Environmental storytelling är något som kan verka enkelt men är mycket komplext. Det är något som låter spelaren, likt en detektiv, undersöka ledtrådar och dra slutsatser ifrån dessa. För att förstå detta i grunden krävdes kunskap inom berättande och teori om uppbyggande av narrativ. Detta följdes sedan av kunskap inom mise-en-scéne, environmental storytelling och människors tolkning och deras sammankopplande av de bitar de har framför sig. Det sista var information om hur objekt uppfattas genom inbjudande till handling tillsammans med form. Dessa teorier appliceras sedan på objekt för att skapa ett visuellt berättat narrativ i en spelmiljö. Tillsammans med en kvalitativ intervju som kvantifierades för resultat fick undersökningen resultat. Den visade på att korrekt designade objekt med specifika fysiska tecken var relativt framgångsrika på att förmedla ett specifikt, skrivet narrativ, bildat av fyra separata händelseenheter.

Master of Landscape Architecture / Department of Landscape Architecture/Regional and Community Planning / Jessica Canfield / The contemporary globalized world is full of wicked problems. A wicked problem is difficult to resolve, complex, and solving one aspect of a problem may create other problems. Wicked problems are shaped by invisible forces and flows. Landscape architects are uniquely poised to address wicked problems with their skills and capacity to think across systems and scales in spatio-temporal, ecological, and cultural dimensions. Landscape architects also communicate through visually-accessible methods which tell a story. Storytelling in landscape architecture seeks to reveal, connect, and tie together relationships and processes of the past and present to inform future possibilities of a place. Methods of storytelling can be used to address wicked problems because of their utility in inquiry and ideation. Developed through an original methodology using maps, diagrams, photomontage, and photographs, this project creates a storytelling framework which iteratively uses inquiry and representation to identify dilemmas, pose questions, and address issues as a means to reveal the impacts of forces on a wicked problem. The site selected to test this proposed methodology is the Athabasca oil sands in northern Alberta, Canada. Visible from space, the potential minable area of the oil sands spans an area the size of New York State. The world’s quest for oil has placed this landscape and its people on center stage. Billions of dollars’ worth of industry investment has put the landscape and people under siege through ever-shifting visible and invisible forces and flows. Dilemmas created by the region’s mining industry not only directly impact local people and landscape, but the greater world as well. Hampered with environmental, social, political, and economic issues, the future of this region is largely unknown, as there are few formal plans and regulations to ensure landscape reclamation and guide urban development. To tell the story of the oil sands, four themes—oil, infrastructure, environment, and people were analyzed. These themes—referred to as "ghost ecologies" because of their inconspicuous nature—when considered together, reveal key regional dilemmas and highlight new opportunities for future directions. Analysis inspired thinking toward future scenarios that imagine a series of new, highly productive and programmatically-integrated futures for the oil sands and its people. The unique process of inquiry and discovery led to a final project framework that identified methods for landscape architects to use in addressing wicked problems. A variety of audiences can consume this work to address the challenges of the Athabasca oil sands and other wicked problems in the world. To the public, the work serves as an evocative display of critical dilemmas worthy of future consideration. For professional and student landscape architects, the work reveals methods of inquiry to address wicked problems through the discipline.

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This research explores the Snapchat and Instagram feature of “Stories” and aims to understand what users post in their “Stories” and how they make use of the feature to tell their story. The application of narrative theory theoretically informs the concept of digital storytelling, which is ultimately the practice of telling online stories. The methodology consists of a qualitative content analysis of Snapchat and Instagram “Stories”, observation of active ordinary users and in-depth semi-structured interviews to address the user’s perspective. The main results indicate that there are themed patterns following narrative structures in Snapchat and Instagram “Stories”. For that reason eight categories were created and divided between the four narrative elements according to Barthes (1977) and these were actions (demonstrating emotions, eating, interacting), happenings (updates), characters (people, self- portraits and animals) and setting (environment). In addition, another result is that Snapchat and Instagram storytellers make use of seven means to tell their stories and create a narrative. These means are images, texts, videos, emoji, doodles, instant information and filters. Human beings are natural storytellers according to the Narrative Paradigm by Fisher (1984), which explains the popularity of the “Stories” feature, as well as the discovered categories based on narrative elements and the use of semiotic resources to make more sense of the stories told by users.

Narratives serve many functions within a given cultural group. As well as reflecting and transmitting the social values of that group, narratives provide children with a cognitive framework that is an important factor in the learning process. Although the structure of narratives has been described for mainstream children, there is some debate as to whether different cultures share the same narrative structure. A culturally-based difference in narrative structure may contribute to the fact that Native Indian children (as well as children from other minority cultures) are overrepresented among those children who have difficulty in school. The present study set out to investigate whether there was a discernable difference in the structure of narratives told by five Coast Salish children aged 5;0 -8;6 and those told by mainstream children reported in the narrative development research literature. Two types of narratives (personal experience and fictional) were collected and analyzed according to three analysis procedures: high point analysis, which emphasizes evaluation of events; episodic analysis, which emphasizes goal-based action; and poetic analysis, which emphasizes the poetic form of the narratives. The high point analysis revealed that the Coast Salish children ordered events in their stories in a different order than mainstream children do. Both the high point and the episodic analyses showed that the Coast Salish children expressed relationships between events implicitly more frequently than mainstream children. The poetic analysis was the most revealing of potential intercultural differences. This analysis revealed that falling intonation, grammatic closure, lexical markers and shifts in perspective (reference, action, focused participant, time frame, comment, etc.) defined structural units in the narratives of the Coast Salish children. This evidence of structural unit markers was consistent with predictions based on research by Scollon & Scollon (1981, 1984). The results of this investigation have implications for educators and speech-language pathologists in their interaction with Native Indian children. In addition, the results provide a useful indication of the necessary considerations and appropriate procedures for carrying out a more focused study of the narratives of a larger group of Native Indian children. / Medicine, Faculty of / Audiology and Speech Sciences, School of / Graduate

En este trabajo de investigación se busca investigar de qué forma se vienen planteando y desarrollando la introducción del mundo audiovisual a través de esta nueva narrativa, los fashion films, en la publicidad y la acogida que esta tiene. Para poder entender de una manera adecuada, se realizará una estrategia metodológica de enfoque cualitativo para el cual se utilizarán guías de análisis de contenido y entrevistas. También, consultará a diferentes autores que hablen acerca de este tema, así como también acerca de los conceptos que un fashion film abarca y que nos ayudarán a entender porque son una opción tan usada por distintas marcas y tan bien recibidas por el público. Asimismo, nos centraremos en un caso en específico: la campaña Tender Stories de Tous. Todo lo anterior, con la finalidad de que más audiovisuales vean en este rubro de lo audiovisual con la publicidad una oportunidad no solo una ventana para mostrar su creatividad y trabajo sino como un campo laboral en el que se pueden desenvolver. / This research work seeks to investigate how they are posing and developing the introduction of the audiovisual world through this new narrative, fashion films, advertising and the reception that it has. To be able to understand in an adequate way, different authors will be consulted that speak about this topic, as well as about the concepts that a fashion film covers and that will help us to understand why they are an option so used by different brands and so well received by the public. We will also focus on a specific case: the Tous Tender Stories campaign. All of the above, with the aim that more audiovisuals see in this area of ​​the audiovisual with advertising an opportunity not only as a window to show their creativity and work but as a work field in which they can develop. / Trabajo de investigación

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From a social constructivist perspective (SCP) we analyse TV-commercials’ success. We address the following questions: Does the customer co-create meaning, and, more specific, is a commercial more successful if a customer plays a co-creating role? If so, both the customer and her experience, as well as the commercial, play a significant part in explaining the commercial’s success. As independent constructs to explain commercials’ success we used storytelling, indicating the commercial’s part, and experiential conclusiveness, indicating the customer’s part. We found support that the customer and seller via the commercial co-create meaning and coordinate their activities.

Includes bibliographical references / This study is set against the background of a continued lack of social engagement across difference in South African classrooms. It set out to explore the potential of a specific pedagogical intervention - digital storytelling - as a post-conflict pedagogy in a diverse pre-service teacher education classroom. Personal storytelling has long been used to unearth lived experiences of differently positioned students in the classroom. More recently, the use of digital technologies has made it easier to transform these personal stories into publishable, screenable and sharable digital resources. In general, digital storytelling is lauded in the literature for its potential to facilitate an understanding across difference, allowing empathy and compassion for the 'Other'. In this study, I question this potentially naive take on digital storytelling in the context of post-conflict pedagogies. I was interested in the emotions emerging - particularly in what I termed a potential sentimentality - in both the digital storytelling process and product. I looked at sentimentality in a specific way: as the tension between the centrality of emotions to establish an affective engagement between a storyteller and the audience, and digital stories' exaggerated pull on these emotions. This is seen, for example, in the difficulty that we have when telling stories in stepping out of normative, sentimental discourses to trouble the way we perform gender, race, class and sexuality, all of which are found in the actual stories we tell and the images we use. It is also found in the audience response to digital storytelling. Adopting a performative narrative inquiry research methodology, framed by theorists such as Butler, Ahmed, and Young, all three feminist authors interested in the politics of difference, working at the intersection of queer, cultural, critical race and political theory, I adopted three different analytical approaches to a narrative inquiry of emotions. I used these approaches to analyse stories told in a five-day digital storytelling train-the-trainer workshop with nine pre-service teacher-education students. Major findings of this study are: In everyday life stories, students positioned themselves along racial identities, constructing narratives of group belonging based primarily on their racialized identities. However, in some students' stories - particularly those that offer a more complex view of privilege, acknowledging the intersectionality of class, gender, age, sexuality and race - these conversations are broken up in interesting ways, creating connections between students beyond a racial divide. Looking at the digital story as a multimodal text with its complex orchestration of meaning-making through its different modes, it became clear to me that conveying authorial intent is difficult and that the message of a digital story can be compromised in various ways. The two storytellers I looked at in more detail drew from different semiotic histories and had access to different semiotic resources, such as different levels of critical media literacy, with this compromising their authorial intent to tell counterstories. Finally, the genre storytellers chose, the context into which their stories were told, along with their positioning within this context in terms of their privilege, affected the extent to which they could make themselves vulnerable. This consequently shaped the audience response, which was characterised by passive empathy, a sentimental attempt to connect to what makes us the 'same', rather than recognising systemic and structural injustices that characterise our engagements across difference.

Magister Educationis - MEd / In this study, I seek to explore the potential that digital storytelling has in the teaching of undergraduate academic writing skills. I will focus on first year students' academic writing skills, how they are taught currently and how technology in the form of digital storytelling can help first year students improve their academic writing skills. The theoretical framework for the study is largely based on the New Literacies Studies which is championed by members of the New London Group such as Street and Street (1984) Lea and Street (2006) among others. The theoretical framework will draw on the notion of literacy as social practice rather than a set of reading and writing skills which explains why educators need to find new ways of teaching academic writing skills. I use semiotics and multimodality as a foundational concept for using digital storytelling in academic writing. That is because semiotics and multimodality further support the idea that literacy goes beyond words but that audio and visual elements are also part of learning and can help engage students in their academic work. The main aim of this proposed research is to explore both students and lecturer practices of digital literacies in the teaching and learning of academic writing at The Cape Peninsula University of Technology (CPUT).