The aim of this diploma thesis is to introduce the reader to a new writing model Comenia Script and the results of its establishing during the first years of a school attendance. The theoretical part deals with a developement of a script, a characteristic of a cursive Latin alphabet writing and Comenia Script and a contemporary education of a first-year writing. In the practical part the findings gathered during the participant observation of the entrusted sample of respondents were analysed and the questionnaire survey focussed on attitudes of involved pupils' parents was evaluated.

La présente thèse de doctorat a eu pour objectif d’étudier les processus cognitifs impliqués dans le traitement d’une information publique délivrée graphiquement en une chaine d’épisodes clefs, présentés selon différents niveaux d’animation et de séquentialité. Cinq messages de perturbation transmis verbalement dans les gares ferroviaires françaises ont été transposés sous une forme visuelle graphique. Six expériences ont été réalisées. Elles avaient pour but de tester l’effet de différentes modalités de présentation sur la compréhension, l’influence du régime de délivrance (séquentiel vs simultané) et du format (statique vs animé) sur l’activation de scripts ou sur la construction de modèles mentaux, d’étudier l’impact de l’organisation des épisodes constituant ces messages sur l’activation de schémas internes, d’analyser le rôle des pictogrammes dans l’activation de concepts en enfin d’évaluer ce matériel dans un environnement reproduisant un contexte de gare, sous pression temporelle. Les résultats ont montré qu’une apparition séquentielle et hiérarchique d’épisodes animés était congruente avec l’organisation des scripts internes des voyageurs. Ils ont également mis en évidence l’impact de l’organisation des épisodes sur l’activation de schémas en mémoire, confirmant d’une part le rôle de « structure fondatrice » du premier épisode et démontrant d’autre part l’effet des relations entre épisodes sur la quantité de traitements engagés. Ils ont révélé que les pictogrammes normalisés et les composants les plus représentatifs d’une catégorie de concepts favorisaient l’activation rapide et efficace de représentations en mémoire. Enfin, l’étude effectuée en condition semi-écologique a confirmé l’efficacité de ce type de message dans un contexte proche de gare sous pression temporelle. / The goal of our studies was to analyze comprehension mechanism of event-related public information presented graphically according to different levels of animation and different levels of sequentiality. Five graphic train messages were developed. These messages were composed of four pictures – episodes. Six experiments were realized. Their goals were to test : (i) the effect of different graphic presentation conditions on comprehension, (ii) the possible influence of delivery regime (sequential vs simultaneous) and presentation format (static vs animated) on internal script activation or on the construction of a mental model and (iii) the role of episodes and (iv) pictograms on the comprehension. We finally realized a more « ecological » study, under time pressure, with a head-mounted display. Our results showed that a dynamic sequential graphic presentation was aligned on the structure of the traveler’s internal scripts of the train disruptions, and by promptly triggering in the traveler’s mind a task-appropriate schema of the relevant events appeared to map perfectly with them. They also showed that when participants analyze the first picture, they begin by laying a foundation for their mental structures. Next, they seems to develop their mental structures by mapping on information delivred by subsequents episodes when that incoming information coheres with previous episode(s). Results showed that pictograms which were considered ‘familiars’ or ‘typicals’ are better understood than the others. The last study demonstrated that graphicals could be understood and lead to an optimal decision in a more « ecological » context under time pressure.

Ce mémoire s'intéresse aux relations de pouvoir entre les hommes et les femmes telles qu'elles s'expriment à travers les "scripts" sexuels (Gagnon) dans six oeuvres québécoises écrites après les années 2000. Deux critères déterminent le choix des oeuvres : la sphère de légitimité à laquelle elles appartiennent et le sexe des auteurs. Le premier chapitre s'intéresse à deux oeuvres légitimées écrites par des femmes : La Brèche (2002) de Marie-Sissi Labrèche et Infrarouge (2010) de Nancy Huston; le deuxième chapitre aborde deux romans légitimés écrits par des hommes : Bouche-à-bouch e [i.e. bouche] (2003) de Mauricio Segura et L'aimé (2007) d'Antonio D'Alfonso; enfin le troisième chapitre étudie, quant à lui, deux recueils de nouvelles érotiques relevant de la littérature populaire, l'un écrit par une femme, l'autre par un homme: Grande aventure et petites histoires libertines (2007) de Julie Bray et Tentations voluptueuses (2006) de Martin Lortie. Chacun des chapitres se divise en quatre parties. Dans la première partie, sont étudiés le genre des voix narratives en lien avec le sexe des auteurs. La deuxième partie s'emploie à tracer le portrait des personnages féminins et masculins principaux à l'intérieur des oeuvres. Les troisième et quatrième parties étudient plus spécifiquement les scènes sexuelles, d'abord à partir de l'analyse de l'espace et ensuite à partir [de] l'analyse des"scripts" sexuels. Nous tâchons de définir si les représentations permettent d'observer des relations justes et équitables ou dissymétriques entre les sexes, et de vérifier si les auteur¨e¨s emploient des matériaux qui tendent au traditionalisme, à la modernité ou à la postmodernité. (Boisclair et St-Martin)

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

A Pact Sealed in Blood: The Creation of Blood Letters: An American Odyssey is a reflection on the project, writing, script and production phases of a student researched and written theatrical script, which debuted in the Shafer Street Playhouse on April 24, 2014 on the campus of Virginia Commonwealth University. This paper looks at the processes involved with the creation of that piece. The theatrical piece tells the tales of three men over the course of 150 years as each man goes through his own personal crucible. The first fights for his country and his family during the American Civil War. The second fights for his country and his love during World War Two. The third works for his country and searches for his family during bouts of political destruction, alcoholism, and lost love. The piece interweaves these three tales with a fourth, present day narrator, in an adaption of Homer’s The Odyssey. This paper looks at the research, development of the script, and the final product of that theatrical piece. It also delves into the author’s beliefs on the search for the human soul within writing and the importance of connection within that search. Finally, it is revealed that perhaps the greatest search lies within our own personal journey.

In 2006, Steven Oakley, an eighteen-year-old high school senior from Pennsylvania, is bribed by his father to go on a volunteer trip to hurricane-ravaged New Orleans, Louisiana. During his time, he meets a broken family whose experiences change Steven’s perspective on his own privileged life.

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In 2014, the Swedish Government decided to review the sexual offences legislation, in order to introduce a consent-based regulation. The main argument in support of a consent-based legislation is that it will change the norms and attitudes regarding gender and sexuality, thereby decreasing the occurrence of sexual violence in society. A consent-based legislation emphasizes the importance of sexual consent within sexual relations, thus giving such legislation a potential to construct a more just and gender-equal sexual culture. Sexual consent is, however, not reducible to a simply “yes” but rather consisting of different elements and dependent on the context in which it is communicated. The aim of this thesis is to examine how the sexual consent is constructed in the publications included in the legislative process and analyze this construction from a heteronormative perspective.  Using the sexual script theory developed by John Gagnon and William Simon demonstrates how sexual consent is constructed in terms of which subject consents to what acts in what context and to what purpose. Analysing the construction of sexual consent from a heteronormative perspective demonstrates how the consent-based legislation both challenge and reproduce normative ideas of sex and sexual culture.  Examining the construction of sexual consent through script theory demonstrates how heteronormative understandings of sexual acts and subjects influence the understanding of which subjects are able to consent to what actions. The construction of consent is characterized by a division between the legislative understanding of sexual offences as a crime against a genderless individual, and a gendered understanding of sexual violence as a part of men’s violence against women. In theory, there is a clear understanding of the difference between consensual and non-consensual sex, but when situated in a heteronormative context these two becomes harder to separate. Therefor, the potential of challenging normative understandings of sexuality of gender seems limited, even though it takes further research in order to establish the actual effects of the legislation.

The Golden Door is a new musical created in answer to the question "how does one write a musical?" This short work is based on immigration through Ellis Island in the 1920s. The script focuses on three young adults immigrating from Sweden in 1922, exploring the reasons why each might choose to leave their homeland and attempt a new life in a completely foreign land. The script also details historical information such as how long the crossing was and the reception that awaited them in the "promised land", juxtaposing promises and actuality. The script and score examines themes such as bravery, homesickness and loss, and the perception of Americana and its processes dating back to a romanticized time. This document details the writing process, justification of the document, and historical research to support it, as well as the performance text itself (including both script and score).

<p>The art and science of crafting superior stories for feature film, television, and computer graphics productions, for both local and international purposes alike, are extremely important. In the artistic sense, this is a glimpse at the key elements in creating successful characters, stories, and environments. In the technical sense, it is a review on how to write a professional screenplay, as well as a comparison between different mediums, methods, and styles of writing. In order to conduct this research and accomplish said goals, material from a variable set of sources, including work by acclaimed authors, as well as professional screenplays and personal experience within the subject was used. The initial hypothesis that was put forth, proved in the end to become the overall result. Although being a field more inclined towards art than science, some of the answer and results came to fall within individual conclusions and opinions, rather than technical facts, as writing is different in style and nature to each and every screenwriter.</p>