- Page 1 and 2: A GENRE THEORY PERSPECTIVE ON DIGIT
- Page 3 and 4: ACKOWLEDGEMENTS Completing this dis
- Page 5 and 6: LIST OF FIGURES Figure Page 1. Iron
- Page 7 and 8: TABLE OF CONTENTS Page ACKOWLEDGEME
- Page 9 and 10: Scene One: At Sarah’s House......
- Page 11 and 12: CHAPTER I INTRODUCTION Background o
- Page 13 and 14: and media skills and knowledge to d
- Page 15 and 16: telling stories in social settings.
- Page 17 and 18: Brief Overview and Purpose of this
- Page 19 and 20: esearch attention, while working to
- Page 21 and 22: stories tend to be poignant, humoro
- Page 23 and 24: The conceptual precursor of digital
- Page 25 and 26: preserving memories, achieving pers
- Page 27 and 28: These properties have given momentu
- Page 29 and 30: The multimodal semioticians For the
- Page 31 and 32: students are exposed to in formal l
- Page 33 and 34: process of one’s making of a stor
- Page 35 and 36: Also, the media affords easy creati
- Page 37 and 38: epresenting themselves that are oth
- Page 39 and 40: institutionally endorsed nature of
- Page 41: conceptualized as a pedagogical too
- Page 45 and 46: Nixon, 2003), and how literacies co
- Page 47 and 48: esearcher is solely concerned with
- Page 49 and 50: concert with the individual to move
- Page 51 and 52: discourses, persons, tools, activit
- Page 53 and 54: also operate from a conception of s
- Page 55 and 56: ways of using tools, and typical wa
- Page 57 and 58: (healing from disease and loss), di
- Page 59 and 60: The important idea for my enterpris
- Page 61 and 62: other instances of using language,
- Page 63 and 64: cognitive activities, which serve a
- Page 65 and 66: executives, who may resort to perso
- Page 67 and 68: members to interpret their past exp
- Page 69 and 70: collaborative work of partners. Fin
- Page 71 and 72: Genre as meaning potential In the p
- Page 73 and 74: is Bakhtin’s view that a particul
- Page 75 and 76: accumulated experiential and ideolo
- Page 77 and 78: with genres functioning to maintain
- Page 79 and 80: as one of many active agents of the
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- Page 87 and 88: We speak only in definite speech ge
- Page 89 and 90: To do a genre-formed analysis of di
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data to illustrate the analytical m
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ways in which the meaning potential
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For the purpose of this study, I di
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connecting with its audience. Durin
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storytelling as an act of civic eng
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Youth 10 movement, the Finding A Vo
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According to Joe, the inherent simp
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patients create stories that were u
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pedagogical materials and publicati
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Table 1. Digital Story Corpus Story
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Selection of focal stories A genre-
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facilitator interview protocol to g
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able to schedule a Skype session wi
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Data Analysis Analysis of the data
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Table 4. Prompt Questions for Genre
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window through which the author sho
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story. Namely, he breaks down a sto
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couplings can only emerge when they
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a theme—a new understanding of hi
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econtextualized and reappropriated
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An example: Temporal visual model o
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allows me to get at the basic theme
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amount of details developing the mo
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epresents a stanza that is analytic
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Table 6. A List of Multimodal and D
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That is, the sudden visual “rises
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In making these arguments about gen
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trends, themes, and values that can
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to the unique expressive, democrati
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Convergence. The genre-informed fra
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that are at times incongruous with
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vision, digital storytelling is val
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participants are expected to arrive
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combined, as dialectically connecte
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assurance of privacy, as manifested
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a particular experience. One of the
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On the other hand, the tenet of “
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ambitious.” Essentially, the work
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persons (and their social relations
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The workshop model In this section,
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process, scripting involves further
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elements. For example, “owning yo
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that they always show Tanya to illu
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structure created by the author. Wi
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identify. I present each juncture o
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The narrative begins with an unprov
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conjunction of two types of non-lin
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emotions found in the narrative. Wh
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defined by the CDS, involves explor
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Vignette Two: The Trip Visual Effec
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Vignette Three: The Photos Visual E
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In the final sequence of the story,
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and described. I will draw on these
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Closely related to these thematic f
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healing and growth have partially g
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CHAPTER V STORIES ABOUT WALES, BY W
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at a staff meeting at the BBC. Acco
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Vignettes of mundane experiences In
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When I invited Cathy to speak about
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accomplish this, Capture Wales work
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seeing beyond the stories and “kn
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This principle of cultural democrac
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elationship with media content. In
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son]—‘What is heaven? Why do yo
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As I have discussed in the previous
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Safeguard participant privacy and w
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From a genre perspective, Cathy’s
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In other cases, the clashing of two
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Capture Wales stories do we hear st
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filled with tensions. In this case,
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according to individual availabilit
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lightness in seemingly mundane stor
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discovery through the revelation of
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This story is exemplary of the wide
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sounds, sights, and activities. The
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Scene Two: Arriving at the Pub Visu
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Capture Wales workshops focused on
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allowing the storyteller to tempora
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onlookers sitting at a table, heads
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yellow vomit of chicken and rice, w
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warming friendship. So do the words
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Figure 20: A Night at Ducks and Dog
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given theme. In a chronologically o
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Lastly, Rhiannon’s story well ill
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themselves and becoming friends; we
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Chapter VI STORIES FOR CHANGE In th
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Enabling Positive Social Change To
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off guard with overwhelming emotion
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coherent with the institutional con
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fully realized. In this instance, P
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In these instances of genre invocat
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egulated discursive activities. Eme
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Aside from such physical attributes
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of their issues. Our counselors sai
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the story—an independent woman’
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disease, actively dismantles the em
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Speaking in light of these painful
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for the help her husband has provid
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effort to provide help on matters o
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persistent support and companionshi
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y medical staff and poor quality of
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of the broader reflective and analy
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meaning potential, we come to atten
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CHAPTER VII DISCUSSION At the begin
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see, increasingly clearly, how diff
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stories, encoding the ideology of t
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consecutive morning classes on Frid
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ing a wealth of skills, mindsets an
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with my colleagues, while at other
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composition task for local pedagogi
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vise versa. Kay, for example, point
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Future Directions for Research A Ge
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situated creative intentions are co
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In pursuing the second question, I
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Appendix A. Recruitment Letter Dear
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questions in an email. Here are exa
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6. What knowledge and expertise (te
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n_01.shtml http://www.bbc.co.uk/wal
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Appendix E. Typology of Digital Sto
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Rituals (CDS) Tanya (CDS) The gift
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REFERENCES Atchley, D. (Producer).
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Dalton, B., & Smith, B. E. (2012).
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Kamberelis, G. (1995). Genre as ins
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Nystrand, V. A. D. (1994). A genre
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Vasudevan, L., DeJaynes, T., & Schm