I have discovered that evaluation like my first passion, drama, challenges participants on a cognitive and personal level. In both evaluation and theatre, stories are told for the purpose of stimulating interest, reflection, and insights into the complexity of human behaviour. In the world of program evaluation judgements about program merit, worth, or significance are generated through an evaluator’s interactions with theory, stakeholders and colleagues. Program insights are thus tied to the quality and complexity of these interactions. This thesis tells the story of my transition from drama teacher-to-graduate student-to-evaluator-researcher. It begins with my motivations for this transition; includes my learning about internal, participatory and collaborative evaluation. Finally, this thesis speculates on how inquiry and experiences, such as the ones documented here, might inform the learning of other novice evaluators. It accomplishes this latter goal by making explicit the complexities of a participatory and collaborative evaluation process and the considerations and deliberations that I faced in attempting to enact this approach. This thesis reflects the fact that I have always used stories as a way to understand and make meaning, Presented in the structure of a play, this narrative purposefully examines the values, challenges, and possibilities for learning that arose in my collaboration with other evaluation colleagues. Over the five acts I reveal my growing understanding of evaluation theory and practice and how this was shaping my understanding of who I was becoming. The final Act explores the notion that professional learning and identity is not a fixed or exclusive concept. This thesis suggests that learning from experience is valuable in contributing to the growth of novices. In learning to do evaluation it is not enough to focus on models of practice or theoretical principles. Becoming an evaluator also requires attention to personal and interpersonal orientations and the monitoring of an evolving personal stance. In presenting this thesis I argue that the elements of my story have transferable qualities and that these elements can trigger conversation and insights beneficial to other novices or those charged with the induction of novices. The intended consequence is a richer understanding of evaluation as a human enterprise. / Thesis (Master, Education) -- Queen's University, 2008-01-16 20:08:38.044

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Thesis (Psy.D.)--Massachusetts School of Professional Psychology, 2006. / Adviser: Shyamala Venkataraman. Includes bibliographical references.

Thesis (D. Min.)--Reformed Theological Seminary, 2004. / Abstract. Includes bibliographical references (leaves 136-146).

Thesis (D. Min.)--Reformed Theological Seminary, 2004. / Abstract. Includes bibliographical references (leaves 136-146).

Thesis (D. Min.)--Reformed Theological Seminary, 2004. / Abstract. Includes bibliographical references (leaves 136-146).

Thesis (M.F.A.)--West Virginia University, 2007. / Title from document title page. Document formatted into pages; contains vi, 54 p. Includes abstract.

The client of this case study was a twenty two year old female in her first year at university. The client had come into therapy because she had felt depressed, lonely and riddled with selfdoubt. The author used a Narrative Therapy approach with the client and was focussed on helping the client generate new meanings and stories that were more useful and empowering for the client. In this case study, the author was interested in exploring the process of change that the client underwent during the therapy process and he would rely on identifying innovative moments to track these changes. This interest informed the research question; what is the process of change in narrative therapy as tracked through the therapeutic dialogue? How does the change process in this case study track with the heuristic model of change put forward by Gonçalves and his colleagues? The author chose to use a pragmatic hermeneutic case study method in order to analyse the data and the results were organised into a coherent narrative. The data was collected from twenty two therapy sessions and these were grouped together into themes, namely a quick start, the beginning of change, thickening the innovative moments and lighting the fire. The results of this study reveal that despite being considered a good outcome case by the author, the process of change differed somewhat to that proposed by the heuristic model of change.

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Within painting, there are numerous possibilities for the ways in which a narrative can be compositionally presented in order to communicate a particular emotion or story. Traditional devices including gesture, facial expression, interaction of figures and symbolism establish foundations within the composition to facilitate a narrative response and formulate questions as to the how, what and why. This formal language may also be considered in addition to other concepts surrounding the term narrative itself. The notion of narrative as something which is fluid also encompasses issues of time, movement, and continuity; idea??s which seemingly contradict the static temperament of painting. How painters have been able to successfully construct elements of narrative in their work, while also capturing a sense of movement or a passage of time is the starting point at which the following research takes shape. When embarking on this project, I realised that there was no definitive text on this subject which specifically analysed the form and composition of pictorial narratives as sole entities. Theoretical discussions surrounding a painting??s formal arrangement have mostly been produced in relation to how they either illustrated or have been adapted from a written source. This paper is intended to examine the structure of narrative paintings from a stand alone visual perspective, and not how they are comparative to a literary source. Over the course of this investigation, I subsequently found that the methodologies of continuous narrative paintings from the Renaissance echoed certain theoretical concerns within contemporary cinematic narratives. While painting and film maintain a relationship to some degree because they are both visual media, (in reference to colour, tone and symbolism), the most interesting parallel is the depiction of time. This correlation between painting and film, where elements of the narrative are compositionally presented in a non-linear way, has had the most important influence over the production of my work for the exhibition, ??Hidden Fractures; A Narrative in Time??. Certain structures within film, such as event ??order?? and sequencing resonate correspondingly to the stylistic approach sustained within recent work. This ??jig-saw?? method, presents individual paintings (or canvases) akin to pieces of a story which have been sliced up, and placed back together out of their ??chronological?? order. These chosen snippets may represent a scene or emotion, and uphold their own position or viewpoint in relation to another image or painting. These unmatched sequences of images, similar to the unmatched sequences in film, can disrupt the perception and flow of space, and sense of narrative order. When sequences are viewed out of order, the perception of events within the narrative change. The viewer strives to construct the meaning of the work dependent upon each image??s relationship to another, in turn forming the underlying narrative. Through such ??story comprehension??, the viewer endeavours to create ??logical connections among data in order to match general categories of schema??. (Brangian 15)