A woman just getting settled in New Orleans with her fiancé is uprooted by Hurricane Katrina. She spends the two months after the hurricane in various parts of Louisiana trying to pick up the pieces of her uprooted reality. Along the way, she encounters ordinary people who act as inspirations and is also reminded of her deceased Chinese grandmother, whom she was care-giver to before she died and whose stories about life in China and the US parallel the woman´s own life during the post-Katrina months of vulnerability and change.

Cease Fire is a war story told from one woman’s perspective. It’s about a farm girl and her battles fought as young soldier serving on a remote nuke site during the Cold War. It’s the interpretations of lived experiences, highs and lows of a military career fused with family life, and spanning over three decades. Like true war stories, Cease Fire has little to do with actual war. It is a sometimes humorous, but often tragic attempt to make peace and to make sense of the places, comrades and enemies that graced and plagued a career. First names and nicknames were used to protect the privacy of a few and render respect for the surviving children of a fallen two.

Abstract Close to the Source is comprised of a series of nonfiction vignettes about the artisan, agricultural, and culinary methods of Italy. In Close to the Source the human relationship with nature, food, and art is reexamined while a series of rich characters help bring the material to life. Through interviews, research, and first-hand experiences, the author attempts to archive fading artisan and food-related techniques and rituals. In the process, a cultural critique about the importance of the practical arts in contemporary times emerges. The thesis contains four sections: Terra/Land; Art and Artisans; Pane/Bread; and Compagnia/Company.

Comprised of seven essays, this collection of literary nonfiction explores one man's journey into the teaching profession. The author recounts his experiences from just before he heard the call, to his first year teaching as an intern at Punahou School in Honolulu, through his first three years teaching full-time, and the challenges, mostly internal conflicts, he worked through as he taught freshmen and then two junior/senior electives before eventually going on sabbatical to Tanzania for his ninth year.

[pt] A presente tese busca uma reflexão acerca da realização do cinema documentário, centrado na análise de filmes. A metodologia adotada para abordar este tema é focada na questão da autoria, a autoridade do diretor. Observa-se que o analista é essencialmente um espectador diante do filme projetado, trabalhando com ferramentas teóricas associadas à sua memória (experiência) e sensibilidade. Busca-se aqui a adequação da análise às referências teóricas que auxiliam a leitura e interpretação do texto fílmico. Parte-se do princípio de que a criação do personagem está no centro do processo de realização do cinema documentário, onde a autoridade do diretor aparece na concepção dada ao personagem, estabelecendo as conexões entre a estrutura da narrativa e o dispositivo de filmagem. Os personagens assim existem nas narrativas não ficcionais. No caso do filme documentário o personagem tem uma configuração específica, uma dupla camada, sendo ao mesmo tempo ator social e personagem criado, de modo adequado à narrativa. / [en] The thesis project seeks a reflection on the process of documentary filmmaking, focusing on the issue of the creation of the character. The methodol-ogy adopted to address this theme is the case study, focusing on the critical reading of the filmic text. I understand that the analyst is essentially a spectator before the projected film. I know that the analyst has other objectives than the spectator and a specialized theoretical repertoire. The analyst works with theo-retical tools associated with his or her memory (experience) and sensibility. As a methodology of this study, I seek an adaptation with my objectives in the incor-poration of theoretical references that help in the reading and interpretation of the filmic text of a given group of cases. As an initial premise, I place the creation of the character at the center of the documentary filmmaking process. It is through this central core, the conception given to the character, that the authority of the director establishes the connections between the structure of the narrative and the filming device. Characters exist in the fictional narratives as well as in non-fictional narratives. In the case of the documentary, the character has a specific configuration, a double layer, social actor and, at the same time, a character creat-ed in a proper manner for the narrative.

Le récit littéraire au tournant du XXIe siècle peut se présenter sous la forme du récit d’enquête. Cette thèse se propose d’examiner ce modèle tel que le mettent en œuvre Thierry Beinstingel, Jean Rolin et Emmanuel Carrère. La pratique de ces trois écrivains pourrait permettre de mieux repérer l’esthétique et les enjeux de cette modalité narrative en émergence. Dans ces récits, le narrateur se trouve d’abord privé de vérité par un récit autoritaire, contre lequel il reconquiert son autonomie perceptive. Sa liberté retrouvée se manifeste par l’entrée dans l’enquête. Le narrateur élit alors un objet de recherche, un motif aléatoire ou improbable, personne, projet, objet, territoire et entreprend le récit de son exploration. À partir de ce prétexte, il interroge donc le sens de sa présence au monde et s’observe percevant, lisant, interprétant et réagissant. Sa liberté se traduit alors par son implication sensible et réflexive. Entre récit de réalité et fiction, ces récits volontiers digressifs opèrent aux confins de la narration, de l’essai et de l’investigation journalistique. Un tel modèle met en œuvre une attitude ou un ethos de chercheur hésitant et perplexe. Cependant, se construit en arrière-plan une dynamique à la fois narrative et réflexive, au cours de laquelle l’énonciateur entre dans l’observation intense du monde présent, y conduit librement sa réflexion au moyen, entre autres, de la dérive essayistique, renouvelle le discours critique sur l’état de société et propose des modalités de reconstruction imaginaire du monde, réaffirmant une liberté créatrice, voire une capacité insurrectionnelle contre la prétention du monde tel qu’il est à être le seul possible. / Literary narrative forms at the dawn of 21st century sometimes take the form of an enquiry. The present thesis aims to examine in detail this narrative technique as practised by Thierry Beinstingel, Emmanuel Carrère et Jean Rolin. The way they use it could help to understand and identify the aesthetic qualities and purposes of this emerging narrative mode. In these stories, the narrator feels his own thoughts as locked inside an authoritarian doxa which he must first overcome to recover his freedom of perception. He can then become involved in the enquiry, which can be understood as a phenomenological way to be aware. He then selects an arbitrary or improbable motif as the goal for his quest, which may be a person, an object, a project, an area, and undertakes to tell the story of his own inquiry. From this starting point, he begins to question the meaning of his existence and to observe himself making sense of, reading, thinking about and reacting to things. Between fiction and nonfiction, these frequently digressive tales often border on novels, essays or investigation journalism. The narrator always looks puzzled, hesitant and does not seem to trust his own approach. Yet in the background we witness the emergence of a dynamic both narrative and introspective through which the narrator becomes an acute observer of the world around him. He follows freely his train of thought through among other things the use of the essay form to drift from an idea to the next, finding new means of expressing the critique of social problems, creating novel ways of building new fictional worlds and perhaps even managing to rebel against the idea that there is no alternative to the world as it exists.

鄺可怡. / 論文(哲學碩士) -- 香港中文大學硏究院中國語言及文學學部, 1998. / 參考文獻: leaves 337-384. / 中英文提要. / Kuang Keyi. / Chapter 第一章 --- 導論 --- p.1-27 / Chapter 第一節 --- 小引 / Chapter 第二節 --- 張大春對「新聞小說」、「歷史小說」的論述 / Chapter 一、 --- 張大春「新聞小說」、「歷史小說」的硏究範圍 / Chapter 二、 --- 張大春「新聞小說」、「歷史小說」和「政治小說」 的關係 / Chapter 1. --- 論者對張大春「政治小說」的討論 / Chapter 2. --- 張大春對「政治小說」評論的回應 / Chapter 三、 --- 張大春對「小說」和「新聞」、「歷史」關係的論述 / Chapter 第三節 --- 張大春有關小說敘事形式的討論 / Chapter 一、 --- 強調小說敘事形式的實驗 / Chapter 二、 --- 小說敘事形式的主張 / Chapter 1. --- 展現小說「敘述」本身的價値 / Chapter 2. --- 從傳統敘事形式的破壞改變讀者的期待閾 / Chapter 第四節 --- 張大春「新聞小說」、「歷史小說」及敘事形式的 評價 / Chapter 一、 --- 論者對張大春「新聞小說」、「歷史小說」的評價 / Chapter 二、 --- 論者對張大春敘事手法的評價 / Chapter 第五節 --- 小結 / Chapter 第二章 --- 本文硏究目的和方法 --- p.28-37 / Chapter 第一節 --- 本文硏究目的 / Chapter 第二節 --- 本文硏究方法 / Chapter 一、 --- 從小說的敘事結構探討小說主題 / Chapter 二、 --- 「敘事學」以及其他理論的配合運用 / Chapter 1. --- 敘事學理論框架的應用 / Chapter 2. --- 敘事學的局限以及其他理論的配合運用 / Chapter 三、 --- 文献資料的應用 / Chapter 第三章 --- 張大春「新聞小說」和「歷史小說」的主題脈絡及 寫作背景 --- p.38-59 / Chapter 第一節 --- 「解嚴」前後台灣社會的急劇轉變 / Chapter 一、 --- 政治：「解嚴」帶來的急劇變化 / Chapter 1. --- 「解嚴」以前的政治氛圍（1986-87) / Chapter 2. --- 「解嚴」初年的政治氛圍（1987-90) / Chapter 二、 --- 社會：權力中心的挑戰 / Chapter 1. --- 「解嚴」前後台灣社會的綜合分析 / Chapter 2. --- 台灣社會「傳媒」角色的改變 / Chapter 第二節 --- 張大春「新聞小說」、「歷史小說」的主題脈絡及對 台灣社會的回應 / Chapter 一、 --- 張大春對文學與社會關係的討論 / Chapter 1. --- 文學對社會、政治的影響力 / Chapter 2. --- 文學面對傳播媒體的發展 / Chapter 二、 --- 張大春「新聞小說」、「歷史小說」對台灣社會的 回應 / Chapter 1. --- 張大春「新聞小說」、「歷史小說」與社會關係的 討論 / Chapter 2. --- 張大春「新聞小說」、「歷史小說」兩大主題脈絡 / Chapter (i) --- 宣告一切敘述的虛構性 / Chapter (ii) --- 以小說「介入」現實 / Chapter 第四章 --- 張大春「新聞小說」、「歷史小說」敘述元素的綜合 比較和分析 --- p.60-77 / Chapter 第一節 --- 敘述者 / Chapter 第二節 --- 聚焦 / Chapter 第三節 --- 敘述層次 / Chapter 第四節 --- 敘述時間和敘事時間 / Chapter 一、 --- 敘述時間 / Chapter 二、 --- 時間序列 / Chapter 第五節 --- 小結 / Chapter 第五章 --- 〈印巴茲共和國事件錄〉對客觀「呈現」的探討 --- p.78-97 / Chapter 第一節 --- 小引 / Chapter 第二節 --- 〈印巴茲共和國事件錄 〉 對客觀「呈現」的模式 / Chapter 一、 --- 〈印巴茲共和國事件錄〉的「事件敘事」 / Chapter 1. --- 敘事信息量增多 / Chapter 2. --- 敘事者減低介入程度 / Chapter 二、 --- 〈印巴茲共和國事件錄〉的「言語敘事」 / Chapter 第三節 --- 敘事學以外其他元素的運用 / Chapter 一、 --- 新聞報導形式的借用 / Chapter 二、 --- 社會科學的分析架構 / Chapter 第四節 --- 〈印巴茲共和國事件錄 〉對客觀「呈現」敘事模式的 反省 / Chapter 一、 --- 敘事者道破寫作題旨 / Chapter 二、 --- 諧擬「菲律賓政變」的新聞報導 / Chapter 第五節 --- 小結 / Chapter 第六章 --- 〈 將軍碑 〉 從敘事時間的設計質疑歷史書寫 --- p.98-131 / Chapter 第一節 --- 小引 / Chapter 第二節 --- 〈將軍碑〉的敘事時間分析 / Chapter 一、 --- 序列：時間倒錯的淡化 / Chapter 1. --- 小說單元部份的分析 / Chapter 2. --- 小說的整體時間分析 / Chapter 二、 --- 時距：小說的敘事「快板」 / Chapter 1. --- 從敘事學角度的分析 / Chapter 2. --- 影響敘事速度的其他小說元素 / Chapter (i) --- 張大春所言「人物角色意志的速度感」 / Chapter (ii) --- 〈將軍碑〉裡人物角色意志與小說敘述速度的關係 / Chapter 三、 --- 頻率 / Chapter 第三節 --- 〈將軍碑〉與「魔幻現實主義」小說「似是而非」的 關係 / Chapter 第四節 --- 〈將軍碑〉 敘事時間的處理對歷史書寫的質疑 / Chapter 一、 --- 〈將軍碑〉對直線發展時間觀念的破壞 / Chapter 二、 --- 〈將軍碑〉對因果邏輯的破壞 / Chapter 第五節 --- 小結 / Chapter 第七章 --- 〈大說謊家〉敘述者以及敘述交流模式的探討 --- p.132-169 / Chapter 第一節 --- 小引 / Chapter 第二節 --- 《大說謊家》敘述者的基本分析及與「後設小說」的 關係 / Chapter 一、 --- 全知敘述者的顛覆 / Chapter 二、 --- 顯露敘述者的超越 / Chapter 三、 --- 無信無不信的敘述者 / Chapter 第三節 --- 《大說謊家》對傳統敘述交流模式的改變 / Chapter 一、 --- 《大說謊家》的敘述交流情況 / Chapter 二、 --- 《大說謊家》敘述者以外各種干擾的聲音 / Chapter 1. --- 指涉現實世界的「本文作者」 / Chapter 2. --- 指涉現實世界的「編者」 / Chapter 3. --- 指涉現實世界的「本文讀者」 / Chapter 第四節 --- 小結 / Chapter 第八章 --- 《沒人寫信給上校》的敘述層次分析 --- p.170-199 / Chapter 第一節 --- 小引 / Chapter 第二節 --- 《沒人寫信給上校》外、內敘述層次分析 / Chapter 一、 --- 敘述外層 / Chapter 二、 --- 敘述內層 / Chapter 第三節 --- 《沒人寫信給上校》的「換層敘述」及對後設小說的 轉化 / Chapter 一、 --- 小說中換層敘述的分析 / Chapter 二、 --- 小說的換層敘述對後設小說的轉化 / Chapter 第四節 --- 小說從「敘述層次」的設計回應新聞事件 / Chapter 一、 --- 「正文合倂註釋」的敘述層 / Chapter 二、 --- 換層敘述下既超然又局限的敘事者 / Chapter 三、 --- 「向心的」換層敘述 / Chapter 第五節 --- 小結 / Chapter 第九章 --- 《撒謊的信徒》從聚焦設計表現對現實隱價 --- p.200-240 / Chapter 第一節 --- 小引 / Chapter 第二節 --- 《撒謊的信徒》的聚焦分析 / Chapter 一、 --- 敘述者一外聚焦者 / Chapter 二、 --- 受聚焦者兼內聚焦者：李政男 / Chapter 三、 --- 受聚焦者 / Chapter 1. --- 不參與故事發展的受聚焦者 / Chapter 2. --- 參與故事發展的受聚焦者 / Chapter 第三節 --- 《撒謊的信徒》聚焦方式的設計與評價關係 / Chapter 一、 --- 聚焦者觀點之間的落差 / Chapter 二、 --- 「人物一受聚焦者」的並置比對 / Chapter 1. --- 不參與故事發展的「人物一受聚焦者」 / Chapter 2. --- 參與故事發展的「人物一受聚焦者」 / Chapter 第四節 --- 小結 / Chapter 第十章 --- 總論 --- p.241-255 / Chapter 第一節 --- 小引 / Chapter 第二節 --- 張大春「新聞小說」和「歷史小說」的評價 / Chapter 一、 --- 從「上下求索」到「不假外求」的敘事形式探索 / Chapter 二、 --- 小說寫作與閱讀層面的開拓 / Chapter 第三節 --- 本文硏究方法的檢討 / Chapter 一、 --- 「敘事學」轉化運用的試驗 / Chapter 二、 --- 整體硏究方法的回顧 / Chapter 第四節 --- 結語 / 附錄 --- p.256-336 / Chapter 一、 --- 本文敘事學理論框架的設定 / Chapter 二、 --- 凱南《敘事虛構作品：當代詩學》硏究對象資料整理 / Chapter 三、 --- 《大說謊家》第一章新聞元素與《中國時報》 報導比較 / Chapter 四、 --- 《沒人寫信給上校》小說人物與現實對應關係 / Chapter 五、 --- 《沒人寫信給上校》故事事件時間序列 / Chapter 六、 --- 「尹淸楓命案」新聞資料整理 / Chapter 七、 --- 《撒謊的信徒》故事人物與現實對應關係 / Chapter 八、 --- 小說人物李政男與李登輝比較 / 《撒謊的信徒》故事事件時間序列 / 參考書目 --- p.337-384

Many hands, light work -- Chasing two antelopes, at the same time -- The boat, the leader and the water -- A child crawls, then stands -- The monkey, a jump and a tree -- A tree is cut down -- Moving the elephant in one day -- The tree, over the top and the earth -- an army, a sheep, and a lion -- Bundle of sticks are unbreakable. Children like it simple, powerful and compelling, don't they? The "spirit" of this book makes leadership lessons for kids simple, powerful yet compelling. This "treasure trove" of illustrated stories from African Proverbs is filled with compelling leadership lessons for children all over the world. This book is written for children in every nation whose little minds are curious, who love to explore new and different worlds and who love to listen to stories. "Inspiring Kidz Leadership Lessons from African Proverbs" contains the Proverb, the Story, the Lesson and the country. Proverbs and sayings are found in almost every culture in the world and so not only will children respond to its meaning but adults will find it enriching. In this children's leadership book, the sayings of African proverbs form the basis of the leadership lesson. Not only will you read it and hear it. Your child(ren) will glean life-long leadership nuggets and lessons from it. Stories are like magic, taking us everywhere: backwards, forwards or happening right in the present time, transporting us to many places and situations we might never go. There is a world of wisdom contained in each proverb and we can learn a lot about children's Leadership Lessons from them. So sit down with your toddler, infant, child or children and teach them these simple, profound and compelling leadership lessons through African Proverbs and storytelling. It is hoped that at the very least, proverbs can be a source of entertainment if not a learning tool to teach and entertain your child. / https://dc.etsu.edu/etsu_books/1082/thumbnail.jpg

Sonder is an exploration of the relationship between digital media and graphic design through the creation of print and digital publications. At it’s very foundation, Sonder is a travel magazine with both a physical print publication and a digital publication designed for a tablet. It includes photography, articles, poetry, and travel tips. The print and the digital versions contain the same content, but explore different methods of presentation.

The Stories of Environmental Ethicists in Word and Image captures the spirit of three local people: John B. Cobb, Jr., Rosemary Radford Ruether, and Dean Freudenberger. As teachers, writers, activists, and members of the progressive retirement community Pilgrim Place, they’ve had a significant influence on the global environmental movement. The photographs and small essays in this project highlight who they are and what they’ve done, and how they continue to shape contemporary intellectual discourse. An analysis of how portrait photographers use images to tell stories and how they incorporate text in their photographic collections to create fuller, more robust pictures of their subjects provides context. An epilogue explains a mixed-media artwork I created that evolved out of my conversations with Cobb, Ruether, and Freudenberger. A three-dimensional rendering of transformations currently happening in California’s landscape, it visualizes rural and urban spheres converging within the state. It shows how boundaries separating what we’ve traditionally categorized as “country” and “city” are eroding, and how the landscape is becoming simultaneously rural and urban. New spatial forms are springing up and integrating in ways we’ve never seen before. As green areas get grayer, gray areas get greener. The mixed-media installation attempts to bring people’s attention to various environmental shifts happening now in California and all over the world, and to ask us to question the implications of such changes.