In the narrative painting series Discount Meat, I employ grotesque realism to emphasize the rupture of corporeal and social boundaries, reframing the body as a site of discontinuity whose physical and perceptual structures are in constant flux. Through this approach, I synthesize fragments of lived and observed experience into invented narratives with an emphasis on embodiment. By emphasizing the apertures connecting the body’s interior with the outside world, I seek to problematize the image of a discrete self, suggesting instability as a central element of physical identity. Across this web of disjointed narratives, I strive to portray the emotional range and complexity of human experience in terms of vivid physicality, depicting tedium and pain while allowing space in the work for levity and imagination.

Auto Biography is a creative nonfiction memoir: A daughter, forced to move her unlovable, ever-combustible, wheelchairbound mother cross-country in an RV, attempts to come to terms with her via the automobiles of their lives. The story explores: 1) the universal dilemma of caring for aged parents––its stress, its pain, its sacrifice, and its dark humor; 2) memory––the "peeling back" narrative style working in the same layer upon layer way of memory, its non-linearity creating not so much a one-piece narrative but essay snapshots forming a family photo album view of this thing we call memory and this thing we call meaning; and, of course, 3) cars––their subtle yet surprisingly essential role in all our modern and post-modern lives.

This thesis documents the production of THE GOLDEN RING, a short narrative film shot on digital video. All the phases of the production, from the writing process through the post-production, are addressed in the thesis. THE GOLDEN RING is a film I wrote and directed. It tells the story of Luke Stevenson, a man who has it all on a material level, but that otherwise has a void in his life. One day something out of the ordinary happens to him. He finds a ring that belonged to a woman he used to be in love with. Now he might have a chance to recover that love and change his life forever. But, will he have the courage of facing the challenge that change represents?

In my artwork, I incorporate narratives, which help me explore relationships and how they exist within the context of the formal imagery on the page. The idea of storytelling highly influences the way I approach and produce art. To hint at a story will entice the viewer to make connections and create a platform on which to further inspect the image. The lines in my work attempt to mimic the way stories and information can loop and intertwine to negate the personal, surround the personal or maybe just provide something that the viewer would have to weave his way through in order to create that relationship between the disparate layers. Through my work, I seek to divert the viewer's expression of an instinctual response, from one that would be expected to one that plays with the idea of the spectator transforming from onlooker to interpreter.

This study explores the history of tattoos in the United States along with the role and significance of tattos today. The study's primary research question seeks to discover whether tattoos anchor an individual's personal narrative and help to solidify an individual's sense of self. The study considers both modernist and postmodernist concepts of identity, but ultimately supports a perspective which argues that identity is the result of an individual's ability to keep a consistent narrative going over time. This exploratory study uses a qualitatative approach to discern the meanings behind individuals' tattoos through their own words and conceptions. Eight individuals ranging in age, race and gender were interviewed in order to collect data for the study. The findings suggest that individuals frame the importance of their tattoos in a variety of ways from tattoos that commemorate aspects of one's past to tattoos that are highly symbolic of an individual's sense of self.

This thesis explores state death and the possibilities to escape death that comes with the digitalising of the state. The analysis, built on earlier theorising of how we could understand what the state is, explicate the connection between the narrative of the identity, or “collective self”, and the survival of the state through a repository of its key information, which in turn could be viewed as an asset in terms of recognition. Hence we could envision the possibility for the state to possess identity repositories where certain information becomes the bearer of identity, which ensures the survival of the narrative of the collective self, after invasion and territorial conquest. This is also put in relation to statehood and its intimate connection to the contemporary notion of spatial domain and how it might be affected by digitalisation.

Magister Artium - MA / This study aims to add to the rich body of work which explores our understanding of identity performances in narratives. It explores how a close knit group of five female friends use narrative structure and strategies to fashion alternative gender identities for themselves as black women who are agentive, and who actively push back against the stereotypes used to judge and evaluate their behavior. Using an interactional approach to narrative and identity (De Fina, 2003; De Fina and Georgakopoulou, 2008, 2012), this study explores how participants, in their everyday conversations, exploit story form and narrative strategies to orient to, constitute, legitimize or resist gender ideologies. Drawing on data which consist of twenty-one hours of naturally occurring casual conversation between the five friends, I identify and group the stories in their conversations, and propose generic structures to describe them: reports, hypothetical stories and projections. With a flexible approach to structure, I show how these stories create a space for the negotiation of difference or for constructing presentations of ‘self’ versus ‘the other’. I argue that through structure and other evaluative devices, praise and blame are ascribed within stories, allowing participants to take certain positions in relation to the themes explored and relevant identity options. I also show the ways in which stories enable the participants to quite literally imagine possibilities for self and others within circumstances that have not and and may never happen. This creates a space for the affirmation of dreams and ambitions, and an exploration of the type of women they see themselves becoming: successful, rich, famous, strong, and admired African women.

Student Number : 0420532W - MA research report - School of Literature and Language Studies - Faculty of Humanities / In this Theoretical Introduction the reasons for the choice of the historical fiction genre for the creative component of this Research Report will become clear in relation to other notable examples of the genre, indeed the academic essay will revolve around primary concerns with regard to the narrative of historical fiction and the debates around the representation that the work engages. In the postscript to the academic essay the possible destination for publication will be considered, as well as a summation of the writing and revision process, and a rumination of the projected readership or audience. As the creative component will be submitted in partial form, the postscript to the theoretical introduction will extrapolate the rest of the project, so as to provide some sense of the intended eventual work. Finally a special thanks to Ashleigh Harris, whose untiring help and encouragement is deeply appreciated; and to my husband, Norman, whose concern and enormous patience has sustained this endeavour.

Thesis is submitted in partial fulfilment for the degree of Master of Arts (Digital Arts) to the Faculty of Humanities, School of Arts, University of the Witwatersrand, Johannesburg, 2016. / This paper aims to go down into the rabbit-hole, by analysing the narrative experience derived from games and investigate how it functions in conjunction with the gameplay. This analysis will focus in detail on a case study of Ubisoft's 2012 title Far Cry 3 (FC3). FC3 is a sequel to Far Cry (2004), the original title was developed by Crytek, and produced by Ubisoft. The sequels have been Ubisoft Montreal creations. I have selected FarCry3 as it is commercially successful, as of February 2013 it sold over 4, 5 million copies (Phillips, T. "Far Cry sales hit 4.5 million" 2013). It also received various nominations, including an award for its story, during the 9th British Video Game Awards (Reynolds “Bafta Game Awards 2013” 2012). FC3 can, therefore, be viewed as being indicative of what the populist gaming community desires in a game, an indicator of present trends in narrative development in games. For this paper, I intend to use Hendry Jenkins’ narrative model to analyse how FC3 structured. As a result, illuminating how FC3, manages to engage with a cogent narrative, while operating in conjunction with an engaging game mechanic. I intend to present the structures as they exist within the case study's fictional world. In this research report I will argue that FC3 incorporates multiple narrative structures which promote gameplay. I will play the FC3 critically to gain an overall perspective and through the use of in play videos to select key scenes for analysis within my case study. With the knowledge invested, I intend to apply Jenkins’ narrative architecture in my analysis. [No abstract provided. Information taken from introduction]. / MT2017

Abstract The study explores the narratives on the 1988 death of 28 year old British tourist, Julie Ann Ward in Kenya's Maasai Mara Game Reserve. Julie Ward's death in Kenya attracted widespread attention in Kenya and Britain culminating in at least three true crime books, significant media coverage and rumours in Kenya. The study reflects on the narratives on Julie Ward's death, with particular interest in the discourses that gained expression through, or were inscribed, on Julie Ward's death and the quest for her killers. The study is also interested in the ways in which the Julie Ward case and the discourses it inspired offer a critique of rationality, and the accompanying unity of the subject, expressed through a logocentric impulse as key tenets of a Western modernity that continues to mediate metropolitan readings of postcolonial Africa. The study reveals that Julie Ward's death traversed various discursive sites, which were laden with specific ideas on race, gender, the postcolonial African state, Western modernity, female sexuality and black male sexuality, among a host of other issues; all of which tinted British and Kenyan narratives on the circumstances surrounding the death. The study argues that the authors of the three books on the Ward tragedy rely on colonial archives on Africa, and actively mobilize notions such as the myth of the uncontrollable black male libido and its threat to the vulnerable white woman in understanding the Ward tragedy. While these writers cling to these notions of the black peril, the noble savages, Africa as the tourist's wildlife paradise, and the dysfunctional postcolonial state; Kenyan publics read the murder as another symptom of a criminal political elite's brutal deployment of violence to secure immunity for its criminal activities.However, the two sets of ideas are largely disarticulated, and as the study reveals, the British stakeholders in the case are blinded by a rigid polarization of Kenya and Britain, which presumes a superior British moral and technological integrity. These assumptions blind the Ward family to British complicity in the cover up of the truth in Julie Ward's murder; while at the same time, rendering them illiterate in the local textualities which remain inaccessible to the instruments of Western modernity that are privileged in the quest for truth and justice in the Julie Ward murder. Julie Ward’s presence in Kenya, her death and the subsequent quest for her killers is consistently haunted by neat dichotomies, derived from various masternarratives. The study traces these dichotomies, in a bid to outline their configurations and the outcomes of their deployment, while consistently keeping the grey areas of entanglements between these dichotomies in sight. It is in these grey areas that we see the contradictions, blindspots, critiques, complicities and forms of agency that were at play just under the radar of these neat polarities. From these grey terrains, we catch glimpses of the workings of these dichotomies as discursive masks which conceal the faultlines that rend the masternarratives. The study finds that in many ways, Julie Ward's death in Kenya may be positioned in a transitional space between colonial whiteness and an emergent postcolonial whiteness, which betrays heavy imprints of the grammars of colonial whiteness, including the messianic white male authority, wildlife tourism and conservation. To this end, the study suggests, one of the factors that hampers the quest for truth and justice in the Ward case is the failure to forge viable grammars of whiteness in the postcolonial context. Such viable grammars would be able to access local textualities and retain an awareness of the underlying complicities and faultlines that now rig colonial Manichean binaries, which are largely mediated by the interests of capital. The novel The Constant Gardener and the film Ivory Hunters (1989) - both of which make implicit allusions to the Julie Ward case – eloquently articulate these complicities and faultlines.