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The short story was the most profitable literary form for most fiction-writers of the late-nineteenth and early-twentieth centuries because it was quick to write, relative to novels, marketable to a wide variety of periodicals, and able to be re-sold, in groups, for book collections. While the majority of writers composed short fiction within conventional modes and genres and published collections rarely exhibiting more than a superficial coherence of setting or character, modernist authors found in the form’s brevity helpful restrictions on their stylistic and narrative experiments, and, in the short story collection, an opportunity to create book-length works exhibiting new, modern kinds of coherence. This dissertation examines four modernists' experiences writing short stories and publishing them in periodicals and books: Henry James in The Yellow Book and Terminations (Heinemann, 1895); Joseph Conrad in Blackwood’s Edinburgh Magazine and Youth: A Narrative; and Two Other Stories (Blackwood, 1902); James Joyce in The Irish Homestead and Dubliners (Grant Richards, 1914); and Virginia Woolf in Monday or Tuesday (Hogarth, 1921). For these writers, the production of short fiction within the literary marketplace had definite and important consequences on their texts as well as the formation of their mature authorial identities. (With the exception of James, I focus on the early, most impressionable periods of the writers’ careers.) In bucking the commercial trend of miscellaneous collections, the unified book of stories came to represent, for such artists, something of a bibliographic rebellion, which, because of its inherent formal fragmentation, proved a compelling and fruitful site for their exploration of modernist themes and styles. The conclusion explores some of the consequences of these experiences on the writers’ subsequent, longer texts—Lord Jim, Ulysses, and Jacob's Room—arguing that such so-called “novels” can be understood better if studied within the literary and professional contexts created by their authors’ engagements with the short story. The same is true of the “short story cycle,” “sequence,” and “composite,” as strongly-coherent books of stories have been termed variously by scholars. This dissertation, particularly its introduction, sets out to provide historical, material background for scholarship on this too-long neglected literary genre. / text

The Story Art and Tech merges storytelling and technology together to elucidate the animated filmmaking process for readers who are interested in animation. The author's path to animation director is traced from beginning to end starting with writing ideas and moving on to forming storyboards and animatics to completing animations for the screen. Two 3D short animated films and three storyboards with animatics are presented. A storyboard primarily shows the audience the thought process of storytelling; it previsualizes a script or an idea. It is then narrated into moving images called animatics; a preliminary version of a film. Animatics are important references for animators to animate shots and characters. Eventually the rest of the animation pipeline makes it into a final product: an animated film. As an artist who writes stories and animates them with 3D technology, presenting how a storyboard is made into an animated film is the most immediate way to inform the audience of this process with entertaining stories. In this paper, an extended discussion of the author's creative thought and development processes are presented with two distinct parts: storytelling and technology. / Master of Fine Arts / The Story Art and Tech shows how storyboards are made into movies. The author utilizes storytelling and media technology together such as 3D animation and game-engine rendering. It is the author's intention to make entertaining animated movies for the audience as a prospective animation director. When a director comes up with a movie script or an idea, the quickest way to visualize it is to sketch it out on a storyboard. This profession is called a 'story artist.' Story artists simplify characters and backgrounds on the boards to catch a glimpse of the final movie. To make the storyboards more detailed, story artists make them into 'animatics', which show more animated images and characters. Animatics are then taken by the 'animators' to animate everything in the final phase which is eventually produced as an animated film. In entirety, concept arts, storyboards, and animatics are presented together to show the audience the 'behind the scenes' of animated films. This helps them understand the thought process of the author and how she moved from story idea to completed animation. In this paper, the journey of a filmmaker in the animation field is extensively discussed.

This study examined how 22 children with spina bifida and hydrocephalus (SBH) and 22 matched control children with the same vocabulary age (VA) performed on story retelling and story generation tasks. The children were asked to retell two stories of different lengths (Stein and Glenn's Melvin, the Skinny Mouse and The Tiger's Whisker) and generate two stories from different stimuli (wordless picture book and verbal story starter). Analyses were conducted in terms of global narrative organization (story structure), local connection of ideas (cohesion), and productivity (number of words and utterances). Two-way ANOVAs were conducted to analyze how the stories and story tasks (retell versus generation) influenced the two groups' narrative performance. When comparisons were made between the two groups' performances on the individual stories, the children with SBH generally produced shorter and less complex stories than their VA peers. Story-by-group interaction effects showed that the children with SBH produced fewer story grammar elements than their VA peers on the retell stories but not on the generated ones. When comparisons were made between the two groups' performances on the type of task (story retell versus generation), results showed that for story retelling, the children with SBH produced stories that contained fewer words and utterances than their VA peers, significantly fewer story grammar components, and more correct cohesive ties. For the story generation task, the children with SBH produced significantly fewer reactions and total story grammar components. Story-by-group interaction effects showed that the children with SBH produced fewer reactions and total different words than the VA group on the story retell task but not the generation task. The results suggest that children with SBH function differently from their vocabulary age peers in some dimensions of narrative production. When the children with SBH encountered the retelling tasks or the more structured generation story, they tended to produce stories that were shorter than those of their VA peers.

Bakgrund: Äldreboendet är en plats som utgör den boendes livsmiljö, vilket även innefattar relationer. Då vårdpersonalen är ständigt närvarande kring de äldre, blir skapandet av relationer dem emellan en följd av livet på boendet. I den transpersonella omsorgen har kommunikationen en central position, och att ta sig tid och lyssna och att lära känna varandra i den gemensamma vardagen har både ett etiskt och relationellt värde. Problem: Den relationella aspekten av berättande beskrivs sällan ur den äldres perspektiv, utan dess förtjänster relateras ofta till vårdpersonalens möjlighet att ge personcentrerad vård. Hur upplever de äldre berättande i vårdrelationen och vad upplever de att berättande tillför? Syfte: Att beskriva äldres upplevelser av berättande i vårdrelationer på äldreboende. Metod: Systematisk litteraturstudie med beskrivande syntes, baserad på kvalitativa studier. Resultaten tyder på att äldre genom att berätta om upplevelser och erfarenheter för någon som lyssnar aktivt kan uppleva känslor av stärkt identitet och gemenskap, vilket i sin tur främjar upplevelser av mening och ökad livskvalitet. Slutsatsen är att vårdpersonal genom att visa intresse och skapa utrymme för berättande i vårdrelationen har potential att främja äldres välbefinnande.

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Abstract Framed within a wholly Indigenous paradigm - Gayanehsragowah - my dissertation is a counterstory constructed to engage colonialism in a decolonizing research and writing project. I chose story, an autoethnographic novel, as form to represent Indigenous reflexive method; a metaphoric text performed to unlock metaphor’s meaning, once known, I see through to and refract truth upon my own life story implicit within that text. To illustrate human potential for healing and self-change, I construct pedagogical relationship between lived experience and theoretical meaning in interlocking and entangled threads inseparable from form, not possible in conventional thesis organization. Tadoda:ho, the Great Law icon for transformation centers my inquiry into effects of cultural, social and political disconnection from Hodinohso:ni: systems; in particular, I examine historical unresolved grief carried both over the life span and across generations. I use Denzin’s approach to critical personal narrative, Ellis’s autoethnographic method and Richardson’s creative analytical practice to create an interpretive text comprised of short stories, poetry, conversations, dialogue, visual representation and layered accounts. My inquiry reveals Battiste’s transforming energy flux, which I call spirit, manifests in Indigenous language structures, and similar to Ellis’s evocative and analytical texts, once voiced through writing, creates change in the universe and in self. Critical reflection and representation of an Indigenous world in constant motion to renew livingness lends key knowledge that reconnection to ancestral histories, lands, and cultures restores Indigenous identity to resolve the trauma of historical grief. As Gayanehsragowah is performative healing narrative, my inquiry intends to add new knowledge of Indigenous story as form with power to inform self-change. / Thesis (Ph.D, Education) -- Queen's University, 2013-03-06 14:34:46.945

This thesis is an exploration of the phenomenon of energy healing told from the inner world of a healer. Briefly, this complementary and alternate medicine (CAM) modality involves the manipulation of subtle energy fields to affect health, something that I have known for over 15 years. Because energy healing is experienced differently by different people I chose to use autoethnography to capture and share my own personal understanding of this phenomenon. This methodology allowed me to delve into my intimate stories and experiences and through the writing process, I learnt more about energy healing than I had initially expected. In finding my personal voice and investigating the silence that has accompanied my relationship with this much maligned healing practice, I was able to explore the stories that had remained in the shadows: tales that had been influencing my relationship with this phenomenon for many years. This thesis also includes conversations that I had with my teachers and fellow healers. As I reflected on our discussions, I followed themes that appeared when we spoke and I discovered not only a deeper personal understanding of the phenomenon of energy healing, but a new profound awareness of myself. In the final presentation of this thesis, I have shared my discoveries as stories and anecdotes and I have surrounded these tales with my artwork. It is my hope that the colour and movement of my paint brush will help translate the emotions and sensations that I have known in places where words have trouble traversing. The experiential sense of knowing that speaks from my intimate perspective of this alternate healing modality comes from a private journey that is imbued with awe and wonder, stumbling and doubt, and an inspiring sense of connection - a perspective that is absent in the academic literature on energy healing. In sharing this inner world with my readers, I hope that my writing and my artwork have captured a small fragment of the elusive and esoteric nature of this phenomenon, something that for me exists in a place where there are no words.

The central contention of this thesis is that story as an aid to learning, particularly student nurses' own stories of practice, is not being used to its full potential in nurse education. The dominant tendencies in nurse education are briefly outlined; the first, a ‘top- down’, managerialist approach, which is theory-focused, and where ‘reflection-on-action’ from an essentially theoretical perspective, with assessment strategies related to extrinsic criteria, is predominant; and the second, a ‘bottom-up’ approach, focused on practice itself as a resource for learning, with ‘reflection-in-action’ (moment-to-moment decision-making) as its major pedagogic strategy. This thesis argues that these approaches are too often treated in isolation from one another, but that for nurse education to be effective, professional practice must unite the two, and that story is an imaginative and stimulating method by which this can be achieved. The thesis outlines the ways in which story has been explored in the literature, but the emphasis is on the ‘humanness’ of stories and the varied and diverse roles they could play in the development of nurse education. This discussion of the unique contribution that story can make to nurse education is placed in the context of two major theories of learning: constructivist and social constructivist, with particular emphasis on the seminal work of Schon. The research methodology adopted is that of narrative, and data were provided by student nurses’ written stories and learning accounts of practice, and notes taken during focus groups. The data were supplemented by the use of my own stories of experience of clinical practice. In all, 55 students’ written stories and learning accounts were collected, and then analysed using a three stage approach: first, reading the stories and learning accounts; second, a two- part analysis using content analysis and analysis of form; and third, a structured presentation of findings. Therefore, whilst accepting that direct learning from story is difficult to demonstrate, the evidence presented in this thesis illustrates the different ways in which stories can be an aid to student learning from practice, particularly by encouraging students to differentiate and structure clinical experiences that might otherwise remain undifferentiated and unstructured, and acknowledge and identify the tacit nature of their learning in practice and develop strategies for making it explicit. The evidence presented in this thesis supports the contention that inclusion in the curriculum of students’ stories of clinical practice can contribute towards the transformation of nurse education.

This thesis concerns the making and remaking of localism, by which the thesis refers to the experience of group identity expressed through commitment to community, in rural Northumberland. Specifically, the research investigates the process of becoming, or claiming to be, or being seen as, a local person, and of belonging to a community. It examines how the processes of making, verifying and ascribing such identity claims occur and in what situations and contexts. The research contributes to the sociology of local identity and ‘belonging’, using a broad ethnographic methodology focused around public events. Through participant observation and analysing some relevant documents, it examines how ‘incomers’ and ‘locals’ cooperate to organize and attend these events and how they provide a time/space through which solidarity or otherwise is performed and identities are related to the outside world. The thesis argues against binaries such as public and private, insider and outsider, local and incomer, and instead proposes that there are layers of belonging, gradations of relationship and many points of interconnection. Further, division and cooperation are different ways in which groups and individuals choose to connect, and both are forms of attachment and interrelationship existing along a continuum of belonging. A person can commit and connect over time through volunteering and acquiring local knowledge about the place. However, often it is those who are socially on the fringes, the incomers, who are most assiduous in performing what passes for local. History is important for understanding prevailing social conditions, and some current events were analysed in an historical context. Many commentators have drawn boundaries around their area of study. However this thesis argues that the boundaries, geographic and social, move depending upon context, time, situation and the social location of those involved, including the researcher. The conclusion brings together a set of interconnected findings, and presents the distinctive main arguments about belonging and the local in the thesis. First, birth is not an absolute criterion for belonging and incomers can become ‘local’ in the sense that they can move inwards into their own construction of place. Second, rather than focusing on boundaries alone, the centre of what is bounded is seen as being as important as the boundaries in assessing what it means to be local. Third, while looking into the historic past is a valuable tool in understanding prevailing social conditions, attention must also be paid to the evolving future and how such perceived changes impact on the social. Fourth, there are varied routes to belonging that allow a person to move from outside towards inside. However, the routes to belonging are complicated and cannot be patterned. Fifth, the boundaries are permeable and expand to the global and contract not only to the local, but to the isolated, following an annual rhythm. The result is research which contributes to the sociology of localism and ‘belonging’ in relation to community and self in contemporary Britain.