing on the metaphor of a quilt to describe our career choice experience, this project draws attention to the importance for aspiring social workers to carefully choose, cut and join together bits of gendered narrative material to create a professional story that both legitimises their entrance into the profession and to position them within the larger career sector.

Contrary to common folk and expert theory, the human self is not unitary. There is no Cartesian theatre or homunculus functioning as a metaphorical overlord. Rather, it is an abstractum gleaned from a person�s experiences-a centre of narrative gravity (Dennett 1991). Experiences are a person�s cognisance of her ventures in life from a particular unique perspective. In perspectivising her experiences, the person imputes a certain structure, order, and significance to them. Events are seen as unfolding in a certain inherently and internally coherent way characterised by causality, temporality, or intentionality, etc. In other words, a person�s self emerges out of her innumerable narrativisations of experience, as well as the different protagonist roles she plays in them. Her behaviours in different situations can be understood as different life-narratives being foregrounded, when she is faced with different stimuli different experiences/events present. In real life, self-reflective discourse frequently alludes to a divided, partitive self, and the experiences/behaviours that it can engage in. In academic study, this concept of the divided and narrative-constructivist self is well-represented in disciplines ranging from philosophy (e.g., Dennett 1991, 2005), developmental psychology (e.g., Markus & Nurius 1986; Bruner 1990, 2001; Stern 1994), cognitive psychology (e.g., Hermans & Kempen 1993; Hermans 2002), neuropsychology (e.g. Damasio 1999), psychiatry (e.g., Feinberg 2001), to linguistics (e.g., McNeil 1996; Ochs & Capps 1996; Nair 2003). Depending on the particular theory, however, emphasis is often placed either on its divided or its narrative-constructivist nature. This thesis argues, however, that the two are coexistent and interdependent, and both are essential to the self�s ontology. Its objectives are therefore: (i) to propose a partitioned-narrative model of the self which unifies the two perspectives by positing that the partitioned-representational (Dinsmore 1991) nature of narratives entails the partitioned structure of the self; and (ii) to propose that the partitioned-narrative ontology of the self is what enables and motivates much of our self-reflective discourse and the grammatical resources for constructing that discourse. Partitioning guarantees that a part of the self, i.e., one of its narratives, can be selectively attended to, foregrounded, objectified, and hence talked about. Narrativity provides the contextual guidance and constraints for meaning-construction in such discourse. This claim is substantiated with three application cases: the use of anaphoric reflexives (I found myself smiling); various usages of proper names, including eponyms (the Shakespeare of architecture), eponymic denominal adjectives (a Herculean effort), etc.; and partitive-self constructions which explicitly profile partitioned and selectively focal narratives (That�s his hormones talking). When analysed using the proposed model, these apparently disparate behaviours turn out to share a common basis: the partitioned-narrative self.

A single case study using a narrative approach to therapy was undertaken to examine the process and outcomes of therapy with a case of a 12 year old boy who presented with what could be described as an "anxiety disorder". The results were contrasted with the possible process and outcomes should a cognitive-behavioural approach have been used. This aspect of the Study was necessarily a speculative endeavour. Specific behaviours of the client and significant others were measured pre, post and followup. Positive changes occurred in the following behaviours: absence from school, reports of victimization, positive and negative self statements and statements by significant others.

This thesis examines how narratives of illness become therapeutic narratives. The method is to engage closely with (mainly Australian) texts � literary accounts of illness � in order to identify key elements that effect a healing function (healing is distinguished from cure). Textual analysis is placed in the frame of medical information about the relevant conditions, and theoretical perspectives that provide a cultural and historical setting for illness writing. Bio-medical discourse foregrounds the clinical process of diagnosis, investigation and treatment and relegates the personal meanings of illness to secondary place. The thesis explores ways in which the patient�s account provides an alternative discourse that supplements � and at times challenges � the medical discourse. Illness foregrounds the body, and illness narratives confront the reality of embodied experience. Illness that is chronic or incurable, ageing, physical and mental decline, and the inescapable prospect of death confront the patient with the need to find meaning in experience. Narratives of illness may serve as ventilation, diversion or escape for the patient. They may provide practical help, information and consolation to family and carers, and others who suffer with the condition. These are valuable functions, but I argue that illness writing may embody more powerful therapeutic elements that transform and give meaning to the illness as part of the individual�s life story. Key therapeutic functions identified are perversity, empowerment and transformation. Healing can begin with the empowerment of telling one�s story. Illness stories may challenge the stigma and the subordination associated with disease. They can affirm a sense of belonging and community where illness intersects with other forms of marginalization. Powerful illness narratives are often characterised by perversity, overturning the assumptions of dominant cultural discourses � including those that place authority with the medical practitioner and demand acquiescence from the patient. The most powerful therapeutic narratives transform the story of illness into a new story.

This screenplay is a fictional Coming of Age story of a young restless woman who, on an existentialist search for her inner self, investigates into the truth behind her famous grandmother's past, an anthropologist who conducted controversial research in the Samoa of the 1920s. In the turbulent streams of her consciousness, Kat drifts in between an urban reality in Berlin, daydreams about her grandmother's journey into the exotic unknown, fantasies about the enigmatic young Samoan single mom Penei, and memories of a once loving family. The encounter with Penei and the resulting friendship and frail romance of the two women proves to be an eye-opener for Kat who finally discovers that the objective truth proves to be the ultimate myth and that only the acknowledgement of her own, subjective vision will lead her on the path to her inner happiness. Although the character of Anna König is inspired by the historic figure of anthropologist Margaret Mead, the script has no intent to refer to actual facts of Mead's life. All the characters depicted are entirely fictional.

Thesis (D. Min.)--Ashland Theological Seminary, 2005. / Abstract. Includes bibliographical references (leaves 182-189).

Thesis (MA(Counselling Psychology)--University of Pretoria, 2006. / Includes bibliographical references (leaves 101-110).

Thesis (MA(Counselling Psychology)--University of Pretoria, 2006. / Includes bibliographical references (leaves 127-136).