Relevant bibliographies by topics / Storytellers in art

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Storytellers in art'

Author: Grafiati
Published: 4 June 2021
Last updated: 6 February 2022

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Journal articles on the topic "Storytellers in art"

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Lévy, André, Vibeke Børdahl, Jette Ross, Andre Levy, and Vibeke Bordahl. "Chinese Storytellers: Life and Art in the Yangzhou Tradition." Chinese Literature: Essays, Articles, Reviews (CLEAR) 25 (December 2003): 199. http://dx.doi.org/10.2307/3594291.

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Bender, Mark, Vibeke Bordhal, and Ross Jette. "Chinese Storytellers: Life and Art in the Yangzhou Tradition." Asian Folklore Studies 61, no. 2 (2002): 327. http://dx.doi.org/10.2307/1178979.

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Lee, Peace. "Chinese Storytellers: Life and Art in the Yangzhou Tradition (review)." China Review International 10, no. 2 (2003): 376–78. http://dx.doi.org/10.1353/cri.2004.0081.

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Sokolovska, S. F. "ART SPACE OF CONTEMPORARY DRAMA." Вісник Житомирського державного університету імені Івана Франка. Філологічні науки, no. 1(94) (July 7, 2021): 49–57. http://dx.doi.org/10.35433/philology.1(94).2021.49-57.

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Sokolovska S. F.The study of the modern literary situation, in particular, new trends in drama, is a relevant task for literary criticism. The work of playwrights of the 90s of the twentieth century deserves special attention since the literary practice of this generation of artists caused a number of significant shifts in various formally substantive areas of drama. Indicative in this respect are the works of the modern German author R. Schimmelpfennig. In the process of literary study of the play «The Golden Dragon», an analytical model of a literary text has been built, which is correlated with the interpretation model of a literary work. The chronotope and structure of the narrative reflect the artistic picture of the world and the concept of personality. Creating these aspects of artistic reality, the playwright turns to the aesthetics of B. Brecht’s epic theater. First of all, this is the alienation effect, which occurs through seventeen roles that are distributed among five actors. However, the characters are not puppet heroes, human beings without identity, they play the role of storytellers, report events, addressing directly to the audience. The author’s presence is being augmented, which is realized in the epization of a dramatic text, in the author’s direct description of the characters, in the spatio-temporal organization of the work. The reality that the world of a multi-storey building reproduces in the play does not allow a person to realize themselves. Such a manifestation becomes possible in an imaginary world, in human consciousness. The acquisition of personal uniqueness, the establishment of deep, essential connections with other people occurs in an open, unlimited mental space.
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Black, Steven P. "Narrating fragile stories about HIV/AIDS in South Africa." Pragmatics and Society 4, no. 3 (October 28, 2013): 345–68. http://dx.doi.org/10.1075/ps.4.3.04bla.

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This article analyzes narratives about living with HIV/ AIDS amid stigma, using the notion of “fragile stories” to further detail the linguistic practices through which people narrate experiences in danger of not being told. The article is based on fieldwork in 2008 in Durban, South Africa with a Zulu gospel choir in which all group members are living with HIV/AIDS. Close analysis of recorded narratives demonstrates how institutional story frameworks and the normative performance of gender helped storytellers to breach boundaries drawn by stigma. The article consolidates research on narrative tellability and fragile stories, verbal art, and stigma. The article has implications for research amid stigma, advocating linguistic analysis of narrative to emphasize the relationship between stories told and life events involving stigmatization.
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Arrago-Boruah. "Using Verbal Art to Deal with Conflicts: Women’s Voices on Family and Kinship in Kāmākhyā (Assam)." Religions 10, no. 8 (July 26, 2019): 455. http://dx.doi.org/10.3390/rel10080455.

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Analyzing two women’s rituals in which verbal art on family and kinship is prominent, this article explores situations in which tales and songs in Assamese are staged by newly married and about-to-be-married young women. Active participation in stories and song sessions, under the guidance of older storytellers or singers, imparts practical knowledge to young women about the possible ways by which to retaliate against male domination and domestic tensions with one’s mother-in-law. The young women who participate are not merely engaged in the performance but are also encouraged to place themselves in the story. This performance study, based on the ecology of Assam and the annual calendar of festivals at the great temple of the goddess Kāmākhyā, combines the exploration of these narratives with the observation of rituals. It also seeks to question whether social language practices endow women with the power to affirm themselves and with the knowledge, through ritual performance, to deal with conflict. Finally, it shows how the use of an original ritual object—a small house—can be put into perspective with the concept of “house” as understood in particular by Lévi-Strauss.
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Drewniak, Dagmara. "“Storytelling is an ancient art”: Stories, Maps, Migrants and Flâneurs in Arnold Zable’s Selected Texts." Australia, no. 28/3 (January 15, 2019): 109–23. http://dx.doi.org/10.7311/0860-5734.28.3.10.

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Nadine Fresco in her research on exiled Holocaust survivors uses the term diaspora des cendres (1981) to depict the status of Jewish migrants whose lives are forever marked by their tragic experience as well as a conviction that “the[ir] place of origins has gone up in ashes” (Hirsch 243). As a result, Jewish migrants and their children have frequently resorted to storytelling treated as a means of transferring their memories, postmemories and their condition of exile from the destroyed Eastern Europe into the New World. Since “[l]iterature of Australians of Polish-Jewish descent holds a special place in Australian culture” (Kwapisz Williams 125), the aim of this paper is to look at selected texts by one of the greatest Jewish-Australian storytellers of our time: Arnold Zable and analyse them according to the paradigm of an exiled flâneur whose life concentrates on wandering the world, sitting in a Melbourne café, invoking afterimages of the lost homeland as well as positioning one’s status on a map of contemporary Jewish migrants. The analyses of Zable’s Jewels and Ashes (1991) and Cafe Scheherazade (2001) would locate Zable as a memoirist as well as his fi ctional characters within the Australian community of migrants who are immersed in discussing their un/belonging and up/rootedness. The analysis also comprises discussions on mapping the past within the context of the new territory and the value of storytelling.
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Balogun, Lekan. "Poetics of mnemonic strategy : the art of adaptation and the spirituality of being & things in Tunde Kelani’s Saworoide and The Narrow Path." Issue 1 1, no. 1 (June 12, 2018): 53–74. http://dx.doi.org/10.31920/2516-2713/2018/v1n1a4.

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This essay utilises two different but related concepts: “poetics and politics of literary memory” by Lars Eckstein and “adaptation” by Linda Hutcheon, to examine Yoruba narrative convention, characterisation and the “spirituality of Being and object(s)” in two films, Saworoide (1999) and The Narrow Path (2006), by the Nigerian filmmaker, Tunde Kelani, who has distinguished himself as one of the leading contemporary Nigerian and African cinema icons and storytellers. The essay argues that as one of the most significant voices in Nollywood, the history of film and cinema in Nigeria and beyond, Kelani has not only turned the adaptation of materials from page to screen into an art and a veritable source of history, he has also shown ways in which the process functions as the recollection of the fading glorious past of his race. In order to achieve its aim, the essay is divided into two parts: the first part examines the cultural and political considerations of memory and the aesthetics of adaptation in relation to Kelani’s body of works, and the second part discusses the two films by drawing from arguments that are developed in the first part.
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Young, Kelly. "Exploring a Curricula of Visual and Poetic Aesthetics / Exploration de programmes d’esthétisme visuel et poétique." Canadian Review of Art Education / Revue canadienne d’éducation artistique 46, no. 1 (January 29, 2019): 44–59. http://dx.doi.org/10.26443/crae.v46i1.49.

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Abstract: In this article, I explore the role of visual arts in shaping the future direction of the literary arts in my pre-service teacher education classroom. I outline a cross-curricular curriculum by exploring a theoretical and practical relationship between visual and poetic aesthetics. Drawing upon the imagination, we are able to become critical storytellers as we engage in ekphrastic poetics, that is—a poetic response to a form of art. Ultimately, we modify and expand on the practice to include responses to photography or works of art—that are themselves aesthetic responses. Key words: Arts; Education; Imagination; Ekphrastic Poetics; Curriculum. Résumé : J’analyse dans cet article le rôle des arts visuels dans l’orientation future des arts littéraires dans le contexte de ma classe de formation initiale des enseignants. Je donne un aperçu d’un programme transdisciplinaire en analysant le lien théorique et pratique entre l’esthétisme visuel et l’esthétisme poétique. Nous pouvons, grâce à l’imagination, devenir des raconteurs critiques par le biais de la poésie ekphrasique, c’est-à-dire par le biais d’une réaction poétique vis-à-vis une forme d’art. En bout de ligne, nous modifions et élargissons la pratique pour y inclure les réactions face à la photographie ou à des œuvres d’art, qui sont elles-mêmes des interprétations esthétiques.Mots-clés : arts, éducation, imagination, poésie ekphrasique, curriculum.
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Mcevoy, William. "Michael Wilson. Storytelling and Theatre: Contemporary Storytellers and their Art. Houndsmills: Palgrave Macmillan, 2006, 221 p. £14.99. ISBN: 1-4039-0665-6." New Theatre Quarterly 23, no. 2 (May 2007): 189. http://dx.doi.org/10.1017/s0266464x07250092.

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Dissertations / Theses on the topic "Storytellers in art"

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Cemali, Ceylan. "Tight space sages and storytellers : a yielding ethnography of art, street and non-ordinary childhoods in Turkey = Dar alan bi̇lgelri̇ ve anlatanlar sanat, sokak ve alişagelmedi̇k çocukluklar hakkinda kabulcü bi̇r çalişma /." Diss., Digital Dissertations Database. Restricted to UC campuses, 2007. http://uclibs.org/PID/11984.

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Hauch, Linda A. "The storyteller's voice: The dialogic art of Elizabeth Gaskell." Thesis, University of Ottawa (Canada), 1991. http://hdl.handle.net/10393/7872.

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Elizabeth Gaskell was a gifted storyteller. Her letters and her fiction attest to an imagination rooted in oral narrative, marked by the digressiveness and dispersiveness of living speech. She wrote her first novel, she said, as if she were "speaking to a friend over the fire on a winter's night," and the dynamic of telling and listening, the model of the oral narrative act, is paradigmatic of her own narrative. The incorporation of a listener's response into the telling of her story has both formal and semantic implications in Gaskell's fiction. It leads to what one critic has called that "congenial shapelessness of a voice expecting at any moment to be interrupted," and as such it can account, in part, for the shapelessness that has traditionally been deemed a formal weakness in Gaskell's art. As she tells her stories in anticipation of the active, often resistant, response of her listener, the stories take shape accordingly, and traditional norms of narrative with their notions of unity, shapeliness and authorial control must be reconsidered. Gaskell's approach stresses the dynamic of varying, often conflicting, voices in relationship with one another, suggesting her view of language and narrative as active agents in a process of exchange and contestation which calls for a redefinition of the nature of meaning in narrative. The shaping activity that occurs as voices come in contact with and question one another shows meaning to be produced through an open movement of relationship and response, not predetermined by finalized definitions; it is constituted through the transforming act of telling and listening. (Abstract shortened by UMI.)
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Nydelius, Emma, and Julia Trotzig. "We are all storytellers : Att berätta en historia genom fysisk miljö och grafisk design." Thesis, Linnéuniversitetet, Institutionen för marknadsföring (MF), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-85212.

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Storytelling is a marketing tool that works as a media where companies can communicate their history, values and message through stories. In order to meet customer demand for involvement and experiences, companies need to satisfy their emotional needs.  The usage of storytelling as a marketing method has grown and companies use it more and more to externally convey their message. Despite this development, there is a lack in the amount of research on how storytelling is used and how companies should go about applying storytelling in their marketing.  This study aims to develop recommendations for how storytelling can be applied in the physical environment. The aim of the study is to contribute to filling the theoretical gap that currently exists about how storytelling can be used in physical servicescapes. The study focuses on restaurant environments and deals with the physical environment and graphic design elements. Theories of storytelling, service landscape and design have been chosen for the study.  The study is based on the company's perspective and the two research questions read; How can companies work with storytelling within physical environment and graphic design and what factors are crucial in developing a storytelling concept? To create a deeper understanding, a qualitative method has been used where interviews combined with observations have been used as an approach to gather empirical data.  The results show that research is a fundamental step of the process of developing a storytelling concept. Through research, an understanding of the company, customers and competitors is created. Thorough preliminary work is critical for a successful communication of the message that is desired to be expressed to the customer. Other important steps are discussed in detail in the final chapter of the thesis. The study results in a model that includes the fundamental elements of creating an experience through storytelling and shows the different steps in the process of implementing storytelling.
Storytelling är ett marknadsföringsverktyg som fungerar som ett media för företag att förmedla företagshistoria, värdegrund och budskap genom berättelser. För att uppfylla kundens efterfrågan om involvering och upplevelser behöver företagen tillgodose deras känslomässiga behov.   Storytelling har växt som marknadsföringsmetod och företag använder storytelling i allt större utsträckning för att externt förmedla sitt budskap. Trots denna utveckling finns det brist i mängden forskning om hur storytelling används och hur företag ska gå tillväga för att applicera storytelling i sin marknadsföring.    Denna studie riktar sig till att utveckla rekommendationer för hur storytelling kan appliceras inom fysisk miljö. Målet med studien är att bidra till att fylla den teoretiska lucka som just nu existerar om hur storytelling konkret kan användas i fysiska servicelandskap. Studien riktar in sig på restaurangmiljöer och behandlar den fysiska miljön samt grafiska designelement. Till studiens referensram har teorier inom storytelling, servicelandskap och design valts.    Studien utgår från företagets perspektiv och de två forskningsfrågorna lyder ; Hur kan företag arbeta med storytelling inom fysisk miljö och grafisk design och vilka faktorer är avgörande vid utveckling av storytelling-koncept? För att skapa en djupare förståelse har en kvalitativ metod använts där intervjuer kombinerat med observationer har använts som tillvägagångssätt för att samla in empiri.   Resultaten som tagits fram visar på att research är en fundamental grundsten i processen att utveckla ett storytelling-koncept. Genom research skapas en förståelse för företaget, kunderna och konkurrenterna. Ett väl genomarbetat förarbete är kritiskt för en framgångsrik förmedling av det budskap som önskas uttryckas till kunden. Övriga grundstenar presenteras ingående i uppsatsens sista kapitel. Studien resulterar i en modell som består av grundstenarna för hur man skapar en upplevelse genom storytelling.
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Erlvik, Tina, and Cajsa Hermansson. "Where Are All the Storytellers in Education Today? The Benefits of Creative Writing in the ESL Classroom." Thesis, Malmö universitet, Malmö högskola, Institutionen för kultur, språk och medier (KSM), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-40444.

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In the current study, we explore and present different advantages creative writing can have on ESL and EFL-students’ writing and their attitude towards writing. We have also discovered some problems ESL or EFL-learners can come across in terms of writing in another language. In the syllabus for English in upper secondary school, it is stipulated that the students should be able to use their English in different situations. However, this is not always as easy as it might seem. Many ESL and EFL students claim that they feel anxious when it comes to writing in English, especially in an academic way, and do not feel confident enough with their own language production. This self-doubt is not unique for a specific country or region, it occurs all over the globe, and our Swedish students are certainly not an exception. Research shows that by practicing writing in a more creative and free way, the students can develop their language in a more relaxed setting, and at the same time increase their confidence and self-esteem regarding their language production.
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Khosravi, Noori Behzad. "The black eyes of Bruce Lee : From Normative to Descriptive & Prescriptive Multiculturalism." Thesis, Konstfack, Institutionen för Konst (K), 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-3334.

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Multiculturalism or cultural pluralism is a policy, ideal, or reality that emphasizes the unique characteristics of different cultures in the world, especially as they relate to one another in immigrant receiving nations. The word was first used in 1957 to describe Switzerland but first came into common currency in Canada in the late 1960s2. It quickly spread to other English- speaking and western developed countries.Although There is no clear link between the multiculturalism and the term that so called Balkanization, But this research tries to present the similar possibility of Multiculturalism discourse and Balkanization as a geopolitical term. In fact this research believes that   balkanization is The same idea of multiculturalism in practice, when it comes to the idea of state. On the other hand Vijay Parshad in his book Everybody was Kung Fu fighting  says that "I am interested in “how an investigation of kung fu can help us move from a limited multicultural framework into an antiracist, polycultural one.” This is the research and video that has been made about Bruce lee statue in Mostar, the divided city in Bosnia and Herzegovina", as a method of working in hyper- politicized society.
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Ramos, Maria Isabel Alves 1977. "Contadora de histórias : elaboração de uma trajetória pessoal." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/253943.

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Orientador: Adilson Nascimento de Jesus
Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação
Made available in DSpace on 2018-08-25T03:38:03Z (GMT). No. of bitstreams: 1 Ramos_MariaIsabelAlves_M.pdf: 6052190 bytes, checksum: e248aa573c9f66e719217811d189fdac (MD5) Previous issue date: 2013
Resumo: Contar histórias pode ter sido uma das primeiras manifestações de expressão da subjetividade humana no processo do surgimento da linguagem, e os mitos e as histórias caminham ao lado da humanidade desde tempos remotos. Como contadora de histórias, há tempos trago comigo alguns questionamentos como "Por que essas narrativas continuam presentes até os dias de hoje?", "Por que as histórias despertam tantos sentimentos e emoções em quem as ouvem?". Esses e outros questionamentos me levaram a reflexões que resultaram no desenvolvimento deste trabalho. Os conteúdos aqui apresentados têm a intenção de promover um passeio sobre elementos míticos inseridos no contexto das histórias que se manifestam e estão interligados ao ato da contação. São apresentadas reflexões sobre a importância e necessidade de contar histórias e ouvi-las, a fim de despertar sentimentos e emoções e desenvolver a imaginação. Também é exposta a necessidade de uma preparação e consciência corporal do contador para que o mesmo possa qualitativamente se comunicar melhor, propondo assim, o contador como um interlocutor de mitos e histórias, esperança desta dissertação
Abstract: Telling stories may have been one of the first manifestations of expression of human subjectivity after the emergence of language and myths. Stories have been a part of humanity since remote times. As a story teller, there are times I bring with me some questions such as "Why are these narratives still present until today?" "Why do stories evoke so many feelings and emotions in those who hear?" These and other questions have led me to reflections that have resulted in the development of this work. The content presented here is intended to promote a stroll on mythical elements inserted in the context of stories that manifest and are linked to the act of works. This is being presented to promote reflection on the importance and need to tell stories and listen to them, in order to arouse feelings and emotions and develop the imagination. This also exposes the need for preparation and personal awareness of the story teller so that the story teller can qualitatively communicate better. It is the hope of this dissertation to thus propose that the story teller be considered as an interlocutor of myths and stories
Mestrado
Educação, Conhecimento, Linguagem e Arte
Mestra em Educação
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Anderson, Harper D. "Livestrong or Lie Hard: A Pentadic Analysis of Deception and Reputation Management in 'The Armstrong Lie'." BYU ScholarsArchive, 2017. https://scholarsarchive.byu.edu/etd/6271.

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Kenneth Burke's pentadic analysis has been a staple within the context of rhetorical criticism since the early days of critical communication studies. Throughout the years it has evolved from a heavy text criticism to application to film and documentary. The Armstrong Lie is another documentary that highlights the controversial actions of former seven-time Tour de France champion, Lance Armstrong. This film provides an opportunity in which the pentadic analysis can be applied in order to really dissect the message that is being told. Through application of the pentadic analysis to The Armstrong Lie it is possible to identify the true motivation of the documentary's director, Alex Gibney. The present study seeks to identify the true message being told through the narrative of the documentary. Alex Gibney's motivations come under question as to whether or not he was exonerating himself by lessening the controversy of what Lance Armstrong had done by cheating in a highly competitive sport by characterizing him more as a product of his environment.
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Ceschi, Cristiana Souza. "A Menina, o Cavalo e a Chuva: A arte de contar histórias e a cibercultura." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/27/27160/tde-19012015-163724/.

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Este trabalho é uma reflexão acerca da Arte de Contar Histórias como uma importante ferramenta artística e educativa na formação do ser humano de todas as épocas, vista especialmente em suas relações com as questões trazidas pelo universo contemporâneo da cibercultura. Ao problematizar e dialogar com a emergência e complexidade desse universo, a função social do contador de histórias, sua arte e seu papel formador encontram visões divergentes, antagônicas e polêmicas trazendo assim discussões pertinentes para seu lugar e importância na vida atual. O que é importante saber para contar histórias no mundo de hoje? Qual a relevância da arte de contar histórias em um mundo mediado por telas? Qual o impacto da cibercultura no universo do contador de histórias e o impacto do trabalho do contador de histórias na Era Digital? Tais questões foram discutidas partindo de imagens significativas que serviram de metáforas para o aprofundamento dos problemas bem como do depoimento de contadores e ouvintes de histórias, teóricos da comunicação, antropólogos, filósofos, poetas e educadores.
This work is a reflection about the Art of Storytelling as a major artistic and educational tool in the educational process of human beings of all ages, especially seen in its relations with the questions raised by the contemporary universe of cyberculture. When discussing and questioning the emergence and complexity of this universe, the social role of storyteller, his art and his educational role, we came across different, antagonistic and controversial sights bringing relevant discussions to his place and importance in the present life. What is important to know in order to tell stories in today\'s world? What is the relevance of storytelling in a world mediated by screens? What is the impact of cyberculture in the storytelling universe and the impact of the storyteller\'s work in the Digital Age? Such issues were discussed starting from meaningful images that served as metaphors for the deepening of the problems as well as the testimony of storytellers and listeners, communication theorists, anthropologists, philosophers, poets and educators
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Dreher, Gudrum. "Stories are maps, songs are caches and trails : the verbal art of Haayas, Kingagwaaw, Gumsiiwa, Ghandl and Skaay - five master mythtellers from Haida Gwaii." Thesis, 2002. http://hdl.handle.net/2429/14999.

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This dissertation is a fragment of a larger -project that explores the works of five major oral mythtellers from Haida Gwaii, whose myths were transcribed in 1900 and 1901 by John Swanton: Haayas of the Hliiyalang Qiighawaay (Isaac Haias), Kingagwaaw of the Ghaw Sttlan Llanagaay (Walter Kingagwo), Gumsiiwa of the Xhiida Xhaaydaghaay (Job Moody), Ghandl of the Qayahl Llaanas (Walter McGregor) and Skaay of the Qquuna Qiighawaay (John Sky). While this larger frame constitutes the overall context, the thesis itself focuses on several myths that in their turn form only a small part of a larger whole, a part that is representative and unique at the same time: Skaay's Qquuna Cycle. The focus of the dissertation thus mirrors the structure of Skaay's work, which consists - to use one of Skaay's central images - of a series of boxes within boxes. The method of investigation is polyphonic, that is, a variety of different voices and discourses - including academic monologues, fictional dialogues, narratives, poems, autobiographical accounts, and various quotations - combine in order to do justice not only to the complexity of the myths but also to their inherent openness that allows a myriad of different readings, each of which depends on the concrete situation in which the myth is read or told (including social, historical and political conditions), the cultural background of the listener / reader and his or her familiarity with Haida culture, the individuality and predispositions of the listener/reader, and much more. What is in the innermost box of the myths, the dissertation concludes, will be something different for each listener/reader. Since the most important voice in the polyphonic choir is that of the mythteller, Skaay in this case, the analyzed myths are quoted in full length in Haida. Most of them are accompanied, for copyright reasons, not by Robert Bringhurst's poetic translations (which are easily accessible in Skaay's Being in Being) but by a modified version of Swanton's translations from 1905.
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Lemos, Maria Isabel Machado. "Contadores de histórias: a performance como construção da imaginação." Master's thesis, 2017. http://hdl.handle.net/10362/30534.

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A presente investigação trata do acompanhamento do processo de profissionalização da narração oral em território português a partir de uma perspectiva performática, que busca reconhecer o estabelecimento de uma nova prática artística e suas características enquanto atividade profissional nos centros urbanos. A etnografia conta com a participação direta de quatro narradores orais, além do registro de diferentes performances, festivais e entrevistas com profissionais e também membros da assistência. Acompanhar um processo cultural como este significa refletir sobre o processo comunicativo e o estabelecimento de relações sociais no mosaico urbano, além de retratar as expressões de criatividade e agencialidade dos indivíduos frente à tradição. Sendo o limite uma zona de interface, é exatamente nele que se desenvolvem questionamentos acerca da dialética entre o tradicional e o inovador; o coletivo e o individual. Ouvir e contar histórias, a nível profissional ou não, configura uma forma de nos posicionarmos no mundo, assim como de estabelecermos referenciais e resgatarmos parte da memória coletiva. O retrato deste processo de criação e resgate é o produto desta pesquisa antropológica.
This research aims to investigate the process of profissionalization in storytelling in Portugal from a performance perspective in order to recognize the establishment of a new artistic practice and its characteristics as a professional activity within urban areas. The ethnography is based on the interaction and work with four professional storytellers, besides several performances, festivals and interviews with other artists and public. To follow a cultural process such as this means to reflect upon the communicative process and the establishment of social relations in urban areas, as well as portraying expressions of creativity and agency of individuals facing tradition. Since the limit is always an interface area, it is there where questionings concerning the dialetics between traditions and innovations, individual and collective lie. Listening and telling stories, at a professional level or not, is a way of positioning ourselves in the world the same way to establish references and restore parts of our social memory. The portray of this process of creation and redemption is the product of this anthropological research.
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Books on the topic "Storytellers in art"

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Bahti, Mark. Pueblo stories & storytellers. Tucson, Ariz: Rio Nuevo Publishers, 1996.

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Pueblo stories & storytellers. 3rd ed. Tucson, Ariz: Rio Nuevo Publishers, 2010.

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Storytelling and theatre: Contemporary storytellers and their art. Basingstoke [England]: Palgrave Macmillan, 2006.

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Storytellers and other figurative pottery. West Chester, Pa: Schiffer Pub., 1990.

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Storytellers and other figurative pottery. 2nd ed. Atglen, PA: Schiffer Pub., 1999.

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Michael, Wilson. Storytelling and theatre: Contemporary professional storytellers and their art. New York: Palgrave Macmillan, 2005.

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Børdahl, Vibeke. Chinese storytellers: Life and art in the Yangzhou tradition. Boston: Cheng & Tsui Co., 2002.

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Yashinsky, Dan. The art of storytelling: A guide for parents, teachers, librarians & other storytellers. Toronto: Storytellers School of Toronto, 1989.

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1940-, Raspa Richard, and Todesco Clementina, eds. Italian folktales in America: The verbal art of an immigrant woman. Detroit: Wayne State University Press, 1985.

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Mathias, Elizabeth. Italian folktales in America: The verbal art of an immigrant woman. Detroit: Wayne State University Press, 1988.

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Book chapters on the topic "Storytellers in art"

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Paeez, Vahid. "Storytellers That We Are." In I Think and Write, Therefore You Are Confused, 83–94. Boca Raton: CRC Press, 2021. http://dx.doi.org/10.1201/9781003194835-16.

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Grytzmann, Oliver. "Storyteller ohne Geschichten." In Storytelling mit der 3-Akt-Struktur, 95–102. Wiesbaden: Springer Fachmedien Wiesbaden, 2017. http://dx.doi.org/10.1007/978-3-658-18024-9_8.

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Olaussen, Ingvild Olsen, and Lise Hovik. "Artistic exploration of a storyteller’s expressive repertoire in events with toddlers." In Performative Approaches in Arts Education, 71–80. Abingdon, Oxon ; New York, NY : Routledge, 2019. | Series: Routledge research in education: Routledge, 2019. http://dx.doi.org/10.4324/9780429444159-6.

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Mondani, Paola. "Ad alta voce: l’essenza fonico-acustica e gestuale del cursus nel Decameron." In Intorno a Boccaccio / Boccaccio e dintorni 2019, 53–76. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-236-2.04.

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Moving from the studies carried out by Alfredo Schiaffini and Vittore Branca on Boccaccio’s reuse, in its prosaic masterpieces (the Filocolo, the Elegy of Madonna Fiammetta and the Decameron), of mediaeval rhetorical-rhythmics rules, the essay offers an analysis of cursus applied to Decameron, realized by separating the text into three parts: introductive-proemial section, narrative section and dialogue section. The rhetorical devices are more strictly employed both in the first part, when the author or the internal storytellers speak, and into speeches given by characters in the middle of the narration. This, according to the original function of Greek cursus, would suggest its use in Boccaccio’s prose as a mimetic device, that replicates the oratory declamation.
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Brower, Lowell. "Mice, Cows, and Real Rwandans." In The Art of Emergency, 280–308. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190692322.003.0012.

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As an alternative to NGO- or state-initiated arts, this chapter explores traditional oral performance genres mobilized by Kinyarwanda-speakers from DR Congo resettled in a Rwandan refugee camp. Storytellers and poets find ways to unite their communities, obliquely re-narrate their histories, endure amid “emergency conditions,” and assert their agency in an environment otherwise bent toward defining them as passive refugees and victims. Close linguistic attention to the moments and manner in which these stories and poems are performed reveals that oral traditions are not simply sources of automatic authenticity in which to couch development messages, but rather the very means by which substantive demands for development can be articulated and promulgated. Like any other foreign intervention, arts projects initiated amid humanitarian crises would do best to begin by listening to local voices.
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Nova, Ildiko. "ROMA STORYTELLER." In The Art of Being Dangerous, 37. Universitaire Pers Leuven, 2021. http://dx.doi.org/10.2307/j.ctv1ccbg2k.9.

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"There Are Storytellers Everywhere." In We Travel the Space Ways, 343–54. transcript-Verlag, 2019. http://dx.doi.org/10.14361/9783839446010-023.

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Duggan, Joseph J. "The Art of the Storyteller." In The Romances of Chretien de Troyes, 271–310. Yale University Press, 2001. http://dx.doi.org/10.12987/yale/9780300083576.003.0006.

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Bishop, Sarah C. "The Search for Connection Online." In Undocumented Storytellers, 107–30. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190917159.003.0005.

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This chapter takes a close look at immigrant activism online. Because many undocumented immigrants are prohibited from higher education and professional employment, much of their narrative activism has found its home on the internet, where production costs are low, amateur professionalism is the norm, and the option for anonymity is still vaguely present. Digital reclaimant narratives serve more than a single purpose, and the narrators demonstrate how the act of story sharing online may serve as a path to self-actualization, help to mitigate one’s fear and uncertainty, offer a means for communal coping, or satisfy a sense of responsibility. A close look at these varied and profound outcomes reveals digital reclaimant narratives as powerful tools in the hands of individuals who in other contexts face constant limitations. But it is clear that creating reclaimant narratives in digital contexts incites particular hazards, including the difficulty of gaining an audience for heterogeneous perspectives, the normalization of free labor, the facilitation of hateful and xenophobic responses, and the perpetuation of the confirmation bias.
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Bishop, Sarah C. "Introduction." In Undocumented Storytellers, 1–26. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190917159.003.0001.

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This chapter introduces the role of storytelling in the immigrant rights movement. It presents the questions that animate the remainder of the book: How and why are young undocumented activists in New York choosing to use their stories as activism? What are the prospects and limitations of storytelling for developing a public and political voice? How do immigrant-produced mediated narratives abate the effects of isolation for undocumented immigrants and facilitate communal coping? By what means do immigrant activists confront foundational notions that predispose many US citizens to believe that the United States is simultaneously a result of the labors and dreams of an ideal class of immigrants and the victim of a new class of unworthy and illegal job stealers who refuse to “get in line” for citizenship? The chapter offers an overview of Walter Fisher’s narrative paradigm and explicates how this paradigm is applied to the context of undocumented storytelling. The chapter contains a literature review, a detailed description of the methods of oral history, critical-rhetorical ethnography, and narrative analysis, and concludes with a chapter outline.
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Conference papers on the topic "Storytellers in art"

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Yang, Pengcheng, Fuli Luo, Peng Chen, Lei Li, Zhiyi Yin, Xiaodong He, and Xu Sun. "Knowledgeable Storyteller: A Commonsense-Driven Generative Model for Visual Storytelling." In Twenty-Eighth International Joint Conference on Artificial Intelligence {IJCAI-19}. California: International Joint Conferences on Artificial Intelligence Organization, 2019. http://dx.doi.org/10.24963/ijcai.2019/744.

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The visual storytelling (VST) task aims at generating a reasonable and coherent paragraph-level story with the image stream as input. Different from caption that is a direct and literal description of image content, the story in the VST task tends to contain plenty of imaginary concepts that do not appear in the image. This requires the AI agent to reason and associate with the imaginary concepts based on implicit commonsense knowledge to generate a reasonable story describing the image stream. Therefore, in this work, we present a commonsense-driven generative model, which aims to introduce crucial commonsense from the external knowledge base for visual storytelling. Our approach first extracts a set of candidate knowledge graphs from the knowledge base. Then, an elaborately designed vision-aware directional encoding schema is adopted to effectively integrate the most informative commonsense. Besides, we strive to maximize the semantic similarity within the output during decoding to enhance the coherence of the generated text. Results show that our approach can outperform the state-of-the-art systems by a large margin, which achieves a 29\% relative improvement of CIDEr score. With additional commonsense and semantic-relevance based objective, the generated stories are more diverse and coherent.
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