This dissertation examines how individuals use social media to respond to crisis situations, both during and after the event. Using both rhetorical criticism and David Boje’s theories and concepts regarding the development of antenarrative—a process of making sense of past, present, and future events—I explored how social media users make sense of and respond to a crisis. Specifically, my research was guided by three major questions: Are traditional, pre-social media image-repair strategies effective in social media environments? How do participants use social media in crisis events, and how does this usage shape the rhetorical framing of a crisis? How might organizations effectively adapt traditional crisis communication plans to be used in social media during future crisis events? These questions were applied to four case studies to provide a range of insights about not only how individuals respond to a crisis, but also what strategies organizations use to present information about it. These cases were carefully selected to include a variety of crisis types and responses and include the following: A business (H&R Block) communicating to clients about a software error A governmental organization (the NTSB) presenting information about the cause of an airplane crash and about missteps in its response A governmental group (the CDC) responding to a global health crisis with various audiences and types of responses An activist movement (Black Lives Matter) attempting to unify social media users to lobby for change and highlight the scope of the issues to the nation Analyses of these cases not only show how individuals and groups used social media to make sense of crisis events, but also how the rhetorical strategies used to respond to a crisis situation. Understanding how individuals and groups make sense of crises will provide additional understanding to information designers, public relations professionals, organizations and businesses, and individuals using social media to effect change.

Based on a gap identified in existing literature, the aim of the study was to qualitatively examine the thematic patterns and lines of development of leadership models. The research was conducted from within a postmodern, social constructivist epistemological point of view; and was more specifically guided by the narrative theoretical framework. The sample of leadership models were therefore considered as leadership narratives. These leadership narratives were subjected to a qualitative analysis aimed at identifying relevant themes and patterns of development, which were subsequently mapped into a story network analysis and visually represented in the form of a sociogram network display. The major findings of the present research included that; themes that were identified by means of a qualitative analysis, contributed to a possible description of the characteristics of leadership. Core leadership narratives could also be identified and was subjected to further research, which uncovered that the developmental patterns and lines of these core narratives resembled the movement of a pendulum. Such a pendulum seems to have predictive value for organisations, as it might contribute to the understanding of the influences of internal and external factors within these organisations. The research also contributed by exploring the possible impacts that social changes had on the developmental lines and patterns of leadership narratives. This imbedded the study firmly into its proposed sociological context. / Thesis (M.A. (Sociology))--North-West University, Vaal Triangle Campus, 2009.

Based on a gap identified in existing literature, the aim of the study was to qualitatively examine the thematic patterns and lines of development of leadership models. The research was conducted from within a postmodern, social constructivist epistemological point of view; and was more specifically guided by the narrative theoretical framework. The sample of leadership models were therefore considered as leadership narratives. These leadership narratives were subjected to a qualitative analysis aimed at identifying relevant themes and patterns of development, which were subsequently mapped into a story network analysis and visually represented in the form of a sociogram network display. The major findings of the present research included that; themes that were identified by means of a qualitative analysis, contributed to a possible description of the characteristics of leadership. Core leadership narratives could also be identified and was subjected to further research, which uncovered that the developmental patterns and lines of these core narratives resembled the movement of a pendulum. Such a pendulum seems to have predictive value for organisations, as it might contribute to the understanding of the influences of internal and external factors within these organisations. The research also contributed by exploring the possible impacts that social changes had on the developmental lines and patterns of leadership narratives. This imbedded the study firmly into its proposed sociological context. / Thesis (M.A. (Sociology))--North-West University, Vaal Triangle Campus, 2009.

This thesis documents my exploration of professional development of four experienced English language teachers of diverse background taking the MA TESOL programme at the University of Manchester. Having considered professional development to be about change construed broadly to professional identity and teacher beliefs, I explored it through a series of individual in-depth interviews held throughout the programme. The majority of the interviews focused on the teachers' ongoing life and development and allowed the teachers space to make meaning of what they were going through and how they were developing as they engaged in the programme. On the basis of the interviews, stories about the teachers and their year were constructed. Within the stories, I synthesized what I had learned about the teachers' experience and highlighted the changes that I could see had happened to their professional identity and teacher beliefs. The stories provide a vivid example of professional development of experienced English language teachers through a master's degree. They also bring to the fore the significance of future-directed thoughts for how teachers develop professionally, which is rarely acknowledged in the existing literature. I further use the stories as a ground to conceptualize professional development of the four teachers to account for the important role their thoughts about the future played in it. Using the concepts of imagined identity and antenarrative, which I borrow from the literature, I describe it as an iterative pursuit of an ever-evolving imagined identity, or identities, and antenarrative, or antenarratives. Finally, I examine the cases using the conceptualization as a lens and offer some further insights about professional development in TESOL.

Já não vemos a possibilidade de sustentar a ideia do formato notícia como o produto final da cadeia de produção jornalística digital. O desajuste que aqui enxergamos não está na notícia, ou em sua estrutura tradicional, ou em sua função social, mas no seu entendimento como produto final, como efeito de uma causa, como desfecho, epílogo ou conclusão de um processo. O desajuste está no termo final, que pressupõe um início. Já não vemos o formato narrativo digital como um produto hereditário de uma cadeia linear e fechada de produção no jornalismo. No lugar do controle e da linearidade, proporemos neste estudo observar a produção narrativa dentro de um processo circular típico do jornalismo pós-industrial. Em vez de fechamentos de formatos estáticos, notaremos continuidades com formatos adaptativos e mais leveza e imponderabilidade no lugar de estruturas narrativas rígidas e sólidas. Esse é, de fato, um estudo que abraça o desconforto e a beleza das incertezas que nascem da relação forma-conteúdo-tela das narrativas digitais no jornalismo. O que nos interessará aqui será criar um instrumento teórico para lidar com essa condição complexa. Assim, propomos um modelo teórico capaz de expandir a compreensão do que seja a narrativa digital jornalística, inaugurando um modo sistêmico de se pensar o desenho das narrativas no jornalismo digital e fornecendo assim um entendimento novo para este fenômeno. Neste estudo o termo \"narrativa\" não irá, portanto, se referir apenas ao que vemos nas telas de nossos dispositivos tecnológicos. Expandimos neste trabalho a perspectiva da narrativa clássica que toma a narrativa jornalística como o agenciamento dos fatos e a colocamos como agenciamento coletivo entre os estratos do sistema narrativo ou, de forma mais reduzida, assumimos a narrativa como sistema narrativo. Expansão, aqui, significa dilatação da visão e não negação ou discordância em relação às construções e percursos teóricos que precedem esta pesquisa. Para a construção do modelo teórico, partimos da narratologia pós-clássica, da moderna teoria dos sistemas e do modelo JDBD (Jornalismo Digital de Base de Dados). Observamos, nesta jornada, que o agenciamento entre os estratos do sistema narrativo realiza-se de forma coletiva por diversos atores: jornalistas, engenheiros, designers, webmasters, especialistas em negócios, arquitetos de informação, usuários, robôs, softwares, algoritmos, entre muitos outros; e que o jornalista atua sobretudo nas camadas de frontend do sistema. Familiarizando-se com camadas mais subterrâneas do sistema narrativo, a antenarrativa (dados e metadados), o jornalista abre oportunidades para melhor comunicar suas histórias no ciberespaço, interfaceando formatos que provoquem experiências ricas para suas audiências. Em nosso entendimento, o jornalista é, portanto, potencialmente um designer da experiência narrativa. / We no longer see the digital narrative format as a product of a linear hereditary and closed production in digital journalism. We no longer see the the form of news, their format, what we see in the screens, as a final product. The imbalance that we see here is not in the news itself or in its traditional structure, or even in its social function, but in understand it as an end product, as an effect or a cause, as an outcome, the epilogue or the conclusion of a process. The misfit is in this notion: the end, which implies a beginning. nstead of control and linearity, we propose in this study to observe the storytelling production inside a circular process, a loop that is typical of a post-industrial journalism. Instead of closing static formats, we will notice continuities with adaptive shapes. More lightness and weightlessness rather than rigid and solid narrative structures. In fact, this is a study that embraces both the discomfort and the beauty of the uncertainties that arise from the relationship between forms, contents and screens when we analyse digital storytelling in journalism context. What concern us here shall be create a theoretical apparatus to address this complex condition. In this way, this study opens up a systemic way to think about the design of narratives in digital journalism and thus provide a new insight of this phenomenon. The term storytelling will not, therefore, refer only to what we see on the screens of our technological devices. Here we expand the perspective of classical narrative (the arrangement of the events) and place it as the collective assemblage among the strata of narrative system. Or in other words: in this study, narrative is narrative system. It is worth to emphasize that when we say \" expansion of perspective,\" we mean dilation of vision and no denial nor disagreement with the theoretical constructs and pathways that precede this research .For the construction of the theoretical model, we start from the post-classical narratology, the modern theory of systems and the JDBD model. We observed, in this journey, the arrangement of the narrative system is held collectively by several actors: journalists, engineers, designers, webmasters, business specialists, information architects, users, robots, software, algorithms, among many others. And the journalist operates in some of the strata of the storytelling system, especially in the frontend layers. If familiar with subterranean layers of narrative system, the antenarrative (data and metadata), journalists provide opportunities to better communicate their stories in cyberspace, interfacing formats which cause rich experiences for its audiences. In our understanding, the journalist is potentially a narrative experience designer.

Já não vemos a possibilidade de sustentar a ideia do formato notícia como o produto final da cadeia de produção jornalística digital. O desajuste que aqui enxergamos não está na notícia, ou em sua estrutura tradicional, ou em sua função social, mas no seu entendimento como produto final, como efeito de uma causa, como desfecho, epílogo ou conclusão de um processo. O desajuste está no termo final, que pressupõe um início. Já não vemos o formato narrativo digital como um produto hereditário de uma cadeia linear e fechada de produção no jornalismo. No lugar do controle e da linearidade, proporemos neste estudo observar a produção narrativa dentro de um processo circular típico do jornalismo pós-industrial. Em vez de fechamentos de formatos estáticos, notaremos continuidades com formatos adaptativos e mais leveza e imponderabilidade no lugar de estruturas narrativas rígidas e sólidas. Esse é, de fato, um estudo que abraça o desconforto e a beleza das incertezas que nascem da relação forma-conteúdo-tela das narrativas digitais no jornalismo. O que nos interessará aqui será criar um instrumento teórico para lidar com essa condição complexa. Assim, propomos um modelo teórico capaz de expandir a compreensão do que seja a narrativa digital jornalística, inaugurando um modo sistêmico de se pensar o desenho das narrativas no jornalismo digital e fornecendo assim um entendimento novo para este fenômeno. Neste estudo o termo \"narrativa\" não irá, portanto, se referir apenas ao que vemos nas telas de nossos dispositivos tecnológicos. Expandimos neste trabalho a perspectiva da narrativa clássica que toma a narrativa jornalística como o agenciamento dos fatos e a colocamos como agenciamento coletivo entre os estratos do sistema narrativo ou, de forma mais reduzida, assumimos a narrativa como sistema narrativo. Expansão, aqui, significa dilatação da visão e não negação ou discordância em relação às construções e percursos teóricos que precedem esta pesquisa. Para a construção do modelo teórico, partimos da narratologia pós-clássica, da moderna teoria dos sistemas e do modelo JDBD (Jornalismo Digital de Base de Dados). Observamos, nesta jornada, que o agenciamento entre os estratos do sistema narrativo realiza-se de forma coletiva por diversos atores: jornalistas, engenheiros, designers, webmasters, especialistas em negócios, arquitetos de informação, usuários, robôs, softwares, algoritmos, entre muitos outros; e que o jornalista atua sobretudo nas camadas de frontend do sistema. Familiarizando-se com camadas mais subterrâneas do sistema narrativo, a antenarrativa (dados e metadados), o jornalista abre oportunidades para melhor comunicar suas histórias no ciberespaço, interfaceando formatos que provoquem experiências ricas para suas audiências. Em nosso entendimento, o jornalista é, portanto, potencialmente um designer da experiência narrativa. / We no longer see the digital narrative format as a product of a linear hereditary and closed production in digital journalism. We no longer see the the form of news, their format, what we see in the screens, as a final product. The imbalance that we see here is not in the news itself or in its traditional structure, or even in its social function, but in understand it as an end product, as an effect or a cause, as an outcome, the epilogue or the conclusion of a process. The misfit is in this notion: the end, which implies a beginning. nstead of control and linearity, we propose in this study to observe the storytelling production inside a circular process, a loop that is typical of a post-industrial journalism. Instead of closing static formats, we will notice continuities with adaptive shapes. More lightness and weightlessness rather than rigid and solid narrative structures. In fact, this is a study that embraces both the discomfort and the beauty of the uncertainties that arise from the relationship between forms, contents and screens when we analyse digital storytelling in journalism context. What concern us here shall be create a theoretical apparatus to address this complex condition. In this way, this study opens up a systemic way to think about the design of narratives in digital journalism and thus provide a new insight of this phenomenon. The term storytelling will not, therefore, refer only to what we see on the screens of our technological devices. Here we expand the perspective of classical narrative (the arrangement of the events) and place it as the collective assemblage among the strata of narrative system. Or in other words: in this study, narrative is narrative system. It is worth to emphasize that when we say \" expansion of perspective,\" we mean dilation of vision and no denial nor disagreement with the theoretical constructs and pathways that precede this research .For the construction of the theoretical model, we start from the post-classical narratology, the modern theory of systems and the JDBD model. We observed, in this journey, the arrangement of the narrative system is held collectively by several actors: journalists, engineers, designers, webmasters, business specialists, information architects, users, robots, software, algorithms, among many others. And the journalist operates in some of the strata of the storytelling system, especially in the frontend layers. If familiar with subterranean layers of narrative system, the antenarrative (data and metadata), journalists provide opportunities to better communicate their stories in cyberspace, interfacing formats which cause rich experiences for its audiences. In our understanding, the journalist is potentially a narrative experience designer.

Music educators employed by the Large Overseas American School System (LOASS) at the center of this study live and work within the borders of allied host nations. Their students are dependents of military and civilian personnel stationed on bases situated on allied foreign soil. The researcher explores numerous perceptions of music educators and students who have engaged in intercultural collaboration, an unexplored activity occurring in the context of LOASS. Participants report on particular circumstances and issues surrounding activities in music education that include overseas host nation stakeholders. Contributions to the body of literature include re-envisioning the process through which one becomes intercultural, the role of antenarrative and what it comprises, as well as distinguishing unidirectional musical exchange from the activity of omnidirectional collaboration. Data sources include surveys, interviews, and historical evidence such as photos, school yearbooks and newspaper accounts. Survey results obtained from former LOASS music educators and students inform readers of the depth and breadth of the LOASS system, and the demographics of its participant pools. Interview data were manually coded, and revealed several emergent themes: motivations for initiating collaborative activities and what those activities look like; impact of collaborations on former music teachers, their students and host nation counterparts; barriers which inhibit such collaborations from taking place; strategies for overcoming those barriers, and what participants believe qualifies such collaborations as being successful. Yearbook and photographic relics provided an historical sense of overseas schools’ vision and legacy through writings and pictures archived over a 68-year continuum. In totum, these data comprise an antenarrative ‘story before the story’ from which participants’ narratives emerge and are presented in their own words. Framed within this context, the results provide a blueprint of how other members of the music education community can engage in such activities and successfully overcome any potential barriers that may inhibit them. Finally, a number of actionable alternative research methodologies are proffered to future researchers that may address peripheral issues regarding intercultural collaborations through activities in music education worldwide. In doing so, this study may encourage other like-minded music educators and their students to do the same.

No description available.

De produkter och tjänster som syns ute på marknaden är oftast resultatet av en lång berättelse i entreprenörskapets rum. I entreprenörskapsrummet sker ett samspel mellan människor vilket gör att varje inblandad person har en egen förståelse för vad som har hänt i denna utvecklingsprocess. Den här studien ämnar undersöka och öka förståelsenför de händelser som har utspelat sig innan ett erbjudande har blivit redo för marknaden, detta genom att de involverade personerna får återge sin egen berättelse. Studien undersöker ett nystartat fallföretag som håller på att utveckla sin affärsidé. I uppsatsen presenteras studien och dess utförande i form av en berättelse där Sherlock Holmes och dr Watson har huvudrollerna. Vi utgår från ett konstruktionistiskt synsätt och ett abduktivt angreppssätt har tillämpats. Vi ser att människor identifierar möjligheter utifrån deras unika bakgrund som även formar deras motiv. Motiven ger oss en inblick ivarför och hur samspelet mellan idé och människor sker. / The products and services available on the market are often the result of a long story in the entrepreneurship discourse. When practicing entrepreneurship people interact with each other, thus every person involved has its own understanding of what has occurredduring the development process. The aim of this study is to examine and deepen our understanding of the events before an offer is ready for the market; this by letting the involved persons tell their own story. The study examines a case of a startup company which is currently developing its business idea. In the thesis the study and its execution is presented in the form of a story starring Sherlock Holmes and Dr. Watson. Constructionism and an abductive method are applied. Finally we can see that people identify opportunities based on their unique background which also forms their motive. The motives give us an insight in why and how the interaction between idea and people is played out.