Not like my mother : truth and the author in creative nonfiction

This exegesis examines how a writer can effectively negotiate the relationship between author, character, fact and truth, in a work of Creative Nonfiction. It was found that individual truths, in a work of Creative Nonfiction, are not necessarily universal truths due to individual, cultural, historical and religious circumstances. What was also identified, through the examination of published Creative Nonfiction, is a necessity to ensure there are clear demarcation lines between authorial truth and fiction. The Creative Nonfiction works examined, which established this framework for the reader, ensured an ethical relationship between author and audience. These strategies and frameworks were then applied to my own Creative Nonfiction.

There, yet not there : human relationships with technology

There is a “reality” to being online which we know to be false. We are simultaneously “there” but “not there” as we talk, work and play with others in online spaces. We move between physical and virtual spaces in ways that realise the predictions made for computers in the mid-20th Century and enact scenarios from science fiction. We are left wondering if our thoughts - through our disembodied selves - have become a “second self” or if we have become part of the machine itself. Information and communication technology (ICT) have brought differing human and technological agencies to all aspects of contemporary life including teaching and learning. This paper attempts to identify and categorise these agencies through the genres of technics and to illustrate them – and our relationships with technology - through reference to philosophy, fiction and reality. It also stands as an introduction to this special issue on the agency of technology.

Investigating Texts

The first chapter called 'Investigating texts' asks students to investigate the concept of text and what it might mean to 'behave like a reader'. After reading and comparing two short stories, the question, 'what is a story?' is posed. Students are then asked to distinguish a fiction text from a number of non-fiction texts and to identify the sources of the latter. It is suggested that although it is quite easy to perform these tasks, it is not so easy to describe texts in terms only of their features or ingredients; that it is necessary to talk about how texts are read, and what is more, how they are read on particular occasions. 'Making texts', the second chapter, asks students via a series of activities to consider what they expect of texts, and to investigate the conventions of fiction and non-fiction. They are given the opportunity to manipulate the 'ingredients' of texts, to read in terms of commonalities and to speculate about the rules by which both the composition and consumption of texts are organised. The ways in which particular kinds of reading and writing activities assume the text as a certain kind of object - as a model, for example, or as an object of criticism or as an occasion for self-questioning - is made explicit, and students are encouraged to investigate a range of uses of texts and the implications of these for reading and writing. Chapter three, 'Changing texts' asks students to consider, through a number of fascinating examples, how both fiction and non-fiction texts have changed over time, and how the ways in which readers read texts can change too. The 'retelling' of texts in terms of changing norms is considered via an 'updated' version of 'Scheherazade'; a student's feminist adaptation of her own text (initially written using a romance as a model), and an encyclopedia entry. 'Reading practices', the fourth chapter, poses further questions about different ways of reading. Through reading a number of didactic texts alongside three stories from a genre that is not usually read for morally improving lessons, students are asked to consider how different their reading practices can be.

Independent television production, TV formats and media diversity in China

Beginning around 2003, television studies has seen the growth of interest in the genre of reality shows. However, concentrating on this genre has tended to sideline the even more significant emergence of the program format as a central mode of business and culture in the new television landscape. "Localizing Global TV" redresses this balance, and heralds the emergence of an important, exciting and challenging area of television studies. Topics explored include reality TV, makeover programs, sitcoms, talent shows and fiction serials, as well as broadcaster management policies, production decision chains and audience participation processes. This seminal work will be of considerable interest to media scholars internationally.

Entering the era of post production the role visual effects will play in documentary

Creating an acceptance of Visual Effects (VFX) as an effective non-fiction communication tool has the potential to significantly boost return on investment for filmmakers producing documentary. Obtaining this acceptance does not necessarily mean rethinking the way documentary is defined, however, the need to address negative perceptions presently dominant within the production industry does exist; specifically, the misguided judgement that use of sequences which include visual effects discredits a filmmaker's attempt to represent reality. After completing a documentary utilising a traditional model of production for methodology, the question of how to increase this film's marketability is then examined by testing the specific assertion that Visual Effects is capable of increasing the level of appeal inherent within the documentary genre. Whilst this area of research is speculative, qualifying Visual Effects as an acceptable communication tool in non-fiction narratives will allow the documentary sector to benefit from increased production capabilities.

Skydweller and representations of the adolescent crisis : group identity versus alienation

This document contains a creative work – the text of a young adult novel, Skydweller – and an exegesis discussing the ways in which identity and the adolescent crisis of group identity versus alienation are represented in young adult science fiction/fantasy novels.

Whatever it takes : an exploration of writing tools and strategies for completing a novel

This thesis consists of a novel written with the express purpose of exploring what practices and strategies are most useful in writing novel-length fiction as well as an exegesis which discusses the process. By its very nature, an undergraduate degree in Creative Writing is broad and general in approach. The Creative Writing undergraduate is being trained to manage many and varying writing tasks but none of them larger than can be readily marked and assessed in class quantities. This does not prepare the writing graduate for the gargantuan task of managing a project as large as a single title novel which can be up to 100,000 words and often is more. This study explores the question of what writing tools and practices best equip an emerging writer to begin, write and manage a long narrative within a deadline.

Artful shaping : the ethics of fictionalising oral history

The paper documents the development of an ethical framework for my current PhD project. I am a practice-led researcher with a background in creative writing. My project invovles conducting a number of oral history interviews with individuals living in Brisbane, Queensland, Australia. I use the interviews to inform a novel set in Brisbane. In doing so, I hope to provide a lens into a cultural and historical space by creating a rich, textured and vivid narrative while still retaining some of the essential aspects of the oral history. While developing a methodology for fictionalising these oral histories, I have encountered a derserve range of ethical issues. In particular I have had to confront my role as a writer and researcher working with other people’s stories. In order to grapple with the complex ethics of such an engagment, I examine the devices and stratedgies employed by other creative practioners working in similar fields. I focus chielfy on Miguel Barnet’s Biography of a Runaway Slave (published in English in 1968) Dave Eggers’What is the what: The autobiography of Valentino Achek Deng, a novel (2005) in order to understand the complex processes of mediation invloved in the artful shaping of oral histories. The paper explores how I have confronted and resolved ethical considerations in my theoretical and creative work.

The coming

Through an exploration of representations of metamorphosis and the creation of a body of written work, this thesis uses a critical examination of theoretical approaches to metamorphosis in combination with textual analysis of representations of metamorphosis and creative practice as research to arrive at the beginnings of an ethic of writing. The creative work, The Coming, consists of a collection of short fiction, The Coming, and two collections of poetry, Orison and Milagros. The exegesis, Transhuman Change: towards an ethic of writing, explores theories about metamorphosis as a figure for writing, as a trope, and as a motif for exploring identity to contextualise the analysis of representations of metamorphosis from which the ethic is developed. With reference to the psychosexual development theory of Jacques Lacan and Elaine Scarry’s philosophy of the body, pain, language and creativity, the exegesis examines existing approaches to metamorphosis and uses supplementary textual analysis of influential representations of metamorphosis from Ovid to Pygmalion, X-Men and Extreme Makeover to explore assumptions about the body, language, the self, gender in western culture. The limitations of the performance of representations of metamorphosis as a figure for the self’s survival of death are considered in the light of voice as metonym for self to propose an ethic which valorises life. The experience of sex and the construction of gender in representations of metamorphosis are considered in the light of Lacan’s theory of desire and Scarry’s theory of the body and language to propose an ethic of representing gender ironically. The motif of the faithless lover and the Pygmalion myth are considered in the light of the (m)other’s role in language to propose an ethic in which indeterminacy constitutes the condition for being aware of oneself among selves. Each of the three proposals is discussed in relation to the short fiction, memoir and poems produced in the course of this research to test their limits and possibilities as the foundation of an emerging ethic of writing.