Clara-thesis outline: Difference between revisions
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==Question== | ==Question== | ||
How can generated short story workshops be used as a method to express and deal with an issue? | How can generated short story workshops be used as a method to express and deal with an issue? | ||
==Structure and Design== | ==Structure and Design== | ||
[[File:Folded_hidden_pages.png|right|200px]] | |||
My idea is to structure the thesis in the same way I structure the books for generative story workshops. You will at first only read a short sentence that is supposed to state something about the chapter but all the content and context is hidden inside the pages, such as [https://lealagasse.com/2012/08/29/double-standard-2/ this]. It's about slowly revealing the story and playing with the idea that little can say a lot and the hidden messages behind words. | My idea is to structure the thesis in the same way I structure the books for generative story workshops. You will at first only read a short sentence that is supposed to state something about the chapter but all the content and context is hidden inside the pages, such as [https://lealagasse.com/2012/08/29/double-standard-2/ this]. It's about slowly revealing the story and playing with the idea that little can say a lot and the hidden messages behind words. | ||
So the chapters are based on the story structure of who, where, what, why and how. I want to be playful with the sentences that are shown before you rip the pages open and see their context. My idea is really to have this short story with a thesis hidden inside of it. | So the chapters are based on the story structure of who, where, what, why and how. I want to be playful with the sentences that are shown before you rip the pages open and see their context. My idea is really to have this short story with a thesis hidden inside of it. | ||
==Prologue== | ==Prologue== | ||
500 words<br> | ''500 words''<br> | ||
~Context and introduction of how I came up with the generative workshops | ~Context and introduction of how I came up with the generative workshops | ||
==Intro== | ==Intro== | ||
1000 words<br> | ''1000 words''<br> | ||
~Setting a historical overview<br> | ~Setting a historical overview ''(Fable — Wikipédia, 2021)'', ''(Besson, n.d.)''<br> | ||
~An intro in types of short stories, from fables to children’s books to social media one liners (instagram, news headline, clickbait)<br> | ~An intro in types of short stories, from fables to children’s books to social media one liners (instagram, news headline, clickbait)<br> | ||
==Who== | ==Who== | ||
1000 words<br> | ''1000 words''<br> | ||
~The characters, shapes and objects of my childhood<br> | ~The characters, shapes and objects of my childhood<br> | ||
~Talking animals, plants and shapes that educate<br> | ~Talking animals, plants and shapes that educate ''(Brinkman, 2020)''<br> | ||
~Them shaping our morals and ways of behaving within society<br> | ~Them shaping our morals and ways of behaving within society ''(Brinkman, 2020)''<br> | ||
~who is the audience<br> | |||
==Where== | ==Where== | ||
1000 words<br> | ''1000 words''<br> | ||
~From classrooms to reading to children at bedtime to social media(where the imagination is)<br> | ~From classrooms to reading to children at bedtime to social media(where the imagination is)<br> | ||
~Where we learn imagination ''(Lucas, Bridgers, Griffiths and Gopnik, 2014)'', ''(Inovation Hub, 2015)''<br> | |||
~the short attention span generation<br> | ~the short attention span generation<br> | ||
~ | ~setting of the workshop: taking people back to the where (to trigger children's imagination taking us back to the classroom and bedtime stories)<br> | ||
==What== | ==What== | ||
1000 words<br> | ''1000 words''<br> | ||
~types of workshops that have been done i.e, Serious Play''(Wheeler, Passmore and Gold, 2020)''<br> | |||
~about my workshop<br> | |||
~the method<br> | |||
==Why== | ==Why== | ||
1000 words<br> | ''1000 words''<br> | ||
~Why do we relate to them | ~Why do we relate to them (characters and objects)<br> | ||
~The psychology behind us feeling empathy for imaginary characters | ~The psychology behind us feeling empathy for imaginary characters (researching resources)<br> | ||
~why do we bring things that don't talk to life | ~why do we bring things that don't talk to life<br> | ||
~ | ~why these workshops can be a form of therapy<br> | ||
==How== | ==How== | ||
1000 words<br> | ''1000 words''<br> | ||
~How little can say a lot | ~How little can say a lot<br> | ||
~the hidden messages | ~the hidden messages ''(Farokhi and Hashemi, 2011)''<br> | ||
~ | ~Children's drawing psychology ''(Quaglia, 2015)'' <br> | ||
==Ending== | ==Ending== | ||
500 words<br> | ''500 words''<br> | ||
~how these workshop can help with triggering creativity and new ways of thinking ''(Surrealist automatism - Wikipedia, 2021)'', ''(Wheeler, Passmore and Gold, 2020)''<br> | |||
==Bibliography== | |||
1.Besson, A., n.d. De l’aristocratie aux cours d’école, une brève histoire du conte | Fantasy - BnF. [online] Fantasy.bnf.fr. Available at: <https://fantasy.bnf.fr/fr/comprendre/de-laristocratie-aux-cours-decole-une-breve-histoire-du-conte/> [Accessed 21 November 2021].<br> | |||
''(Besson, n.d.)''<br> | |||
2. Blair, S., Rillo, M. and Dröge, J., 2020. Serious Work How to facilitate meetings and workshops using the LEGO® Serious Play® method. 3rd ed.<br> | |||
''(Blair, Rillo and Dröge, 2020)''<br> | |||
3. Brinkman, G., 2020. TOTO TO TOTORO Can talking animals save the world?. Masters. The Royal Academy of Arts The Hague.<br> | |||
''(Brinkman, 2020)''<br> | |||
4. Di Leo, J., 2013. Interpreting Children's Drawings. Routledge.<br> | |||
''(Di Leo, 2013)''<br> | |||
5.Fr.wikipedia.org. 2021. Fable — Wikipédia. [online] Available at: <https://fr.wikipedia.org/wiki/Fable> [Accessed 17 November 2021].<br> | |||
''(Fable — Wikipédia, 2021)''<br> | |||
6. Farokhi, M. and Hashemi, M., 2011. The Analysis of Children's Drawings: Social, Emotional, Physical, and Psychological aspects. Procedia - Social and Behavioral Sciences, 30, pp.2219-2224.<br> | |||
''(Farokhi and Hashemi, 2011)''<br> | |||
7. Inovation Hub, 2015. Kids say the smartest things. [podcast] Available at: <https://soundcloud.com/innovationhub/kids-say-the-smartest-things> [Accessed 12 November 2021].<br> | |||
''(Inovation Hub, 2015)''<br> | |||
8. Lucas, C., Bridgers, S., Griffiths, T. and Gopnik, A., 2014. When children are better (or at least more open-minded) learners than adults: Developmental differences in learning the forms of causal relationships. Cognition, 131(2), pp.284-299.<br> | |||
''(Lucas, Bridgers, Griffiths and Gopnik, 2014)''<br> | |||
9. Quaglia, R., 2015. THE USE OF DRAWING IN PSYCHOTHERAPY. International Journal of Developmental and Educational Psychology, 1(1), pp.465-472.<br> | |||
''(Quaglia, 2015)''<br> | |||
10. En.wikipedia.org. 2021. Surrealist automatism - Wikipedia. [Accessed 17 November 2021].<br> | |||
''(Surrealist automatism - Wikipedia, 2021)''<br> | |||
11. Wheeler, S., Passmore, J. and Gold, R., 2020. All to play for: LEGO® SERIOUS PLAY® and its impact on team cohesion, collaboration and psychological safety in organisational settings using a coaching approach. Journal of Work-Applied Management, 12(2), pp.141-157.<br> | |||
''(Wheeler, Passmore and Gold, 2020)''<br> | |||
Latest revision as of 19:41, 21 November 2021
Question
How can generated short story workshops be used as a method to express and deal with an issue?
Structure and Design
My idea is to structure the thesis in the same way I structure the books for generative story workshops. You will at first only read a short sentence that is supposed to state something about the chapter but all the content and context is hidden inside the pages, such as this. It's about slowly revealing the story and playing with the idea that little can say a lot and the hidden messages behind words.
So the chapters are based on the story structure of who, where, what, why and how. I want to be playful with the sentences that are shown before you rip the pages open and see their context. My idea is really to have this short story with a thesis hidden inside of it.
Prologue
500 words
~Context and introduction of how I came up with the generative workshops
Intro
1000 words
~Setting a historical overview (Fable — Wikipédia, 2021), (Besson, n.d.)
~An intro in types of short stories, from fables to children’s books to social media one liners (instagram, news headline, clickbait)
Who
1000 words
~The characters, shapes and objects of my childhood
~Talking animals, plants and shapes that educate (Brinkman, 2020)
~Them shaping our morals and ways of behaving within society (Brinkman, 2020)
~who is the audience
Where
1000 words
~From classrooms to reading to children at bedtime to social media(where the imagination is)
~Where we learn imagination (Lucas, Bridgers, Griffiths and Gopnik, 2014), (Inovation Hub, 2015)
~the short attention span generation
~setting of the workshop: taking people back to the where (to trigger children's imagination taking us back to the classroom and bedtime stories)
What
1000 words
~types of workshops that have been done i.e, Serious Play(Wheeler, Passmore and Gold, 2020)
~about my workshop
~the method
Why
1000 words
~Why do we relate to them (characters and objects)
~The psychology behind us feeling empathy for imaginary characters (researching resources)
~why do we bring things that don't talk to life
~why these workshops can be a form of therapy
How
1000 words
~How little can say a lot
~the hidden messages (Farokhi and Hashemi, 2011)
~Children's drawing psychology (Quaglia, 2015)
Ending
500 words
~how these workshop can help with triggering creativity and new ways of thinking (Surrealist automatism - Wikipedia, 2021), (Wheeler, Passmore and Gold, 2020)
Bibliography
1.Besson, A., n.d. De l’aristocratie aux cours d’école, une brève histoire du conte | Fantasy - BnF. [online] Fantasy.bnf.fr. Available at: <https://fantasy.bnf.fr/fr/comprendre/de-laristocratie-aux-cours-decole-une-breve-histoire-du-conte/> [Accessed 21 November 2021].
(Besson, n.d.)
2. Blair, S., Rillo, M. and Dröge, J., 2020. Serious Work How to facilitate meetings and workshops using the LEGO® Serious Play® method. 3rd ed.
(Blair, Rillo and Dröge, 2020)
3. Brinkman, G., 2020. TOTO TO TOTORO Can talking animals save the world?. Masters. The Royal Academy of Arts The Hague.
(Brinkman, 2020)
4. Di Leo, J., 2013. Interpreting Children's Drawings. Routledge.
(Di Leo, 2013)
5.Fr.wikipedia.org. 2021. Fable — Wikipédia. [online] Available at: <https://fr.wikipedia.org/wiki/Fable> [Accessed 17 November 2021].
(Fable — Wikipédia, 2021)
6. Farokhi, M. and Hashemi, M., 2011. The Analysis of Children's Drawings: Social, Emotional, Physical, and Psychological aspects. Procedia - Social and Behavioral Sciences, 30, pp.2219-2224.
(Farokhi and Hashemi, 2011)
7. Inovation Hub, 2015. Kids say the smartest things. [podcast] Available at: <https://soundcloud.com/innovationhub/kids-say-the-smartest-things> [Accessed 12 November 2021].
(Inovation Hub, 2015)
8. Lucas, C., Bridgers, S., Griffiths, T. and Gopnik, A., 2014. When children are better (or at least more open-minded) learners than adults: Developmental differences in learning the forms of causal relationships. Cognition, 131(2), pp.284-299.
(Lucas, Bridgers, Griffiths and Gopnik, 2014)
9. Quaglia, R., 2015. THE USE OF DRAWING IN PSYCHOTHERAPY. International Journal of Developmental and Educational Psychology, 1(1), pp.465-472.
(Quaglia, 2015)
10. En.wikipedia.org. 2021. Surrealist automatism - Wikipedia. [Accessed 17 November 2021].
(Surrealist automatism - Wikipedia, 2021)
11. Wheeler, S., Passmore, J. and Gold, R., 2020. All to play for: LEGO® SERIOUS PLAY® and its impact on team cohesion, collaboration and psychological safety in organisational settings using a coaching approach. Journal of Work-Applied Management, 12(2), pp.141-157.
(Wheeler, Passmore and Gold, 2020)