Writing
a thesis
Citation: Denning, Jessie Anne, "Story Network Theory, Dramaturgy, and Cinderella: an Interdisciplinary Methodization" (2024). Theses and Dissertations. 1899. https://ir.library.illinoisstate.edu/etd/1899
Abstract
Story network theory (SNT) is an analytical approach designed to form connections between chosen topics as well as to study those connections in their relations to stories, distinct story elements, and one another. This will provide a unifying process through which otherwise niche projects, information, or academic disciplines can be more effectively shared and accurately represented. Dramaturgy and fairy tale studies are utilized as an example application for SNT. Chapter Two involves Judith Roof’s work in “Out of the Bind: From Structure to System in Popular Narratives” as inspiration and introductory example of SNT elements, leading to the second half of the thesis which features Cinderella as the primary focus and case study. Dramaturgs doing research for individual productions or new works can find story network theory to be a helpful tool for communicating information. Along with dramaturgy, SNT is likely to help teachers and their students navigate stories together, other writers or creators, critics, or anyone simply curious enough about a story to do this type of analysis. This thesis is not an end or a means, but an exploratory beginning.
Figures & Findings
The diagrams below are excerpts from my published master's thesis and offer insight into SNT. Most importantly, these examples reflect my passion for the study of relationships and patterns in stories, especially in the context of adaptations. I care greatly about how storytelling flows through generations, cultures, and art forms.
Found on page 20. Excerpt "The “element” terms are bracketed in this equation as an attempt to represent how they “interrelate” and balance the specificity Roof gave in describing the Little Red Riding Hood system and its featured definition of three element types as, “characters, relationships, and objects” with representation of the creative potential for, arguably, endless elements of choice, all in order to focus on greater story inclusivity." (21)
Found on page 21. Excerpt "This depiction more effectively communicates necessary information... Roof herself described something closer to this model when explaining, “The rules of the ‘Red Riding’ system generate points (or nodes) where the operation of the system produces the convergence of elements (character and character, character and setting, character and action, etc.). These points elicit alternatives; …these nodes offer multiple directions... (48)." (22)
Found on page 52. Excerpt "...this model and application of the rule creates a type of through-line which is then depicted relationally to other elements in the diagram. ...Each analytical topic was chosen to represent (even if vaguely) a different discipline, as well as to offer valuable insights for common dramaturgical questions, such as the crucial “Why this play now?” and... "Why is it important? To what concerns of ours, and theirs, does it speak?” and so on (Chemers 108)." (51)
Found on page 20. Excerpt "The “element” terms are bracketed in this equation as an attempt to represent how they “interrelate” and balance the specificity Roof gave in describing the Little Red Riding Hood system and its featured definition of three element types as, “characters, relationships, and objects” with representation of the creative potential for, arguably, endless elements of choice, all in order to focus on greater story inclusivity." (21)