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The Narrative Roles Framework: an examination of the narratives of offenders and the general population
Full text linkThe Narrative approach has been shown to provide a rich understanding of offender’s actions and behaviour, rather than the typical societal or dispositional explanations to criminality. It is suggested by exploring the ‘inner narratives’ of offenders that this provides an insight into the role in which offenders identify with and ultimately the underpinning explanations to their criminal actions. Additionally, by connecting those narratives to character roles and actions. Previous literature within this area has identified a relationship between narrative roles, the emotions experienced by offenders and types of crime. The present thesis aims to provide a comprehensive consideration of the Narrative roles framework and explore the applicability of the narrative roles questionnaire across different contexts. Furthermore, it includes a critical discussion of the use of the Narrative roles questionnaire (NRQ) as an instrument to collect narrative experiences, these are highlighted throughout the thesis.
Data samples collected from offenders from three different European cultures and the general population were explored utilising a battery of questionnaires focused on collecting the narrative experiences of individuals. The aim was to conduct a cross-cultural analysis of offender's narratives, emotions and crime types to establish similarities and differences amongst the samples. Results revealed the existence of narrative roles in line with the Narrative roles framework developed by Canter and Youngs (2011) however the distinction between the revenger and hero role is discussed further. Additionally, findings revealed that emotions can be differentiated into four themes as suggested by Russell (1997) in his Circumplex of emotions. Further analysis explored the differences in the narrative roles revealed in relation to different types of crime. Findings suggested that dominant narratives were associated with the different types of crime. It is identified that some of the studies within the thesis are replications of previous research, however the uniqueness of the sample in terms of the differences in offender characteristics allows for the strengthening of an already established area of study.
In relation to the general population study, findings revealed the existence of four narrative roles when individuals described a significant event. Three of the roles revealed were in line with the Narrative roles framework as described by Canter and Youngs (2011). However, there was the existence of a new role revealed within the SSA configuration, this describes a narrative of positivity and new experiences. These findings generally support the narrative roles framework and that similar narrative roles are revealed within positive and negative significant events. However, within positive events, there is a new narrative role that is in line with the theme of the narrative being positive.
The current thesis makes a significant contribution to the development of knowledge around the Narrative theory, in particular the efficacy of the approach in examining criminal behaviour. Furthermore, it provides a comprehensive critical discussion of the self-report method of gathering data and the validity and reliability of the NRQ. In terms of practical implications, the results can provide information regarding specific types of offenders and the most effective way in which treatment interventions can be tailored depending on their dominant life narrative. Finally, the thesis has provided a unique exploration into the use of the NRQ in relation to a significant event within the general population, aiming to determine the applicability of the NRQ as an instrument to measure narrative experiences in different contexts. In summary, the thesis explores the internal and external factors which have been suggested to influence how criminal behaviour is carried out, the thesis brings these factors together and examines the relationship between these. It provides a unique perspective and overview of the narrative approach and how roles can provide an insight into the life stories of offenders and interestingly the general population. Whilst providing empirical evidence to the approach and testing the validity of a tool in which to examine the stories in which individuals tell about their lives
Sonic Art and the Acoustics of Food: Examining culinary sounds to understand resistance
Full text linkThis research focuses on food sounds that resonate when resistance is exercised as luscious and joyful culinary experiences that contest circumstances of adversity, precarity and territory dislocation. Food, as means of resistance, has been approached by a number of art practitioners including Sabor Clandestino in Bolivia, Fatima Kadumy in Palestine, and María Buenaventura and Elena Villamil in Colombia. Such sounds, which are commonly underheard and ignored in sonic and food art, in my work provide important leads about how resistance operates in contemporary times, considering theories about the politics of sound by Brandon LaBelle and Salomé Voegelin, and theories about the politics of food by Jane Bennett. The artistic examination and theoretical investigation of the culinary acoustics of resistance presented in this research make an original and significant contribution to the knowledge of the practice of sonic and food art in contemporaneity. This project examines its sonic and edible material through Collaborative Culinary Sound Art (CCSA), an original practice that considers the intersubjectivity of sound and listening, the strategic possibility of sound and food, and the multisensory connection between sound, smell, and taste. The thesis will initially outline and critique theories that study relevant philosophical considerations in the emergence of CCSA by LaBelle, Voegelin, Gilles Deleuze, Mark Peter Wright, and Bennett. It will discuss relevant works from a series of artists from diverse fields such as sound art, experimental music, contemporary music, and food and visual arts. Finally, it will examine the circumstances and considerations that led to the development of CCSA and demonstrate how this thinking has informed a portfolio of original pieces and will reflect on the artistic considerations and methodologies developed in this research
Navigating “Mixedness”: An examination of the ways “mixedness” has been constructed, responded to and experienced in Modern England
Full text linkThe Mixed ethnic identity continues to grow, and it is often seen as a modern phenomenon. However, the idea of “mixedness” runs deep throughout English history, with intrinsic connections to the British empire and the formation of ideas of “race”. The concepts forged through empire seeped into domestic responses and reactions to “mixedness” and prevailed beyond the end of empire.
This thesis examines how ideas of “mixedness” have been constructed and responded to throughout modern English history and will analyse how “mixedness” has been navigated and experienced. Through an analysis of each layer – constructions, responses and experiences – this thesis aims to analyse “mixedness” in a nuanced and multidimensional way. It expands beyond the topics of “mixedness” that have been extensively covered, such as the fixation on identity and struggle.
Instead, this thesis analyses various experiences of people growing up Mixed while drawing on a concept of “ordinariness”. The thesis utilises an oral history methodology and focuses on nine original oral histories from Mixed people growing up in England in the 1970s and 1980s – specifically the black and white dichotomy of “mixedness”. The interviewees talk about family, home, school, playing out, identity, and more.
Through examining oral histories, the core analysis of this thesis proposes that “mixedness” can be experienced as ordinary; that sometimes, on an everyday level of existence, it is possible to simply be “ordinary”. However, the thesis also considers that while “mixedness” did not guarantee feelings of difference and marginality, sometimes the ability to feel ordinary was limited to different “spaces” and “places” which people inhabit throughout their lives. “Ordinariness” was not absolute and, for some, was not always the dominating experience of “mixedness”
Angry Young Women: An Exploration of Feminist Feeling in the Nineteen-Nineties
No full textThe new wave of young playwrights emerging from British Fringe Theatres during the nineteen-nineties is a movement that is well documented under various terms such as: In-Yer-Face Theatre or New Brutalism. Wrapped up in a discourse surrounding the violent nature of the plays, the academia of this decade of plays has often focussed upon the relationship the plays had with their audiences and the extremities of violence that they included. However, works from various feminist scholars and practitioners have reclaimed these texts, offering a feminist perspective and rebutting notions that feminism had only enjoyed success onstage in the eighties. This thesis is concerned with three women playwrights debuting during the height of the In-Yer-Face movement, whose work was first performed at the Royal Court Theatre in London. They were the only three women playwrights to have their worked staged during the 1994/95 season at the Royal Court: Rebecca Pritchard, Judy Upton, and Sarah Kane. This thesis aims to understand how feminist feelings were adopted and changed in an environment where many claimed feminisms were irrelevant or no longer needed.
The central argument of this thesis is that the 1994/95 season at The Royal Court Theatre in London was a seminal turning point in the treatment of feminism onstage. It concludes that feminism still had a role to play within the theatre, despite the playwrights’ rejection of a ‘women writer’ label. This thesis argues that all three women utilised feminist thinking within their plays as a form of political commentary. This thesis will consider how we can adapt our understanding of feminist theatre to see these plays as part of a larger ongoing conversation around gender within society. Using a variety of philosophical and theatrical practitioners, it will advance a notion put forth by Elaine Aston that women’s theatre in the nineteen-nineties mourned the loss of a politically motivated feminism
Conversations with cultural curators: Bid team and community leader views of PR-led participatory placemaking for UK City of Culture 2021
No full textHow were communities invited to participate in bidding for UK City of Culture 2021, via PR-led participatory placemaking? And how do three categories of key personnel involved – bid leaders, PR representatives and community leaders – understand, evaluate and make sense of the opportunities they created, within the tight confines of this very neoliberal competition? Taking a relational constructivist approach, I conducted 20 semi-structured interviews across five locations, paying particular attention to presentation of professional self. Reported happenings were theorised using the academic concepts of critical PR (L’Etang & Pieczka, 2006; Fawkes, 2014), participatory culture (Jenkins, 2006; Gauntlett, 2018) and placemaking (Musterd & Kovacs, 2013). I argue that the organisational “cultural curator” PR role (Tombleson & Wolf, 2017) facilitated the potential for autonomous space (Fuchs & Mosco, 2016) or commons (Arvidsson, 2020) to emerge, generating social capital (Field, 2016) leading to topophilia (Tuan, 1990) or love of place – and a bottom-up pushback against neoliberalism, perhaps involving some redistribution of power. I assert that a low barrier to inclusion and artistic expression (Jenkins et al, 2006) made this possible, yet it had the opposite effect for some residents with pre-existing cultural capital. This is the first such work to examine UKCoC through critical PR and participatory culture theories. I present the activities under scrutiny as positive examples of applied critical PR and participatory culture in placemaking, focusing on the portal of transmedia engagement. In summary, I demonstrate that the PR role provided the potential for power-redistributing social / cultural capital and an enhanced love of place to emerge, as a bottom-up effect of the top-down and time-limited undertaking of bidding for UKCoC status. It is this exciting happening, albeit brief and pocketed, that further underlines the need to draw more and stronger links between critical PR and participatory culture
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