Relevant bibliographies by topics / The Storyteller

Contents

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

Academic literature on the topic 'The Storyteller'

Author: Grafiati
Published: 4 June 2021
Last updated: 17 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'The Storyteller.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "The Storyteller"

1

Арбачакова, Любовь Николаевна, and Ирина Анатольевна Невская. "INDIVIDUAL LINGUISTIC PECULIARITIES OF A STORYTELLER (THE CASE OF SHOR HEROIC EPIC STORIES’ RECORDINGS)." Tomsk Journal of Linguistics and Anthropology, no. 3(29) (December 14, 2020): 20–31. http://dx.doi.org/10.23951/2307-6119-2020-3-20-31.

Full text
Abstract:
В данной статье на примерах расшифрованных рукописных текстов героических сказаний рассматриваются индивидуальные особенности словоупотребления сказителей. Сказители используют сходные стилистические и коммуникативно-прагматические средства. Во-первых, каждого из сказителей отличают особенности их родного диалекта или говора, как лексические, так и грамматические. Во-вторых, для современных сказителей типично широкое использование русских заимствований, как глобальных копирований, так и частичных. В-третьих, практически все исполнители используют просторечные стяженные формы глаголов, местоимений, существительных, характерные для устной речи. В-четвертых, сказители очень часто используют предпочитаемые ими коммуникативно-прагматические частицы, которые достаточно сложно перевести на русский язык и которые в обработанных фольклорных текстах часто опускаются их издателями (полза; тедир; ноо). В-пятых, у каждого исполнителя есть собственная (индивидуальная) лексика, употребляемая им во время эпического исполнения. Устный регистр исполнения эпического текста делает особенно проминентным использование коммуникативно-прагматических частиц. Каждый из рассмотренных сказителей предпочитает ту или иную частицу при том, что практически все они при исполнении используют все вышеупомянутые частицы. Эти частицы принадлежат устному регистру исполнения текста, помогая сказителю психологически настроиться на дальнейшее исполнение, собраться с мыслями и т. п. В то же время они выполняют важные семантические и прагматические функции. Тедир подчеркивает пересказывательность текста: как говорят, насколько я могу судить, по мере моего понимания, насколько я видел или слышал, как оказалось и т. п. Изä употребляется как маркер верности передачи смысла эпоса. Полза, широко использующееся в шорском языке как частица, маркирующая смену темы высказывания, в эпических текстах может становиться частицей, служащей для выражения повествовательного стилистического приема саспенс, помогающего сказителю повысить интерес слушателя к продолжению текста. При общности этих особенностей для всех представителей современного поколения сказителей конкретный выбор того или иного полнозначного слова, его формы или прагматической частицы являются индивидуальными для каждого из сказителей. По этим «собственным» сказительским словоупотреблениям и предпочтениям, как по почерку, можно определить личность кайчи. This article deals with individual peculiarities of word usage by Shor storytellers (qaychi’s). We have analyzed (and, partially, deciphered) a row of manuscripts of Shor heroic epic stories and delineated some linguistic features typical for a certain storyteller. Storytellers use similar or identical stylistic devices and communicative and pragmatic means. Firstly, each storyteller preserves the features of his or her dialect or subdialect, both lexical and grammatical ones. Secondly, modern storytellers widely use Russian borrowings as global or partial copies. Thirdly, practically all storytellers use typical for the spoken language contracted forms of verbs, verbal forms, pronouns and nouns. Fourthly, storytellers abundantly use communicative and pragmatic particles of their choice. Such particles are difficult for translation into Russian; they are often omitted in written editions of epic texts (e. g. polza, tedir, noo, etc.). Fifthly, each storyteller has its own individual expressions and words. The oral register of telling an epic story makes the use of communicative and pragmatic particles especially prominent. Each storyteller has his or her preferred particles used most often, although, of course, all particles can be used by any storyteller. Such particles help the storyteller to collect his or her thoughts, to communicate with the listeners, etc.; moreover, they fulfill very important semantic and pragmatic functions: Tedir stresses the hearsay evidentiality of epic texts or a certain distance of the speaker to the narrated events meaning ‘as one says, as people say, as far as I can judge, as far as I could understand, it has appeared (to me), etc.’ Izä in epic texts stresses the adequacy of a narration. Polza is used in Shor as a particle marking switch reference (as for …); in epics, it is a particle serving as a stylistic device suspense, and helping to raise the interest of the listeners in the continuation of the story. Even if these features are common to all storytellers whose epic texts we have analyzed, their choices of a certain word, expression or form are individual. Certain words and peculiarities of their usage indicate the personality of a storyteller, similar to his typical handwriting; both of them are individual and unique. Moreover, some usages give a clue to the emotions and the state of mind of the qaychi during his performance.
APA, Harvard, Vancouver, ISO, and other styles
2

de Ramirez, Susan Berry Brill. "Storytellers and Their Listener-Readers in Silko's "Storytelling" and "Storyteller"." American Indian Quarterly 21, no. 3 (1997): 333. http://dx.doi.org/10.2307/1185512.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Rich, Barbara, and Alice Adams. "Superior Storyteller." Women's Review of Books 2, no. 5 (February 1985): 14. http://dx.doi.org/10.2307/4019642.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Cho, Adrian. "The storyteller." Science 353, no. 6299 (August 4, 2016): 532–37. http://dx.doi.org/10.1126/science.353.6299.532.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Abbas, Nadine. "The storyteller." Clinical Teacher 15, no. 6 (November 13, 2018): 516. http://dx.doi.org/10.1111/tct.12939.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Pikaart, Kristen J. "The Storyteller." Journal of Pastoral Care & Counseling: Advancing theory and professional practice through scholarly and reflective publications 56, no. 1 (March 2002): 79–81. http://dx.doi.org/10.1177/154230500205600112.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Elbakly, Rizanne, and Moustafa Youssef. "The StoryTeller." Proceedings of the ACM on Interactive, Mobile, Wearable and Ubiquitous Technologies 4, no. 1 (March 18, 2020): 1–20. http://dx.doi.org/10.1145/3380979.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Hoffman, Alice. "Introduction: Storyteller." Ploughshares 37, no. 4 (2011): 6–8. http://dx.doi.org/10.1353/plo.2011.0080.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

McCumber, Willis. "Storyteller Mode." American Book Review 38, no. 5 (2017): 28–29. http://dx.doi.org/10.1353/abr.2017.0096.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Andrus, Jennifer. "Identity, self and other: The emergence of police and victim/survivor identities in domestic violence narratives." Discourse Studies 21, no. 6 (August 2, 2019): 636–59. http://dx.doi.org/10.1177/1461445619866984.

Full text
Abstract:
This article analyzes narratives about encounters between police officers and domestic violence victim/survivors in the context of domestic violence calls. Narratives are sites in which individuals create relationships between themselves and others, oriented around a set of unfolding events. Narrative is a motivated, engaged retelling of prior or anticipated events produced in interaction with others, in a particular context stocked with constraints and affordances. In the process of telling stories, identities emerge. In order to understand the relationship between narrative and identity, I analyze stories told about police interactions with domestic violence victim/survivors from the perspectives of both the police and the victim/survivors. Working empirically with a data set of 48 interviews, I use critical discourse analysis and discourse analysis to analyze the ways both groups narrate domestic violence and confrontations with police officers, the ways they create story worlds stocked with characters, the ways story characters are formed and deployed, and the ways those characters are positioned against/with/by the storyteller, allowing the storyteller’s identity to emerge. This article is an analysis of the relationship between the storyteller and the story world and the storyteller’s process of constructing an/other in order to position in relation to that other. Ultimately, I argue that identity emerges for the storyteller in the way she or he constructs characters in a story and then positions in relation to those characters.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "The Storyteller"

1

Paluch, Andy. "The reluctant storyteller." Connect to resource, 2008. http://hdl.handle.net/1811/32205.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Reed, Delanna. "New Voice Storyteller." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/1271.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Wankerl, Thomas B. "On the imperial storyteller /." View abstract, 2002. http://wilson.ccsu.edu/theses/etd-2002-19/ThesisTitlePage.html.

Full text
Abstract:
Thesis (M.A.)--Central Connecticut State University, 2002.
Thesis advisor: Stuart Barnett. " ... in partial fulfillment of the requirements for the degree of Master of Arts in English." Includes bibliographical references (leaves 178-182). Also available via the World Wide Web.
APA, Harvard, Vancouver, ISO, and other styles
4

Love, N. Eric. "The wounded storyteller in performance /." free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p3164526.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Stewart, Sherrie Lynn. "Collage of Color in Silko's "Storyteller"." Thesis, The University of Arizona, 2010. http://hdl.handle.net/10150/193400.

Full text
Abstract:
As an American Indian writer, Leslie Marmon Silko stretches the imaginations and perceptions of her readers. This Master's thesis investigates one of the motifs she employs to induce these results, the use of color symbolism. Color and color symbolism are utilized in every culture, but Silko's writings provide a quandary which begs investigation - how does this Laguna Pueblo writer integrate the color symbols of her culture and landscape into her stories and poetry? This question is addressed by researching the significance of specific colors within the Pueblo and related communities, exposing through close reading the use of these specific colors within the texts, and finally, through literary analysis, unraveling the language to glean new perspectives on the discourse. A primary work to be analyzed is her collection of poems and stories, Storyteller, and specifically one fictional piece from that collection also entitled "Storyteller," which incorporates layering of Pueblo culture and color symbolism over a distinctly different community and landscape, the Inuit of Alaska. Using this particular story as a basis for looking at other pieces within Storyteller, the integrated system of colors emerges through a close reading of the text. Although color representation is considered universal or innate, this research addresses culture specific color systems and how that association enriches Native literature as well as the scholarship and theoretical basis of American Indian Studies programs.
APA, Harvard, Vancouver, ISO, and other styles
6

Alves, Márcia Lappe. "Experience/experimentation : Faulkner as a storyteller." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2010. http://hdl.handle.net/10183/26724.

Full text
Abstract:
Esta dissertação focaliza dois textos do escritor William Faulkner, considerado pela crítica como um dos expoentes das experimentações modernistas. O primeiro a ser estudado aqui é A Rose for Emily, uma short story publicada em 1930; o segundo é Absalom, Absalom!, um romance de 1936. O objetivo é investigar se no trabalho de Faulkner pode ser encontrado um narrador por excelência, partindo do conceito apresentado por Walter Benjamin em seu estudo The storyteller: reflections on the works of Nikolai Leskov. Minha proposta é levantar a questão do fim da comunicabilidade da experiência do narrador para então sugerir que, ao contrário do que Benjamin afirma, a arte de narrar não chegou ao fim. Meu argumento é de que as narrativas de Faulkner evidenciam sua arte de narrar imbricada com seu uso de ponto de vista. A experiência e a experimentação de Faulkner enquanto escritor são investigadas neste trabalho, principalmente sua manipulação do uso de ponto de vista, e são analisadas à luz de conceitos desenvolvidos por Walter Benjamin, Wayne Booth, Gérard Genette, Mieke Bal, entre outros. Os resultados desta pesquisa destacam que o trabalho de Faulkner com ponto de vista pode ser considerado muito mais que um mero experimento modernista, pois sua experiência como escritor proveniente do Sul dos Estados Unidos tem impacto nessa experimentação. A memória individual e coletiva, a transmissão de experiência, o contar e o recontar de histórias dos narradores, são fatores importantes para a construção de significado nas narrativas estudadas. Além disso, ao discutir a significação de sua obra, tanto no aspecto formal quanto no aspecto relativo ao contexto geográfico e literário de seu tempo e lugar, espero contribuir com mais um olhar sobre as estratégias narrativas de Faulkner, escritor que, ainda hoje, fomenta investigação e produção acadêmica significativa, justamente por conseguir construir círculos narrativos que apresentam narradores por excelência.
This thesis brings into focus two texts by William Faulkner, a writer who has been praised as one of the exponents at modernist experimentations. The first one to be studied here is A Rose for Emily, a short story published in 1930; the second is Absalom, Absalom!, a novel from 1936. The objective is to investigate whether a genuine storyteller can be found in Faulkner‘s work, supported by the concept presented by Walter Benjamin in his essay The storyteller: reflections on the works of Nikolai Leskov. My aim is to raise the question of the end of communicability of experience in order to suggest that, contrary to what Benjamin affirms, the art of storytelling has not reached its end. My argument is that Faulkner‘s narratives evidence his storytelling art as being imbricated with his use of point of view. Faulkner‘s experience and experimentation as a writer are investigated here, principally his manipulation with the use of point of view, and they are analyzed in the light of the concepts developed by Walter Benjamin, Wayne Booth, Gérard Genette, Mieke Bal, and others. The results of this research highlight that Faulkner‘s work with point of view is to be considered much more than merely a modernist experimentation, because his experience as a writer from the South of the United States has impact on this experimentation. Individual and collective memory, transmission of experience, narrators telling and retelling stories, are important factors for the construction of meaning in the narratives studied here. Moreover, by discussing the meaningfulness of his work, whether in its formal aspect or in the aspect related to the geographic and literary context of its time and place, I expect to contribute with yet another look into the narrative strategies employed by Faulkner, a writer that, still today, fosters academic investigation and production, exactly for being able to construct telling circles that present genuine storytellers.
APA, Harvard, Vancouver, ISO, and other styles
7

Antoniou, Florentia. "'Guilt', &, The storyteller and the truth." Thesis, University of Southampton, 2017. https://eprints.soton.ac.uk/417236/.

Full text
Abstract:
Guilt is a historical novel set in the second half of the twentieth century (1963 – 1975) in the Mediterranean island of Cyprus. The story begins three years after the island was granted its independence from the British, when intense intercommunal violence between Greek Cypriots and Turkish Cypriots was on the rise, and ends several months after the Turkish invasion in the summer of 1974. Guilt follows the life of a Greek Cypriot from her childhood to her adulthood, depicting the difficulty of growing up during politically troubled times as well as the life of women in the seventies in Cyprus. Guilt is a Bildungsroman novel. Although history and politics are in the background of the novel, national emergence often affects the relationship of the heroine with her family, friends and lovers; the public sphere and the private sphere are interlaced. Guilt is a fictional story shaped around familial accounts of the Turkish invasion as well as of the everyday life of Cypriots prior to it, which means the novel is to a certain extent autobiographical. Concerning the structure, the novel is separated into a number of sections, which jump in time, as the memories of the heroine lead the unfolding of events. In the critical commentary, whose title is “The Storyteller and the Truth,” I discuss the novels, books and journals that have helped me write Guilt, redraft it and understand it fully. In the critical commentary, I focus on the autobiographical element, the idea of memories, history and politics, what genre Guilt belongs in, and finally, the relationship between nation and gender. There is a dearth of Cypriot literature and I wish Guilt can contribute to change that fact as well as draw attention to a country that is often either forgotten or seen merely as a tourist destination.
APA, Harvard, Vancouver, ISO, and other styles
8

Dragas, Areti. "The return of the storyteller in contemporary literature." Thesis, Durham University, 2007. http://etheses.dur.ac.uk/2877/.

Full text
Abstract:
This thesis sets out to identify a growing interest in storytelling in contemporary literature, which I argue is reflected in the return of the figure of the storyteller. This interest in storytelling and stories seems to be inter-disciplinary and is reflected not only in literary critical discourses such as postmodernism and the postcolonialist interest in oral traditions, but also in arc as such as cognitive and evolutionary science, which have presented stories as necessary for survival. However, despite this, the role of the storyteller has been relatively neglected in literary criticism and theory, a neglect that may have arisen in part because of the recent preoccupation with writing and textuality, which has led criticism to focus debates on the figure of the author. This thesis sets out to address this omission. The role of the storyteller in contemporary Western fiction is еxplored alongside some examples of postcolonial and hybrid fictions. I draw largely on methodologies from narrative and postmodernist theory, and investigate the preoccupation of the storyteller through a reading of six contemporary authors chosen as a representative sample of contemporary fiction today. These are: Jim Crace, Mario Vargas Llosa, Salman Rushdie, John Barth, A.S. Byatt and J M. Coetzee. Through the close reading of a selection of their novels, I reveal how the storyteller, and the art of storytelling, are genuine preoccupations in their works. Moreover, I show how, through their employment and problematisation of the figure of the storyteller, these writers all raise questions about the role and value of fiction and real authors. Surprisingly, the infamous 'death of the author' has produced a rebirth of the storyteller. The storyteller has returned and provides us with some new and useful tools with which to re-map the territories of contemporary fiction.
APA, Harvard, Vancouver, ISO, and other styles
9

Towndrow, Lizzie. "The Patchwork-Quilter as the Storyteller : MY DEAD DOG!" Thesis, Konstfack, Textil, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-5558.

Full text
Abstract:
Objects can evoke our most vivid memories and sensory emotions, through the stories that have been engraved into them across their lifetime. Throughout history, patchwork-quilting has been used to tell stories, hide messages and hold histories. They are seen as objects of warmth, comfort and security, inanimate extensions of ourselves that store our most complex sentiments and memories- becoming heirlooms that are kept in the families and communities for generations, preserving our histories and material culture.    I intend to explore the inseparable relationship between craft and narrative within quilts, whilst re-imagining the quilts forms and functions in order to communicate stories more vividly. To do so I will use my memories of My Dead Dog, Henry, to illustrate narratives and embed them into quilted objects to stage as a tableau of artifacts. I intend to encourage the viewer to realise the imagined, through a haptic experience of my material world, whilst simultaneously creating my own heirlooms that can be passed down so my stories are not forgotten.

The full thesis contains copyrighted material

which has been removed in the published version

APA, Harvard, Vancouver, ISO, and other styles
10

Rodrigues, Josà LourenÃo Becco. "EstÃrdias stories: the storyteller in General Court, GuimarÃes Rosa." Universidade Federal do CearÃ, 2005. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=10092.

Full text
Abstract:
nÃo hÃ
GuimarÃes Rosa was a storyteller. Throughout all his literary work, there are many storys, in all sizes and kinds. The characters who tell these stories are as important as the stories themselves. Among the many storytellers found in the pages of Corpo de baile we can remark the boy Miguilim, in âCampo Geralâ. Within these pages, we tried to understand the act of storytelling as a major factor in the growing process of Miguilim. He and the other children who are storytellers have a creative gift that make them distinct to the tradicional storytellers, the adults. In order to assay that , we compared the children storytellers (in Primeiras estÃrias) to Joana Xaviel and the old Camilo, traditional grown-up storytellers in âUma estÃria de amorâ. After that, we focused on the stories that Miguilm makes up/tells, pointing out the moment they are told, what motivates her making of, and their function in the narrative. We take these stories as part of a communicative process (though entirely fictional), thatâs why itâs very important to know their context and audience. After all, we compare the narrative of âCampo geralâ to the only text of the oral literature quoted by Miguilim: âHansel and Gretelâ. Many of the symbols and metaphors of the fairy tale were taken to the GuimarÃes Rosaâs literary piece, as an essential part of its themes and conflicts.
GuimarÃes Rosa era um contador de estÃrias. Em toda a sua obra as encontramos dos mais variados tamanhos e tipos. Se as estÃrias sÃo importantes na construÃÃo da sua obra, os personagens que as contam nÃo o sÃo menos. Entre os exemplos de contadores de estÃrias que se revelam nas pÃginas de Corpo de baile, conjunto de 7 novelas, destaca-se o menino Miguilim. No presente trabalho, pretendemos entender como o ato de contar estÃrias à determinante para a trajetÃria de vida e o amadurecimento de Miguilim. Tanto ele quanto os demais contadores crianÃas possuem uma capacidade criadora que os difere dos tradicionais contadores de estÃrias, jà adultos. Para afirmar tanto, comparamos outros contadores crianÃas (de Primeiras estÃrias) com Joana Xaviel e o Velho Camilo, exemplos de contadores tradicionais adultos encontrados em âUma estÃria de amorâ. Em seguida, nos centramos na estÃrias que Miguilim cria/conta, destacando cada uma delas assim como o momento em que sÃo contadas, o que motiva a sua criaÃÃo e qual a funÃÃo que exercem a partir daÃ. Analisaremos as estÃrias como parte de um processo comunicativo (mesmo que ficcional), portanto serà de relevÃncia notarmos o contexto em que estÃo inseridas e quem sÃo os seus ouvintes. Por fim, procederemos a uma anÃlise comparativa entre âCampo geralâ e o Ãnico texto da literatura oral citado por Miguilim: âJoÃo e Mariaâ. Muitos dos sÃmbolos e mensagens que encontramos no conto de fadas sÃo transportados para a novela, tomando parte na construÃÃo de seus temas e conflitos.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Books on the topic "The Storyteller"

1

Storyteller. New York: Ace Books, 2003.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Silko, Leslie. Storyteller. New York: Penguin Books, 2012.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Storyteller. New York: Penguin Books, 2012.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Storyteller. New York: Ace Books, 2005.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Giff, Patricia Reilly. Storyteller. New York: Wendy Lamb Books, 2010.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Yolen, Jane. Storyteller. Cambridge, MA: NESFA Press, 1992.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Storyteller. New York: Wendy Lamb Books, 2010.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Myers, Edward. Storyteller. New York: Clarion Books, 2008.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Siegel, James. Storyteller. Paris: Le Cherche midi, 2011.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Koda-Callan, Elizabeth. The storyteller. New York: Workman Pub., 1996.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "The Storyteller"

1

Baker, Rebecca. "The Storyteller." In Agile UX Storytelling, 7–15. Berkeley, CA: Apress, 2017. http://dx.doi.org/10.1007/978-1-4842-2997-2_2.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Steinberg, Gillian. "Poet as Storyteller." In Thomas Hardy: The Poems, 11–43. London: Macmillan Education UK, 2013. http://dx.doi.org/10.1007/978-1-137-31838-1_2.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

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.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Eastman, Nate. "Shakespeare the Storyteller." In Shakespeare's Storytelling, 11–19. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-62993-9_2.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Kleine Wieskamp, Pia. "Service für Visual Storyteller." In Visual Storytelling im Business, 460–79. München: Carl Hanser Verlag GmbH & Co. KG, 2019. http://dx.doi.org/10.3139/9783446453913.011.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

"Storyteller." In Encyclopedia of Evolutionary Psychological Science, 7993. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-319-19650-3_305135.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

"Storyteller:." In Artificial Southerner, 114–19. University of Arkansas Press, 2001. http://dx.doi.org/10.2307/j.ctv1vg7p36.27.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Takeda, Yoko. "Taking Perspectives in Digital Storytelling on Business Planning." In Advances in Linguistics and Communication Studies, 352–74. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-7979-3.ch009.

Full text
Abstract:
Digital storytelling for business planning has the narrative mode and the logical scientific mode. This chapter explores how the structure of the digital storytelling work affects its effectiveness and how the storyteller's reflection influences the improvement of the work. It is critical to consider the structure, consistency, and balance between the narrative and the analytical part, especially the link from a contrast between the initial situation and obstruction to key success factors. In addition, three types of perspective taking make digital storytelling effective: 1) an audience perceives a storyteller's perspective, 2) a storyteller refines his/her perspective, and 3) a storyteller perceives an audience's perspective. When the storyteller deepens his/her own perspective and is aware of others' different perspectives, the audience could find some essential commonality between the episodes of the story and the audience's experience.
APA, Harvard, Vancouver, ISO, and other styles
9

"THE STORYTELLER." In The Novel and the Rural Imaginary in Egypt, 1880-1985, 226–40. Routledge, 2004. http://dx.doi.org/10.4324/9780203611449-13.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Donovan, Jack. "The storyteller." In The Cambridge Companion to Shelley, 85–103. Cambridge University Press, 2006. http://dx.doi.org/10.1017/ccol0521826047.006.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "The Storyteller"

1

Poppinga, Benjamin, Stefan Oehmcke, Wilko Heuten, and Susanne Boll. "Storyteller." In the 15th international conference. New York, New York, USA: ACM Press, 2013. http://dx.doi.org/10.1145/2493190.2494655.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Mahoney, Mark. "Storyteller." In SIGCSE '18: The 49th ACM Technical Symposium on Computer Science Education. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3159450.3162199.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Shulgina, Olga Aleksandrovna. "Poet, Storyteller, Translator." In 4th International Research and Practical Conference for Pupils, chair Yulia Gerasimova Milyakhova. TSNS Interaktiv Plus, 2020. http://dx.doi.org/10.21661/r-530490.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Penning, Manon, and Mariët Theune. "Cueing the virtual storyteller." In the Eleventh European Workshop. Morristown, NJ, USA: Association for Computational Linguistics, 2007. http://dx.doi.org/10.3115/1610163.1610192.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Mahoney, Mark. "The storyteller version control system." In the 3rd annual conference. New York, New York, USA: ACM Press, 2012. http://dx.doi.org/10.1145/2384716.2384725.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Gelsomini, Mirko, Hae Won Park, Jin Joo Lee, and Cynthia Breazeal. "Engaging Children as a Storyteller." In HRI '17: ACM/IEEE International Conference on Human-Robot Interaction. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3029798.3036651.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Choi, Da Hyeon. "LYRA: an Interactive and Interactive Storyteller." In 2019 IEEE International Conference on Computational Science and Engineering (CSE) and IEEE International Conference on Embedded and Ubiquitous Computing (EUC). IEEE, 2019. http://dx.doi.org/10.1109/cse/euc.2019.00037.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Kim, Hyung Min, Tae Houn Song, Key Ho Kwon, and Jae Wook Jeon. "Virtual Storyteller using marker based AR and FPGA." In 2011 IEEE 54th International Midwest Symposium on Circuits and Systems (MWSCAS). IEEE, 2011. http://dx.doi.org/10.1109/mwscas.2011.6026326.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Morie, Jacquelyn Ford, Eric Chance, Kip Haynes, and Dinesh Purohit. "Storytelling with Storyteller Agents in Second Life®." In 2012 International Conference on Cyberworlds (CW). IEEE, 2012. http://dx.doi.org/10.1109/cw.2012.30.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

"Evaluating a virtual human storyteller for improved decision support." In 23rd International Congress on Modelling and Simulation (MODSIM2019). Modelling and Simulation Society of Australia and New Zealand, 2019. http://dx.doi.org/10.36334/modsim.2019.b2.blackmore.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Reports on the topic "The Storyteller"

1

‘CAMH professionals multi-dimensional role as clinician scientists’ In Conversation with Dr. Aisha Sanober Chachar. ACAMH, November 2020. http://dx.doi.org/10.13056/acamh.13998.

Full text
Abstract:
In this podcast, Dr. Aisha Sanober Chachar, recent ACAMH Awards 2020 Winner (Clinical) Trainee of the Year, talks about the many different roles a CAMH professional has, be it researcher, clinician, carer, and even storyteller.
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'The Storyteller' for particular source types:
Journal articles Dissertations / Theses Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography