Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

This multi-article dissertation focuses on the role of narrative distance in instructional design. Narrative distance is defined œas the cognitive or emotional space afforded by indirect communication that invites listeners to make sense of content (Taeger, 2018, p. 6). Whereas fields associated with the arts have long used the indirect nature of story to create powerful experiences, instructional design has not examined how this aspect of narrative might be used in instruction. The first article in this dissertation explores the literature related to narrative distance and how designing for this phenomenon meets many of Wilson and Parrishs (2011) key indicators for transformative learning experiences. This article also suggests six principles for incorporating narrative distance into instructional design. The second article is a qualitative study of six experts from a variety of fields who design narrative distance into their work. Professionals in film, theatre, writing, art, and homiletics were interviewed three times over a period of several months using Fleming, Gaidys, and Robbs (2003) Gadamerian-based hermeneutic approach. The findings from this study discuss further principles and practices for integrating narrative distance into instructional design, especially as it relates to facilitating transformative learning experiences. These principles and practices are organized under four themes: cognitive space, emotional space, invite change, and meaningful content. Further research possibilities related to narrative distance are also briefly mentioned. The third article builds on the findings discussed in article two by offering examples of narrative distance in instruction. In addition, specific design steps are presented to help practitioners create narrative distance in a way that can lead to transformative learning experiences.

This dissertation comprises two parts: Part I, which discusses use of second person pronoun in contemporary American poetry; and Part II, The Museum of Coming Apart, which is a collection of poems. As confessional verse became a dominant mode in American poetry in the late 1950s and early 60s, so too did the use of the first-person pronoun. Due in part to the excesses of later confessionalism, however, many contemporary poets hesitate to use first person for fear that their work might be read as autobiography. The poetry of the 1990s and early 2000s has thus been characterized by distance, dissociation, and fracture as poets attempt to remove themselves from the overtly emotional and intimate style of the confessionals. However, other contemporary poets have sought to straddle the line between the earnestness and linearity of confessionalism and the intellectually playful yet emotionally detached poetry of the moment. One method for striking this balance is to employ the second person pronoun. Because "you" in English is ambiguous, it allows the poet to toy with the level of distance in a poem and create evolving relationships between the speaker and reader. Through the analysis of poems by C. Dale Young, Paul Guest, Richard Hugo, Nick Flynn, Carrie St. George Comer, and Moira Egan, this essay examines five common ways second person is employed in contemporary American poetry-the use of "you" in reference to a specific individual, the epistolary form, the direct address to the reader, the imperative voice, and the use of "you" as a substitute for "I"-and the ways that the second-person pronoun allows these poems to take the best of both the confessional and dissociative modes.