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Journal articles on the topic 'Storytellers in art'

Author: Grafiati

Published: 4 June 2021

Last updated: 6 February 2022

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Junik-Łuniewska, Kamila. "Towards the Visual." Politeja 16, no. 2(59) (December 31, 2019): 149–60. http://dx.doi.org/10.12797/politeja.16.2019.59.10.

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This paper examines the new forms and genres of storytelling in India with an emphasis on the visual aspect of the literary narration. It begins with a remark on the literary and performing tradition of India, where stories were told with an accompaniment of visuals: single or sequential images, scroll paintings, acting etc. With time, storytellers and poets started including modern-day, contemporary themes and problems into their narratives, which not only brought changes in the repertoire of stories, but also, quite naturally, caused development in terms of genres and ways of expression. The present study is based on graphic novels by Sarnath Banerjee and Vishwajyoti Ghosh, with reference to contemporary Hindi literature and some examples from visual art. The author seeks to answer the following questions: 1) what is the “new language” of a literary work in relation to the visual, 2) how – and by which means – does the literature reflect the reality of the new generations, 3) how is a story narrated through images. In conclusion, some observations are made on mutual influences between literature and audio-visual arts.

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12

Baker, Carolyn, and Greer Cavallaro Johnson. "Stories of Courtship and Marriage: Orientations in Openings." Narrative Inquiry 10, no. 2 (December 31, 2000): 377–401. http://dx.doi.org/10.1075/ni.10.2.05bak.

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This paper presents initial analyses of the opening sequences of a number of courtship and marriage stories told by elderly Italian-Australians. Using a conversation-analytic perspective, the paper contributes to the study of how storytelling is a co-construction of teller and audience. The focus is on how the storyteller(s) and the interviewer, referring to a list of topics that might be covered in the story, negotiate how the story should be told. These instances of conversational storytelling differ from those in naturally occurring settings, since the storytelling is being recorded; further, they are distinctive because the storytellers know that the audio-recordings will be later transformed into chapters in a book. Therefore, there is a distinctive “for the record”orientation by both storyteller and interviewer, as might occur with oral history research. This paper explicates what might be involved in getting stories started under such circumstances. Some of the theoretical issues that arise from the analysis include the status, for storytellers, of the assumption that there is a correct or true story that represents what once happened. The orientation taken to analysis of the storytelling, however, is concerned with the “act of telling”(cf. Bamberg, 1997). This paper thus contributes to a pragmatic approach to narrative and narrative analysis.

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13

Izotov, Mukhtar Z., and Kuanysh U. Alzhan. "Axiological Vectors of Human and Society Meaning-of-life strategies in the Poetry of Kazakh Zhyrau." Voprosy Filosofii, no. 12 (2020): 209–18. http://dx.doi.org/10.21146/0042-8744-2020-12-209-218.

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The article reveals the place of the poetry of medieval Kazakh storytellers-zhyrau in the system of world heroic poetry, which glorified the knightly ethos and glorified real and mythical heroes. It is shown that, in contrast to the ideal of the European knight, in the ethos of the steppe warrior-batyr, as he appears in the poetry of zhyrau, a harmonious combination of cultures of rivalry and cooperation, striving for personal superiority and free cooperation to achieve common goals is achieved. In the very origins of the oral mythopoetic culture of the Kazakhs, in proverbs and sayings, legends and epics, there is a reflective and ideological beginning, which predetermines its free character, open to the world and other cultures, and at the same time self-depth, creative self-appeal. This distinctive feature of the traditional culture of the Kazakh people and its spiritual, moral, intellectual development, the formation of national identity is clearly manifested both in oral folk art and in the philosophical reflections of outstanding Kazakh thinkers throughout the centuries-old cultural history of the Great Steppe. The heroic epic becomes a moral-forming factor of life since it sets socially and spiritually sanctioned normative personality patterns, produces worthy of imitation integral models of behavior and lifestyle.

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14

Ferens, Dominika. "Narrating Chaos: Theresa Hak Kyung Cha’s "DICTEE" and Korean American Fragmentary Writings." Anglica Wratislaviensia 57 (October 4, 2019): 25–35. http://dx.doi.org/10.19195/0301-7966.57.2.

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In The Wounded Storyteller: Body, Illness, and Ethics, sociologist Arthur Frank uses narratology to typologize the stories people tell about illness. Next to teleological stories of survival, which “reassure the listener that however bad things look, a happy ending is possible”, Frank discusses “the chaos narrative” in which “events are told as the storyteller experiences life: without sequence or discernible causality” 97. While the storytellers discussed by Frank mostly suffer from physical ailments and traumas, I would argue that the chaotic mode of telling also characterizes texts that explore other kinds of traumas, including those related to displacement and shaming experienced by several generations of Koreans and Americans of Korean descent. Drawing on affect studies, I analyze Theresa Hak Kyung Cha’s DICTEE 1982 alongside two essays, by Grace M. Cho and Hosu Kim published in The Affective Turn: Theorizing the Social 2007, all of which use the collage form to challenge the expectation that “in life as in story, one event [leads] to another” Frank 97. The speech act is foregrounded in all three texts; it is de-naturalized, deformed, shown as a recitation of prescribed language, and repeatedly interrupted. Nonetheless, as Frank suggests, “the physical act becomes the ethical act” because “to tell one’s life is to assume responsibility for that life.” It also allows others to “begin to speak through that story” xx–xxi.

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15

Bender, Nathan E., and Raphael James Cristy. "Charles M. Russell: The Storyteller's Art." Journal of American Folklore 120, no. 477 (July 1, 2007): 374. http://dx.doi.org/10.2307/20487571.

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16

Sivananda, Mantri, and Raphael James Cristy. "Charles M. Russell: The Storyteller's Art." Western Historical Quarterly 36, no. 4 (December 1, 2005): 532. http://dx.doi.org/10.2307/25443267.

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17

Crisler, Jesse S., and Barbara Hochman. "The Art of Frank Norris, Storyteller." American Literature 61, no. 3 (October 1989): 481. http://dx.doi.org/10.2307/2926845.

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18

Jones, Lucille, and Gayl Jones. "from The Storyteller's Art: A Literary Conversation." Callaloo 26, no. 3 (2003): 709–19. http://dx.doi.org/10.1353/cal.2003.0091.

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19

Bender, Nathan E. "Charles M. Russell: The Storyteller's Art (review)." Journal of American Folklore 120, no. 477 (2007): 374–75. http://dx.doi.org/10.1353/jaf.2007.0045.

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20

Hodgkinson, Dan. "National Storytellers." Journal of Southern African Studies 43, no. 4 (May 22, 2017): 843–45. http://dx.doi.org/10.1080/03057070.2017.1328034.

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21

Allen, Dick. "Storytellers & Mystics." Hudson Review 42, no. 2 (1989): 321. http://dx.doi.org/10.2307/3851537.

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22

Jarman, Mark. "Singers and Storytellers." Hudson Review 39, no. 2 (1986): 334. http://dx.doi.org/10.2307/3856833.

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23

al-Khawaldeh, Samira. "Naǧīb al-Kīlānī and the Islamic Storyteller." Arabica 64, no. 5-6 (November 7, 2017): 706–41. http://dx.doi.org/10.1163/15700585-12341472.

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Abstract Naǧīb al-Kīlānī is an Egyptian novelist and theorist whose work acquires more importance by virtue of its unique position as a literary manifestation of the thought and worldview of the Society of the Muslim Brotherhood. To embark on such a writing career in Egypt at mid-twentieth century meant first the antagonisation of certain power centers, leading to political jail, and ultimate diaspora; and second addressing the task of transforming the rudimentary conjecturing about an Islamic theory of art into a somewhat systematic form of theorization. The study thus aims to investigate al-Kīlānī’s contribution to the foundation of a theory of Islamic novel, focusing on his approach to the dilemmas and ambiguities surrounding the role of the modern Islamic novelist such as maintaining the intricate balance between the demands of religion and the freedom of art.

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24

Trencsényi, Katalin. "Storytellers: The Factory’s Dramaturgy." TDR/The Drama Review 60, no. 3 (September 2016): 39–63. http://dx.doi.org/10.1162/dram_a_00570.

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The London-based Factory theatre company is renowned for its experiments with an improvisational approach to classics, chance dramaturgy, and a playful relationship between performers and audience. The dramaturgies of three Factory productions, Hamlet (2007), The Seagull (2009), and The Odyssey after Homer (2012), create porous structures that allow classics to be rendered within postdramatic theatre.

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25

Brennan, Stephen C. "The Art of Frank Norris, Storyteller by Barbara Hochman." Studies in American Fiction 19, no. 1 (1991): 124–25. http://dx.doi.org/10.1353/saf.1991.0011.

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26

Băniceru, Ana Cristina. "Tristram Shandy – The Playful Art of Seduction." Romanian Journal of English Studies 10, no. 1 (March 1, 2013): 199–207. http://dx.doi.org/10.2478/rjes-2013-0018.

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Abstract The main concern of a skilled storyteller is not to report a sequence of events, but to tell a ‘tellable’ story and to ward off the question ‘so what?’ coming from the listener. However, what happens when the story has little to recommend it as ‘tellable’? This is the case of Tristram Shandy who uses sexuality as elaborate rhetorical strategy to constantly tease and arouse his narratees’ imagination.

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Sidky, M. H., W. L. Heston, and Mumtaz Nasir. "The Bazaar of the Storytellers." Asian Folklore Studies 49, no. 2 (1990): 365. http://dx.doi.org/10.2307/1178064.

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28

Овчинникова, Юлия Сергеевна. "The Life of Telengit Musical Folklore in Yazula Village in Conditions of Transitivity." ТРАДИЦИОННАЯ КУЛЬТУРА, no. 1 (April 24, 2021): 39–52. http://dx.doi.org/10.26158/tk.2021.22.1.003.

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В статье рассматривается специфика бытования музыкального фольклора теленгитов селения Язула Улаганского района Республики Алтай в условиях транзитивности (по материалам полевых исследований 2003 и 2019 гг.). Музыкальный фольклор теленгитов обособленного селения характеризуется полистадиальностью, «вероятностной» (поливекторной, нелинейно меняющейся) природой развития, увеличением культурного разнообразия и трансформацией моноязычной культурной среды в многоязычную в лингвистическом, музыкальном и бытовом планах. Каналами инокультурного влияния на интонационное поле теленгитской музыкальной традиции сегодня выступают радио, Интернет и телевидение, сельский клуб, доступная транспортная связь с городом, международные курултаи сказителей . При расширении сферы бытования различных форм фольклоризма (советского, российского, алтайского) песенная фольклорная традиция теленгитов продолжает существовать исключительно в обрядовом контексте (закрыто от глаз приезжих). Владение каем - особым типом интонирования, характерным для тюрков Горного Алтая, маркирующим их этнокультурную идентичность, - востребовано сегодня со стороны туристов, региональной администрации и общественности, что ведет к миграции носителей этой традиции из обособленных селений в центральные. Трансформация искусства кая обусловлена единым процессом глобализации/глокализации, переходом от традиционного контекста бытования к сценическому фольклоризму, проникновением инокультурных интонационных форм в звуковой ландшафт теленгитских селений. This article focuses on the current state of Telengit music culture in Yazula Village (Ulagan Region, Republic of Altai) in conditions of transitivity. The material presented is based on field studies in 2003 and 2019. The Telengit musical folklore of this territorially isolated village is characterized by polystadiality; the “probabilistic,” non-linear nature of its development; by an increase of cultural diversity; and by the transformation of a monolingual environment into a multi-lingual one in linguistic, musical and ontological terms. Channels for outside cultural influence on the intonational field of the Telengit musical tradition include: radio, television, the Internet, the local club, transportation to the city; and International Kurultai of storytellers. In the presence of different forms of folklore (Soviet, Russian, Altaian) performed in the village club, the village folksong tradition continues to live on exclusively in a ritual context (inaccessible to outsiders). The mastery of kai as a specific type of intonation, typical for the Turks of Gorny Altai, that marks their ethnocultural identity, is in demand today by tourists, regional administrations and the public. This leads to the migration of carriers of this tradition out of isolated settlements into more central ones. The transformation of the art of kai in modern Telengit culture is conditioned by the process of globalization/glocalization; by the change of kai’s function in a traditional context to that of staged folklorism; and by the penetration of other cultural intonational forms into the soundscape of Telengit villages.

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Hembrough, Tara. "From an Obscured Gaze to a Seeing Eye? Iris as Victim, Villain, and Avenger in the Role of Writer-as-Assassin in Margaret Atwood’s The Blind Assassin." SAGE Open 7, no. 1 (January 2017): 215824401668893. http://dx.doi.org/10.1177/2158244016688933.

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In the postmodern period, first-person-limited, unreliable, female narrators may have a greater difficulty in “seeing” and, thus, depicting their landscapes than previous eras’ storytellers. Iris (Chase) Griffen, narrator-protagonist of Margaret Atwood’s The Blind Assassin, spins a complicated, self-reflective text exploring her attempts at composing a world vision that consumes the novel’s larger part. Iris’s search for answers about her identity as well as that of other characters may leave readers in the lurch, waiting for their “story,” in Ross Chambers’s terms, as an agreed-upon product. Nonetheless, having amassed assorted textual materials, Iris stockpiles the ammunition she needs to do her “job” as a storyteller-assassin who creates and destroys, as characters suffer a fall. Assuming guises dependent on location, Iris enacts the conflicting roles of a victim, social product, villain, and blind assassin to assault her culture’s masculinist architectures that bar women’s points of views in opposition to what Henry James presents as the unending panoramas offered by his metaphorical “House of Fiction.” Iris’s struggle to construct her life story mirrors the difficulty many women face more broadly, in which they face competing, irreconcilable values. In the novel, Iris’s ability to play differing parts with equal aplomb compels readers to view her as a complex narrator, constructing and assassinating fellow characters to render her female descendants’ fates as open ended.

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30

Jarman, Mark, and Bert O. States. "The Primal Storyteller." Hudson Review 48, no. 1 (1995): 161. http://dx.doi.org/10.2307/3852074.

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31

Linden, George W., and Gerald Mast. "Howard Hawks, Storyteller." Journal of Aesthetic Education 22, no. 3 (1988): 117. http://dx.doi.org/10.2307/3333061.

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32

Otte, Georg. "O Narrador sem aura ou pensando a reprodutibilidade oral em Benjamin." Aletria: Revista de Estudos de Literatura 2 (October 31, 1994): 123–36. http://dx.doi.org/10.17851/2317-2096.2..123-136.

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This is a study of Walter Benjamin's essay "The storyteller" starting from the concept of the aura, as it was developed by the same author in his essay "The Work of Art in the Age of its Mechanical Reproductibility". We try to show that the polarity between distance and nearness, which distinguishes the auratical work of art from the nonauratical, is also determinant for Benjamin' s view of the oral story.

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33

Schimmel, Annemarie, Wilma Heston, and Mumtaz Nasir. "The Bazaar of the Storytellers." Journal of the American Oriental Society 111, no. 1 (January 1991): 192. http://dx.doi.org/10.2307/603808.

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34

Lindholm, Charles, W. L. Heston, and Mumtaz Nasir. "The Bazaar of the Storytellers." Journal of American Folklore 104, no. 412 (1991): 241. http://dx.doi.org/10.2307/541252.

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35

Tarran, Brian. "“Hans was a storyteller; he turned statistics into a performing art”." Significance 14, no. 2 (April 2017): 6–7. http://dx.doi.org/10.1111/j.1740-9713.2017.01011.x.

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Otte, Georg. "O Narrador sem aura ou pensando a reprodutibilidade oral em Benjamin." Aletria: Revista de Estudos de Literatura 2 (October 31, 1994): 123. http://dx.doi.org/10.17851/2317-2096.2.0.123-136.

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This is a study of Walter Benjamin's essay "The storyteller" starting from the concept of the aura, as it was developed by the same author in his essay "The Work of Art in the Age of its Mechanical Reproductibility". We try to show that the polarity between distance and nearness, which distinguishes the auratical work of art from the nonauratical, is also determinant for Benjamin' s view of the oral story.<br /><br />

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Bermingham, Katherine C. "Seductress, Storyteller, and Subject." New German Critique 45, no. 1 (February 1, 2018): 155–79. http://dx.doi.org/10.1215/0094033x-4269886.

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Paramitha, Anak Agung Istri Ita, Made Windu Antara Kesiman, and I. Ketut Resika Arthana. "Pengembangan “Digital Interactive Storyteller” Berbasis Android Untuk Tunanetra." Jurnal Nasional Pendidikan Teknik Informatika (JANAPATI) 3, no. 3 (December 8, 2014): 142. http://dx.doi.org/10.23887/janapati.v3i3.9824.

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Storytelling merupakan suatu kesenian yang dilakukan secara lisan dengan alat atau tanpa alat untuk menyampaikan sesuatu yang dapat berupa pesan, informasi ataupun cerita yang menghibur. Storytelling memiliki banyak manfaat dalam perkembangan anak, salah satunya adalah mengembangkan imajinasi anak. “Digital Interactive Storyteller” merupakan aplikasi storytelling dengan menggunakan perangkat Android yang ditujukan untuk pengguna tunanetra. Penelitian ini bertujuan untuk merancang dan mengimplementasikan rancangan aplikasi “Digital Interactive Storyteller” Berbasis Android untuk Tunanetra. Pengembangan aplikasi “Digital Interactive Storyteller” Berbasis Android untuk Tunanetra menggunakan siklus hidup pengembangan perangkat lunak SDLC (Software Development Life Cycle) dengan model waterfall atau model air terjun. Fitur utama dalam aplikasi ini adalah audio dongeng interaktif dengan menggunakan perangkat Android. Interaktif yang dimaksudkan adalah pengguna dapat memilih alur dongeng sendiri. Hasil dari penelitian ini yaitu perancangan dan implementasi dari aplikasi “Digital Interactive Storyteller” Berbasis Android untuk Tunanetra yang telah berhasil dilakukan. Perancangan dilakukan dengan menggunakan model fungsional berupa UML (Unified Modeling Language). Diimplementasikan dalam bahasa pemrograman Java dengan menggunakan editor Eclipse dan plug-ins ADT (Android Development Tools). Seluruh kebutuhan fungsional telah berhasil diimplementasikan sesuai dengan rancangan.

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DuBois, Thomas A., and Timothy R. Tangherlini. "Interpreting Legend: Danish Storytellers and Their Repertoires." Western Folklore 55, no. 2 (1996): 172. http://dx.doi.org/10.2307/1500186.

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Forman, Janis. "Leaders as Storytellers: Finding Waldo." Business Communication Quarterly 70, no. 3 (September 2007): 369–74. http://dx.doi.org/10.1177/10805699070700030502.

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Lewis, P. J. "Collage Journaling with Pre-service Teachers." International Review of Qualitative Research 4, no. 1 (May 2011): 51–58. http://dx.doi.org/10.1525/irqr.2011.4.1.51.

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Students in a B.Ed. program take a Language Arts course and in an effort to suggest “alternative” ways of exploring the ‘content’ students were asked to make collage journals. They were encouraged to explore the process and product of making art, which sees a constant movement between the two, a vacillation between process and product through the creative act. This multi-media presentation uses the storyteller-researcher's voice to knit the narrative together, however, it is the visual and textual voices of the students which emerge, creating a multi-vocal story of meaning-making for all. Readers may view and listen to a performance of the work at: http://education.uregina.ca/web/lewis20p/IRQR/ . In order to view some of the collage journals created by the students in this research project readers will need to use the URL provided.

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Sabnani, Nina, and Michael Buser. "Heritage Art with an Intent." Journal of Heritage Management 5, no. 2 (December 2020): 158–68. http://dx.doi.org/10.1177/2455929620968795.

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A collaborative research project called JAL explored the role and potential for the arts to support water security activities in Rajasthan. The intent was to learn about some of the challenges facing people in rural Rajasthan and to draw on the region’s heritage toward arts-led research, practice and thinking to help address critical water issues. One project that emerged from the fieldwork took its inspiration from the murals of Shekhawati and the ancient phad (painted scroll with stories) storytelling tradition of Rajasthan. It involved local artists who painted a wall with water stories in the village Jhakhoda. The artists also painted a scroll that a local storyteller could use to share with other villages. This article offers a report of the mural project, its process and outcome and the insights gained from a close engagement with the community in the village. The experiences signal the rich potential of collaboration with communities and across disciplines, as well as the role of the arts and artists in engaging with and addressing critical global challenges, such as water security.

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Bennett, James, and John M. Staudenmaier. "Technology's Storytellers: Reweaving the Human Fabric." Design Issues 7, no. 1 (1990): 76. http://dx.doi.org/10.2307/1511473.

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Dong, Xiaoxu. "Data visualization: A unique storyteller." Technoetic Arts 17, no. 3 (October 1, 2019): 259–79. http://dx.doi.org/10.1386/tear_00020_1.

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Abstract Science and technology have changed all aspects of our lives, including the mode of narration, from traditional stories to data stories. Storytellers have been integrating visualizations into their narratives. From the case studies of some artworks and our students' works to visualization research, we have found distinct genres of narrative visualization and the education method for university students. We describe the differences between these artworks, together with interactivity and information transmission. Some small experiments and some examples of students' works will be shown to explore the visual narrative. We suggest new design strategies including how to make invisible things visible.

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Palmenfelt, Ulf, and Timothy R. Tangherlini. "Interpreting Legend: Danish Storytellers and Their Repertoires." Journal of American Folklore 109, no. 433 (1996): 336. http://dx.doi.org/10.2307/541539.

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Lee, Laura Harper, and John A. Burrison. "Storytellers: Folktales and Legends from the South." Journal of American Folklore 104, no. 414 (1991): 536. http://dx.doi.org/10.2307/541566.

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Heston, W. L. "Verse Narrative from the Bazaar of the Storytellers." Asian Folklore Studies 45, no. 1 (1986): 79. http://dx.doi.org/10.2307/1177835.

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Moosavi Majd, Maryam, and Nooshin Elahipanah. "The Enchanted Storyteller: John Barth and the Magic of Scheherazade." International Letters of Social and Humanistic Sciences 59 (September 2015): 65–75. http://dx.doi.org/10.18052/www.scipress.com/ilshs.59.65.

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During the fifties he was considered to be an existentialist, and absurdist and later a Black Humorist, yet, John Barth proved that he would never subscribe to any specific theory and would make his own world of/about fiction by himself. A traditional postmodernist as some of the critics calls him; he was obsessed with Scheherazade the narrator of the Thousand and one Nights and her art of storytelling. This essay aims to depict Barth’s employment of the frame narrative and embedding structure which are the main devices of Scheherazade’s mystifying narratives. Revealing the architectonic structure of his writing, we would demonstrate how traditional technique can bridge postmodernist aesthetics to recreate and replenish the exhausted materials in writings.

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Gomille, Monika. "Old Women as Storytellers in Postcolonial Fiction." Journal of Aging, Humanities, and the Arts 1, no. 3-4 (October 19, 2007): 201–10. http://dx.doi.org/10.1080/19325610701638144.

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Børdahl, Vibeke. "Dialectal and normative registers in Yangzhou storytelling." Chinese Language and Discourse 1, no. 1 (June 21, 2010): 94–123. http://dx.doi.org/10.1075/cld.1.1.04bor.

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Chinese storytelling is inseparably bound up with local dialect. However, normative language also plays a distinctive role in many performance arts. In this paper the interplay of dialectal and normative registers in Yangzhou storytelling (Yangzhou pinghua) is analysed. Audio recordings of storytellers born during the late Qing and Republic demonstrate their subtle handling of linguistic registers: dialogue and narrative are regularly rendered in alternating registers, reflecting local Yangzhou dialect (Yangzhou fangyan), local Mandarin (difang guanhua) and Northern Mandarin (Beifang guanhua). The usage of storytelling registers provides new source material on the Yangzhou variety of difang guanhua. On this background the paper raises the question of the linguistic habits of former storytellers and — tentatively — offers a key to the riddle of the famous Liu Jingting’s (1592–1674) spoken language-in-performance.

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