<p>Det är numera självklart att företag försöker hålla en hög produkt- och servicenivå. För att nå framgång och för att sticka ut i mängden handlar differentiering alltmer om känslor, design och historier. Till följd av ändrade konsumtionsmönster finns det ett ökat behov av meningsfulla upplevelser och detta har resulterat i att fler och fler företag anammar så kallad storytelling för att kunna erbjuda kunden emotionella upplevelser. Ur ett företagsekonomiskt perspektiv är storytelling ett sätt att, med hjälp av historier, paketera produkter och tjänster samt kommunicera deras budskap. När mycket tid och resurser har lagts ned på att ta fram ett storytellingkoncept är det viktigt att säkerställa resultatet av en implementering. Därav vårt intresse för att undersöka storytelling med utgångspunkt i vad som faktiskt levereras av ett tänkt storytellingkoncept. De forskningsfrågor som styr uppsatsen är:</p><p>”Vad kännetecknar storytelling och hur kan storytelling användas i ett koncept?” och ”I vilken utsträckning skapas den avsedda upplevelsen genom hela kedjan, från framtagning av storytellingkoncept till konsumtion av det?”</p><p>Med hjälp av fallstudiemetoden undersöker vi storytellingkonceptet för restaurang Danilo, en nyetablerad restaurang, som ligger i anslutning till SF:s biokomplex Bergakungen i Göteborg. Primärdata samlas in genom intervjuer med Stylt Trampoli, det tjänsteföretag som skapade konceptet, vd och personal på restaurang Danilo samt kunder. Den teoretiska referensramen bygger huvudsakligen på narratologi, storytelling, tjänstearkitektur och teori kring att skapa upplevelser i tjänsteföretag.</p><p>Analysen visar att den avsedda upplevelsen för restaurang Danilos storytellingkoncept kommuniceras starkt i början av kedjan, men mattas av ju närmare kunden den kommer. Brister ses främst vid förankringen av konceptet hos restaurang Danilos personal. Många kunder var positiva till restaurangen och dess utformning, likväl når inte den avsedda upplevelsen hela vägen fram till kunden.</p> / <p>Nowadays it is evident that companies try to keep a high product- and service level. For companies to be successful, differentiation is more about feelings, design and stories. As a result of changes in consumption habits there is an increased need for meaningful experiences. More companies turn to storytelling as a way of offering the customer emotional experiences. From a business economic perspective storytelling is a tool for packaging of products and services and also a tool for communication of the same products and services. When a lot of time and resources have been used for creating a storytelling concept, it is important to ensure results of an implementation. Our wish is therefore to study storytelling with an interest starting from what actually is created in relation to the intended storytelling experience. The research questions examined through this paper are:</p><p>”What characterizes storytelling and how can storytelling be used as a concept?” and ”To what extent is the intended experience created through the whole process, from creation of the storytelling concept to consumption of it?”</p><p>Through a case study we examine the storytelling concept for Danilo restaurant, a new established restaurant located inside the movie center Bergakungen. Empirical data is collected through interviews with Stylt Trampoli, the company that developed the concept, CEO and personnel at restaurant Danilo and customers. Primarily, theories about narratology, storytelling, service architecture and creation of experiences in service companies are being used in this paper.</p><p>The analyze shows that the intended experience of the storytelling concept for restaurant Danilo is communicated well in the beginning of the process but decreases on the way to the customer. Shortages were found primarily when establishing the concept through the personnel. A lot of customers were positive towards restaurant Danilo and its interior, nevertheless the intended storytelling concept does not reach the customer.</p>

This thesis applies concepts from Vladimir Propp’s model of the narrative structure of fairy tales (Propp’s morphology) to a story authoring tool for children. A computer story authoring application based on Propp’s morphology is developed and evaluated through empirical studies with children. Propp’s morphology is a promising model of narrative for a children’s story authoring tool, with the potential to give children a powerful mental model with which to construct stories. Recent research has argued for the use of computer-based interactive narrative authoring tools (which enable the construction of interactive narrative computer games in which the player can affect or change the plot) to support children’s narrative development, and a number of interactive narrative systems use Propp’s morphology as their underlying model of narrative. These interactive narrative tools have many potential learning benefits and a powerful motivational effect for children, who enjoy using them to create narrative games. The potential of an interactive narrative system based on Propp’s morphology to support children’s construction of narratives seems great, combining Propp’s rich narrative model with the motivational benefits of interactive narrative. Before the application of Propp’s morphology in an interactive narrative game creation tool to support children’s writing could be pursued, it was necessary to study children’s story writing with Propp’s morphology. How can Propp’s morphology be represented in a story authoring tool for children? Can children apply Propp’s abstract narrative concepts to the task of creating their own original stories? How does using Propp’s morphology affect the stories written by children? Using the Propp-based authoring tool that is presented in this thesis children were able to grasp Propp’s abstract concepts and apply them to their own story writing. The use of a story authoring tool based on Propp’s morphology improved some aspects of the narrative structure of the stories written by children, and children reported that they enjoyed using the tool and felt it was helpful to their story writing. This thesis lays the foundation and identifies the methods for further study of children’s appropriation of narrative structure by constructing stories using a story authoring tool based on Propp’s morphology.

This thesis investigates the experiences of Children’s Centre leaders of the National Professional Qualification in Integrated Centre Leadership (NPQICL) who find themselves in a newly developed role and lacking a professional identity. Its aim is to explore the developing professional identities of NPQICL participants from their own perspectives, focusing on ways in which their professional identities are developing and how, correspondingly, these might be better supported on the NPQICL. Clarification of core ideas embedded in these aims theoretically and conceptually reveals that professions are publicly shaped in line with established traditions, and therefore often prescribed. Processes of professional development are correspondingly seen as largely publicly organised processes of professional learning and/or acculturation. However, a key area for research is the interface between publicly shaped expectations of those learning to be professionals and the particular needs and expectations of course participants themselves especially with regard to how they see themselves as Children’s Centre leaders. Because this area is fluid, uncertain and shaped partly by professionals themselves it is hard to investigate. A flexible Adaptive Theory research design is selected along with an array of conceptual tools (orienting concepts and a conceptual cluster) which can be modified, discarded or replaced according to the demands of data collected. Using a relatively open-ended data collection device also allows a wide range of potentially revealing data to be ‘storied’ for analysis in order to preserve their individualised nature. Although a process of subjective self-conceptualisation in role can be used to explain how NPQICL participants adapt to expectations from the wider professional community and social context, there is a need to explain how public influences and individual co-constructions of professional identity shaped by professionals themselves are synthesised in individual responses to fluid, uncertain professional identities. The research aims are met by modelling the process of developing a professional identity on the NPQICL as an ‘autobiography’. This conceptual device brings together public and individual influences into a synthesis and allows insight into the experiences of individuals. It explains some of the success of the NPQICL course and some of its dynamics including how the development of Children’s Centre leaders’ identities can be supported in a professional learning programme.

Interactive Digital Storytelling (IDS) constitutes a research field that emerged from several areas of art, creation and computer science. It inquires technologies and possible artefacts that allow ‘highly-interactive’ experiences of digital worlds with compelling stories. However, the situation for story creators approaching ‘highly-interactive’ storytelling is complex. There is a gap between the available technology, which requires programming and prior knowledge in Artificial Intelligence, and established models of storytelling, which are too linear to have the potential to be highly interactive. This thesis reports on research that lays the ground for bridging this gap, leading to novel creation philosophies in future work. A design research process has been pursued, which centred on the suggestion of conceptual models, explaining a) process structures of interdisciplinary development, b) interactive story structures including the user of the interactive story system, and c) the positioning of human authors within semi-automated creative processes. By means of ‘implicit creation’, storytelling and modelling of simulated worlds are reconciled. The conceptual models are informed by exhaustive literature review in established neighbouring disciplines. These are a) creative principles in different storytelling domains, such as screenwriting, video game writing, role playing and improvisational theatre, b) narratological studies of story grammars and structures, and c) principles of designing interactive systems, in the areas of basic HCI design and models, discourse analysis in conversational systems, as well as game- and simulation design. In a case study of artefact building, the initial models have been put into practice, evaluated and extended. These artefacts are a) a conceived authoring tool (‘Scenejo’) for the creation of digital conversational stories, and b) the development of a serious game (‘The Killer Phrase Game’) as an application development. The study demonstrates how starting out from linear storytelling, iterative steps of ‘implicit creation’ can lead to more variability and interactivity in the designed interactive story. In the concrete case, the steps included abstraction of dialogues into conditional actions, and creating a dynamic world model of the conversation. This process and artefact can be used as a model illustrating non-programmer approaches to ‘implicit creation’ in a learning process. Research demonstrates that the field of Interactive Digital Storytelling still has to be further advanced until general creative principles can be fully established, which is a long-term endeavour, dependent upon environmental factors. It also requires further technological developments. The gap is not yet closed, but it can be better explained. The research results build groundwork for education of prospective authors. Concluding the thesis, IDS-specific creative principles have been proposed for evaluation in future work.

You could only bury a body so deep before the seasons decided you would join it . Topsoil so desperate for affection it shakes to remind me that I was once and am loved . I linger in the southwestern sky , burgundy to violet , with Neil Young playing faintly in the distance as my father calls me home .

For the elders to age with dignity and with an old age that consist of comfort and self-determination, care should be person-centered. A person-centered care sees the person as an individual and not to the disease and diagnostics of the person. A person-centered care is based upon the free individuality of every person and that the need of care is individual. The role of the nurse in a person-centered care is to through its managerial, make sure that the staff have the right knowledge and lead the staff based on the patient’s perspective. The nurse and the staff should build a relationship with both the patient and its relatives, for a better possibility to take part of the patient’s life story. A life story has a large meaning because the person gets to be the focal point and not the disease. The patient story also contributes to the basis of a united perspective within care. The framework of qualification that has been used is the 6 S which is a model for a person-centered palliative care. By using a person-centered approach already when moving to a nursing and care homes may care tailored to individual needs and preferences. The purpose of this study was to clarify the advance of person-centered care with the support of the 6 S model. The method chosen for this study was literary study. Thirteen scientific articles were chosen and examined. The articles were searched in two databases, PubMed and Cinahl, where search words were leading the searches. The result shows that the life story may contribute to a percept higher life quality by following the wishes of the person. The conclusion in this study shows that a person-centered care gives the possibility of a higher life quality for the elderly. The conclusion also shows that a person-centered care provides an opportunity for increased quality of life and promotes the opportunity for a dignified life for the older man. To make this possible for older people it is important that health care staff are attentive to the elderly person's integrity and support the elderly in creating a meaningful life / För att äldre ska kunna åldras med värdighet och med en ålderdom som innefattar välbefinnande och självbestämmande bör omvårdnaden vara personcentrerad. En personcentrerad omvårdnad ser till personen som individ och inte till personens sjukdomar och diagnoser. Personcentrerad vård utgår från att varje person är en fri individ och att omvårdnadsbehovet är individuellt. Sjuksköterskans roll i en personcentrerad omvårdnad är att genom sin arbetsledande funktion omse att personalen har kunskap samt att leda personalen i att utgå från patientens synsätt. Sjuksköterskan och personalen bör bygga upp en relation både med den boende och med dennes anhöriga och närstående för att få möjlighet att ta del av patientens livsberättelse. En livsberättelse har stor betydelse för att personen och inte sjukdomen står i centrum. Livsberättelsen bidrar också till att lägga grunden för ett gemensamt synsätt inom omvårdnaden. Referensramen som använts är De 6S:n som är en modell för personcentrerad palliativ vård. Genom att använda ett personcentrerat synsätt redan vid inflyttning på vård och omsorgsboende kan omvårdnaden anpassas till personens behov och önskemål.   Syftet med studien var att belysa främjandet av personcentrerad omvårdnad med stöd av modellen De 6 S:n. Till denna studie valdes som metod en litteraturstudie. Tretton vetenskapliga artiklar valdes ut och granskades. Artiklarna söktes i två databaser, utifrån relevanta sökord i Cinahl och PubMed. Resultatet visade att genom att utgå från personens önskemål och införliva livsberättelsen som en del i den personcentrerade vården ökade den upplevda livskvalitén hos den äldre människan. Slutsatsen visar även att en personcentrerad vård ger en möjlighet till en ökad livskvalité och främjar möjlighet till ett värdigt liv för den äldre människan. För att göra detta möjligt för äldre människor är det viktigt att vård och omsorgspersonal är lyhörda för den äldres integritet och stödjer den äldre i att skapa en meningsfull vardag.

Goffredo Parise (1929-1986) est désormais reconnu comme l'un des auteurs capitaux de la littérature italienne dans la deuxième moitié du xxe siècle. cependant, la critique (jamais indifférente face à son œuvre) n'a pas toujours su, selon nous, prendre l'exacte mesure du caractère profondément singulier et souvent fortement novateur du travail littéraire de cet écrivain (peut-être parce que sa très grande notoriété comme journaliste et, notamment, grand reporter a gêné la perception d'ensemble). Aussi, estimons-nous qu'il serait utile de tenter d'approfondir la connaissance que nous avons des composantes et des caractéristiques d'une écriture qui n'a pas d'équivalent dans le panorama de la littérature européenne contemporaine (et alors même que l'intertextualité de l'œuvre est considérable et dépasse largement le cadre de cette littérature). notre étude examinera, diachroniquement, les structures narratives mises en place de façon très élaborée par l'auteur tandis que des analyses approfondies des principaux textes devront mettre en lumière, à la fois, les récurrences thématiques, narratives et stylistiques (sur un plan synchronique, en l'occurrence) et les mouvements de fond, parfois les bouleversements, que l'écrivain, très sévère avec lui-même et souvent insatisfait des résultats obtenus, apporta à la qualité de son travail au fil des années, de la publication de nouveaux livres et de la réécriture de certains. notre recherche devrait donc contribuer à mieux définir le parcours d'un écrivain que son remarquable talent, sa formation culturelle au sens large et ses choix aussi bien idéologiques qu'artistiques ont amené à composer, en un espace de temps relativement bref, une œuvre authentique et spécifique qui correspond pleinement à la rencontre unique d'un projet et d'une écriture au sein d'une époque jamais oubliée mais toujours tenue très consciemment à distance / The aim of this research is to offer an analysis of Goffredo Parise's narrative work which focuses on the elements of continuity and, at the same time, of rupture characterizing his literary career. Indeed, Goffredo Parise was a writer who seemed endowed with a singular capacity of innovation as well as a deep desire to apply self-analysis, whether with reference to the style, the narrative techniques or the contents of his work. It is thus our aim to demonstrate that Parise was capable of constantly renewing himself, with no fear of facing either the historic and cultural alterations of his time or the — internal and external — upheavals that marked-his life. Parise was continuously striving, through his research, to identify the best style to express the multiple meanings that the circumstances imposed upon his writer’s consciousness. His work thus seems, in our opinion, marked by immensely creative dynamics. However, some features accompanied him throughout the years and are thus recurrent in his books. In our view, the continuous presence of weighty structural elements in Parise’s writing as well as the constant renewal of forms and contents are the fundamental facts that allowed the author to find a singular, disturbing and often completely happy balance in his work as a writer. This balance helped Parise to become a leading figure on the 20th-century literary scene. Taking his kind of approach into account, to us the chronological criterion seemed most suited to gain an insight into the author’s rich textual production.

The purpose of this study was to determine the preferences of two racial and two socio-economic groups for selected aspects of class-oriented reading materials. This was accomplished by checking each subject's visual perception of pictorial representations typical of both the lower-class and the middle-class, and by checking his preferences of story themes typical of both the middle and lower-classes.

The purpose of this descriptive study was to create a read-aloud instructional program which could be used in teaching caregivers to promote quality verbal interaction among participants during story time. Prior to and subsequent to instruction, selected high-school students participating in a vocational-technical child development program were audio- and videotaped as they read stories aloud to children. All tapes were transcribed in full. Using the storybook Reading Analysis System (Teale, Martinez, & Glass, in press), dialogue was categorized into form, type of information, focus, instructional intent, and importance categories.

TITLE: "Holiday" short story genre in A. P. Chekhov's writings SUMMARY: In its theoretical part, this thesis gives an overview of origination and progression of Christmas and Easter short poem genre on the background of Russian Orthodox culture. Main object of this work's practial part is characterization and description of progression of so- called "holiday" short story in the work of A. P. Čechov. Divided into seven thematic groups, short stories are by means of interpretation put into contrast against the Christmas and Easter short story prototype of the last third of 19th century. Using the original quotations of short stories texts the creative modifications of nowadays classical genre are explained: new narrative techniques, modern lyrical view of the world and last but not least the ideal of humanistic view of man. KEYWORDS: Christmas, Easter, short story, genre, A. P. Chekhov