This document outlines the research, development and production of a creative work and accompanying exegesis in partial fulfilment of the requirements for the Master of Communication Studies (MCS) programme. It includes the first draft of a feature film screenplay and an exegesis that explores the research conducted, the theoretical context of the work, and analyses the screenwriting process undertaken. The Bobby Calf (2008) is the first draft of a feature film screenplay that uses a non-classical and non-linear narrative structure to tell the story of its main characters and advance the plot. A psychological drama set in rural New Zealand, The Bobby Calf (2008) was originally inspired by the Janet Frame short story The Reservoir (1963), a story based on a group of youngsters who venture forth to discover the forbidden reservoir; a place their parents had forbid them from going. Set in the outskirts of a small farming settlement, the story is a dark and gothic depiction of rural life and the harshness of reality faced by those brought up in a lifestyle they did not choose. The story focuses on the journey of ADAM (21); both as a young boy in 1988 (called JOHNNY) and as a young adult in 1997, and his mother CATH; a woman whose dreams and aspirations for her son and indeed her own life are slowly slipping away. The story centres on Adam as he grows more uncomfortable with how his life has ended up, and his discovery that the life he has been destined to fulfil is not the one he has chosen. Accompanying the screenplay is an exegesis that explores the research conducted previously on the history of non-classical/non-linear narrative structures and the rationale behind the success and limitations of this now-popular form of storytelling. These types of narrative structures are not a new phenomenon, and as many authors have attested, the basis of this form of storytelling is rooted in the history of screenwriting and film making, and borrows many techniques from theatre and literature.

This thesis examines major publications produced between 1891-2015 that portray the trial of Florence Maybrick. Inspired by Paul Davis’ Lives and Times of Ebenezer Scrooge, it considers the various iterations of Florence’s story as “protean fantasies,” in which the narrative changed to reflect the realities of the time in which it was (re)written. It tracks shifting patterns of emphasis and authors’ rigid conformity to associated sets of discursive strategies to argue that this body of literature can be divided into three distinct epochs. The 1891-1912 era was characterized by authors’ instrumentalization of sympathy on Florence’s behalf in response to contemporary concerns about the administration of criminal justice in England. From 1923 until 1964, this “Victorian tragedy” was re-structured according to the tropes of detective fiction and non-fiction crime writing in a cultural atmosphere increasingly preoccupied with postmodernism, “the psychological,” and shifting gender relations. The concept of the “permissive society” and emergence of “new social history” following the late 1960s and early 70s produced a revised version of the story that accentuated aspects of the case that were illustrative of the structures of Victorian society. As such, this thesis is a metahistorical examination of how authors’ approaches to the question of whether or not Florence poisoned her husband in 1889 have been shaped by contemporary mentalités. / Graduate

Submitted by Edileide Reis (leyde-landy@hotmail.com) on 2013-04-11T20:17:22Z No. of bitstreams: 1 Prado.pdf: 793330 bytes, checksum: 1c55bf30e245e1211cbcd9b711237a7e (MD5) / Approved for entry into archive by Rodrigo Meirelles(rodrigomei@ufba.br) on 2013-05-09T18:11:37Z (GMT) No. of bitstreams: 1 Prado.pdf: 793330 bytes, checksum: 1c55bf30e245e1211cbcd9b711237a7e (MD5) / Made available in DSpace on 2013-05-09T18:11:37Z (GMT). No. of bitstreams: 1 Prado.pdf: 793330 bytes, checksum: 1c55bf30e245e1211cbcd9b711237a7e (MD5) Previous issue date: 2009 / O presente trabalho destinou-se a identificar as características narrativas do auto de prisão em flagrante, no que diz respeito à sua estrutura e aos discursos nele transcritos. No contexto do campo transdisciplinar de estudos sobre direito e literatura, foram utilizados recursos da teoria literária e da teoria jurídica, para a identificação de regularidades e divergências em uma amostra de 50 (cinquenta) autos de prisão em flagrante, colhida nos arquivos do conselho penitenciário do estado da bahia. A opção metodológica pelo campo direito e literatura decorre da percepção de que o declínio do positivismo exige uma nova postura diante dos fatos, e legitima a investigação, no âmbito da teoria jurídica, das obscuridades na sua reconstrução discursiva perante as instituições; com efeito, quando se dá maior atenção aos momentos narrativos da prática jurídica, descortina-se toda uma série de problemas, antes negligenciados pela comunidade científica. Para tanto, foram empregados recursos de um dos setores da teoria literária, a teoria narrativa, especificamente da corrente estruturalista. O presente trabalho também se serviu da dogmática jurídica, tanto de estudos específicos sobre a prisão em flagrante, como de tratados, cursos e manuais de direito processual penal, para demarcar as conclusões da teoria jurídica diante de cada elemento da estrutura e do discurso narrativo encontrados nos autos, quer para aceitá-las, quer para complementá-las, quer para rejeitá-las, quer para simplesmente compreendê-las a partir do enfoque transdisciplinar. A amostra foi formada com o objetivo de estudar a maior variação estrutural e discursiva possível entre os autos de prisão em flagrante, visando a fortalecer a generalização das conclusões para além da base empírica inicial. Aprofundando a relação da presente investigação com o movimento direito e literatura, deu-se ênfase à polissemia do termo auto, que serve para designar tanto os documentos oficiais destinados ao registro de atos, como um gênero de textos dramáticos formados por um só ato. Com isso, fez-se uso, como alegoria, do auto da barca do inferno, do dramaturgo português Gil Vicente, em cuja estrutura foram identificadas notáveis semelhanças com a do auto de prisão em flagrante. Estudou-se a estrutura narrativa do auto de prisão em flagrante, com o objetivo de estabelecer esquemas conceituais capazes de explicar o enredo, o narrador, as personagens, o espaço e o tempo das histórias nele narradas. Estudou-se o discurso narrativo dos participantes da prisão em flagrante, com o objetivo de identificar os recursos retóricos empregados pela autoridade policial, pelo condutor, pelas testemunhas, pela vítima e pelo conduzido. / Salvador

O presente estudo tem como objeto teórico o autor de telenovela, analisado através de suas estratégias narrativas e políticas dentro de seu campo de atuação, a telenovela. Para a construção do objeto empírico, buscou-se a partir da obra de Walther Negrão, Lauro César Muniz e Silvio de Abreu identificar e analisar os caracteres narrativos da telenovela brasileira com base em manuais de roteiro e teóricos relacionados à dramaturgia, teledramaturgia e literatura. O corpus da pesquisa foi constituído pela sinopse e seis primeiros capítulos de uma obra de cada autor. Houve ainda amparo em entrevistas feitas com os autores ou publicadas em reportagens e livros. Procurou-se ainda discutir a constituição do autor dentro de seu campo de atuação, como conhecedor das técnicas de folhetim/melodrama e ponto de equilíbrio político entre o comercial e o estético na televisão. Sua liderança é garantida pela autoridade na decisão de questões de outras etapas do processo, pela divisão do trabalho com colaboradores e por ser ele, o autor, quem detém em si a essência da trama e por ser o possuidor de um savoir-faire específico que lhe dá legitimidade no meio produtivo e criativo televisivo. Permeando a discussão da autoria em telenovela, pretendeu-se discutir a especificidade do roteiro teledramatúrgico na indústria televisiva nacional. Partindo da origem na literatura, no cinema e no teatro, entende-se a autoria como criação, autoridade, responsabilidade e promoção da narrativa. Conclui-se que as marcas de autoria do autor de telenovela estão presentes na fase inicial de elaboração da narrativa, ou seja, a sinopse, construção de perfis de personagens, escalação de elenco e primeiro capítulo porque são momentos onde o universo dramatúrgico do escritor titular se manifesta com maior autoridade. Também foi verificado que, apesar de cada autor apresentar um estilo próprio de escrita, o gênero telenovela canaliza a criação ao impor técnicas e paradigmas bastante rígidos. / The present study focuses on the author of the telenovela, which was studied based on his narrative and political strategies within his domain: the telenovela. In order to establish our empirical object, through the works of Walther Negrão, Lauro César Muniz and Silvio de Abreu, we sought to identify and analyze the narrative features of Brazilian telenovela based on scriptwriting manuals and theorists who addressed dramaturgy, TV drama and literature. The corpus of our work was composed of the synopsis and the first six chapters of a piece by each author, which were selected accordingly to the criteria explained in the methodologic chapter. The present work is supported by interviews with the authors, published in news reports or books. We sought to address the constitution of an author in his domain as a connoisseur of melodrama/feuilleton techniques and the right balance between political, commercial and esthetics on television. His leadership is assured by his authority in decision-making regarding issues related to other steps of the process, by the division of work with collaborators and because he, the author, is the one who carries the essence of the plot. Permeating the debate on authorship in telenovela, we intended to address the particularity of TV drama scripts in the national television industry. Based on the origin of literature, on cinema and theater, we understand authorship as creation, authority, responsibility and promotion of the narrative. We concluded that the writer\'s authorship is predominant in the firsts stages of the elaboration of the narrative - in other words, the synopsis, the establishment of characters\' profiles, casting and the first chapter - because these are moments in which the main writer\'s dramaturgical universe is invested with more authority. We have also verified that, although each author possesses his own writing style, telenovela is a gender that channels creation by imposing very rigid techniques and paradigms.

A discussão sobre adaptações de obras literárias em realizações cinematográficas já passou do campo moralista da fidelidade ou traição para uma discussão menos valorativa. Isso significou uma focalização no estudo da intertextualidade entre a adaptação cinematográfica e o romance original, tendo como pontos de observação o tipo de seleção feita no processo da realização fílmica, a concretização visual do texto literário, a atualização de determinados temas abordados na obra e o foco narrativo, por exemplo. O que se pretende com este trabalho é a análise da estrutura narrativa do romance O tambor (Die Blechtrommel) de Günter Grass e do filme homônimo dirigido por Volker Schlöndorff, observando a forma como o romancista articula a construção complexa de seu foco narrativo e como o cineasta trabalha essa estrutura em seu filme, o que resulta em diferentes formas de perceber e interpretar tanto o narrador-personagem quanto o universo no qual está inserido. / Debates on the adaptation of literary works to the cinema have already surpassed moral judgments related to fidelity and treason, finding a more objective approach. It implies, for example, the comparison between the movie adaptation and the original work focusing on intertextuality and using, as points for analysis, the selection of literary material made during the filmic realization process, the visual achievement of the literary text, the update of some of the themes brought out by the writer and the narrative focus, among others. This work aims at analyzing the narrative structure of Günter Grass novel The Tin Drum (Die Blechtrommel) and Volker Schlöndorffs homonymous movie by observing the complex articulation of Grass narrative focus and the directors rendering of that structure, which results in different ways of perceiving and interpreting both the narrating character and the universe he is placed in.

Background: Most likely given the increase in sick leave absence with mental health issues as the dominant cause, the Swedish Work Environment Agency has released a new regulation regarding the organisational and psychosocial work environment. Shiftwork has been given special attention. Nurses often perform shiftwork and are one of the professions most vulnerable to work stress, ill health and burnout syndrome. Swedish municipalities has therefore initiated an organisational change to implement a schedule model that considers research on work health, but also to solve staffing issues and keep the budget in balance. Assistant nurses have taken to social and traditional media to raise objections to these new schedules.  Objectives: The aim is to examine how discursive practices are used in opinion texts to argue against the organisational change within Swedish municipalities through looking at the narrative structure of the texts and how the nurses’ identities are made relevant in the text.  Methods: A discursive psychological analysis that examines the way language is used to establish the definition of the situation and gain control over the narrative. Data sources included 27 opinion texts from Swedish media newspapers that were publicly available. Results: Three themes were identified: the structure of the narrative, the issue of money and the construction of the nurses. The structure of narrative drew on two linguistic trends: pseudo-academic language and emotive language to describe the situation at hand. In the issue of money they attributed saving money and greed as behind the implementation of the new schedule model, rather than concern over the staff’s welfare. In contrast they constructed themselves as being humble, reasonable and caring about the care receivers. Conclusions: The assistant nurses used language in the opinion texts to take control over the narrative by drawing on aspects relating to health, attributions of motive for the implementation of this organisational change and constructing themselves as being reasonable, humble and caring for the care receivers in contrast to a calculating, greedy employer who cares only about money. The nurses’ working environment is constructed as impacting on the well-being of care-receivers. The nurses position themselves against discourses relating to cost efficiency, rationalisation, and emphasis on administration.

The study set out to examine how using a different type of narrative, the epiphanic structure, compares to the hero’s journey in both non-interactive as well as interactive writing. Earlier studies about different narrative structures were examined as well as reasons for how the hero’s journey has become used to such a high degree that many other structures are barely known by many people. An artifact was created that included four versions of a similar narrative. Two were interactive and the other two were not. Out of each of the two groups, one variant followed the hero’s journey and the other followed the epiphanic narrative structure. Three participants were invited to interact with the artifact and an interview/discussion was held with them each individually. All three of the participants expressed similar opinions about the four narrative variants and agreed that the epiphanic structure felt interesting and provided surprising additional insight.

News journalists are charged with documenting current events in an objective manner. As a by-product of this role, journalistic accounts are often seen outside of the cultural realm, as third-party reports that are free from personal bias or cultural influences. There is a growing body of scholarship that refutes this categorization, arguing that journalism is distinctly inside the cultural realm and necessarily influenced by societal factors. This study draws on collective memory theory, and seeks to understand how the collective memory of Major League Baseball's history influenced journalistic accounts of baseball's Steroid Era from the late 1990s up to the year 2013. Utilizing a grounded theory methodology, this study qualitatively analyzed 226 news articles from both national and local newspapers and sports magazines in the years 1998, 2002, 2004, 2007, and 2013. The researcher identified articles' narrative structures and transformations of collective memories over time. Both of these aspects were then measured against the study's stated goal of objectivity, which was to "to "reach the highest degree of correspondence between journalistic assertions and reality" (Boudana, 2011, p. 396). The study found that the historical values with which the baseball collective identified--namely, that baseball had historically been a game of integrity--strongly influenced media coverage of the scandal. The partiality of collective memory negatively affected journalistic objectivity, as journalists often compared the current era to inherently incomplete versions of the past. / Media Studies & Production

The thesis provides an in-depth analysis of motion event descriptions of two Australian indigenous languages. Jaminjung is a highly endangered non Pama-Nyungan language with approximately 50 remaining speakers. Kriol, an English-lexified Creole, is spoken by about 20.000 people in different varieties across northern Australia. While the languages are typologically very different, occupancy of the same linguistic and cultural area provides an intriguing opportunity to examine the effects of culture and language contact on conceptual components and distribution patterns in discourse. This investigation also applies and tests a number of existing frameworks and typologies regarding the linguistic encoding of motion and space in general. The thesis first provides an overview of the encoding of motion event descriptions in Jaminjung and Kriol. It becomes clear that, concerning overt marking of case, ground-encodings follow a systematic semantic pattern with no or rare case-marking for deictic terms, optional marking for toponyms and mandatory marking for all other types of landmarks. Furthermore, the structure and semantics of the motion verb phrase is investigated. Particularly noteworthy here is a study of asymmetrical serial verb constructions in Kriol which revealed a number of previously undescribed types. Following this, various proposals for a typology of Frames of Reference are applied. The notion of ‘anchor’ is at the centre of the analysis. The investigation shows that contextual restrictions for the use of Jaminjung’s absolute terms can be accounted for by a restriction on egocentric anchoring and ‘Orientation’ settings only. Furthermore, absolute Frame of Reference is realised differently in Roper and Westside Kriol respectively, suggesting an ongoing influence of the traditional languages spoken by the respective communities rather than the lexifier English. Jaminjung and Kriol, additionally, prefer the use of absolute over relative Frame of Reference. The following chapter investigates how lexicalisation patterns influence the distribution of path and manner encodings in discourse. After concluding that Jaminjung might best be described as following an equipollently-framed pattern and Kriol as satellite-framed, path and manner salience is investigated in different types of discourse using a dataset of motion event encodings in a Frog Story collection and a general corpus of various discourse environments. It is concluded that while the two languages behave very differently with regards to frequency patterns of ground- and other path-encodings, they show remarkable similarities in distributing path and manner over larger chunks of discourse. These findings suggest that cultural influences may sometimes override structural typological constraints. Finally, motion event encodings in specific types of discourse are analysed. Regarding route descriptions, speakers show a clear preference for dynamic over static modes of presentation. This includes encoding ‘fictive motion’ events for which a figure- and ground-based distinction is introduced. Additionally, concerning the use of deictics in a comparative analysis of different types of corpora for both languages, it was shown that the distribution of absolute terms remains stable across discourse environments while deictic usage differs drastically. Lastly, the concept of ‘motion’ is abstracted and described as a kind of structuring device in narratives. It is shown that the ‘journey’ within the story world is used by speakers of both languages to bridge episodes sometimes even overriding a temporal in favour of a spatial order of events.

This dissertation is a concise examination of the complete obverse manuscript (document 1) of the pre-Hispanic pictogram screen-fold painted by the Mixtec Indians of Oaxaca. The study begins with the historiography of Native American Mexican screen-fold books as related by the first historian of the New World, Peter Martyr d’Anghera, in his De orbe novo and proceeds through major authors from the early twentieth century to present day. The nature of “native” history is explored as is the nature of pictogram narrative history. The superficial narrative structure of Codex Zouche-Nuttall, document 1 is then defined and interpretative reading techniques employed in this dissertation are applied to it. The codex document 1 contents (pages 1-41) are then listed in detail by section, structure, personnel, events, and native dates corresponded with the European calendar, this latter in so far as is possible. This definition explicates each of three bifurcated sections of the document, each section consisting of a story plus genealogy or genealogies. Additionally, essays on codex contents are provided to further elaborate these divisions of study within Codex Zouche-Nuttall document 1. These essays explore certain mysterious parts of the stories, as in the case of the Ladies Three Flint and the Four Lords from Apoala. Inferences are made from codex text regarding Postclassic Period Mixtec social organization via both political structure and religion. The end result is a concise elaboration and explanation of the entire document. / text