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Paluch, Andy. "The reluctant storyteller." Connect to resource, 2008. http://hdl.handle.net/1811/32205.
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Reed, Delanna. "New Voice Storyteller." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/1271.
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Wankerl, Thomas B. "On the imperial storyteller /." View abstract, 2002. http://wilson.ccsu.edu/theses/etd-2002-19/ThesisTitlePage.html.
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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.
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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.
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Stewart, Sherrie Lynn. "Collage of Color in Silko's "Storyteller"." Thesis, The University of Arizona, 2010. http://hdl.handle.net/10150/193400.
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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.
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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.
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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.
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Antoniou, Florentia. "'Guilt', &, The storyteller and the truth." Thesis, University of Southampton, 2017. https://eprints.soton.ac.uk/417236/.
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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.
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Dragas, Areti. "The return of the storyteller in contemporary literature." Thesis, Durham University, 2007. http://etheses.dur.ac.uk/2877/.
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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.
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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.
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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
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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.
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nÃo hÃGuimarÃes 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.
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McMahon, Brian. "The role of the storyteller in Old Norse literature." Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:a4512f2f-4a77-476d-93ed-456fbaef1d5a.
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This thesis examines the figure of the oral storyteller as depicted in various Old Norse literary sources written down during the High Middle Ages, the majority in Iceland, between the mid-twelfth and early fourteenth centuries. It comprises a literary-critical discussion of how storytellers and the art of storytelling are imagined, interpreted and represented within these texts. Where possible, connections are drawn between genres, and across considerable temporal and geographical distances, in order to illustrate the strength and endurance of cultural preoccupations with disguise, narrative structure and the role of intermediaries in different historical and creative contexts. The central contention is that the eddic poets and saga authors shared a common and profound sensitivity to the metatextual dimension of the storytelling endeavour in which they were engaged, and that this sensitivity manifested itself in strikingly similar ways across the whole period. The thesis is structured thematically, rather than chronologically, in order to foreground enduring cultural trends. The first chapter discusses the metatextual tendencies of the eddic poets, noting their recurring interest in disguise and the assertion (or appropriation) of an identity by characters who feature in their stories. It also includes an analysis of VÇ«luspá which suggests that the poem lends itself to recitation by multiple performers. Chapter Two analyses depictions of public storytelling in the sagas and the relationship between writer and oral reciter as presented in the prologues and epilogues composed to âframeâ a number of these texts. Chapters Three and Four contain close readings of passages from the Sagas of Icelanders and eddic poetry, which demonstrate how certain characters, often of low social status, temporarily take on the mantle of a storyteller and perform their accounts of events so as to illuminate the texts' broader interest in the mechanics of literary narrative.
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Giles, Sally M. "Sandra Cisneros as Chicana storyteller : fictional family (hi)stories in Caramelo /." Diss., CLICK HERE for online access, 2005. http://contentdm.lib.byu.edu/ETD/image/etd946.pdf.
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Coupland, Susan Makevit. "Reverence for the storyteller : The tidal model and stories of madness." Thesis, Manchester Metropolitan University, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.535830.
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McDermitt, Barbara Rice Damron. "Comparison of a Scottish and American storyteller and their Märchen repertoires." Thesis, University of Edinburgh, 1986. http://hdl.handle.net/1842/10547.
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There have been many attempts made by folklore scholars from the late nineteenth century to the present to formulate a classification system in folklore that would make it possible to clearly define folklore genres. Limited success has been achieved always to be blocked by a look at the problem from yet another angle. In identification problems relating specifically to folk narratives the earlier scholars recognized myths, legends and folk tales as general categories to be found universally in all cultures, but they made no attempt to clear up the blurred lines between and within these divisions. Comparative folklorists arbitrarily divided prose narratives according to themes or subject matter. They assumed that similar themes constituted a single genre. Roughly, stories of ritual and belief that explained origins of a people, related adventures of their gods, gave spiritual guidelines to day to day living and were believed were considered myths; other "true" narratives about people and places in the recent past, but not having to do with religion were loosely gathered under the heading of legends; and tales of make-believe told mainly for entertainent were called folktales or Marchen. Certainly the examination of themes is important to the study and comparison of prose narratives. However, as a method of classification on its own it produced confusion.
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Giles, Sally Marie. "Sandra Cisneros as Chicana Storyteller: Fictional Family (Hi)Stories in Caramelo." BYU ScholarsArchive, 2005. https://scholarsarchive.byu.edu/etd/584.
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My thesis discusses the ways in which Sandra Cisneros makes historical claims from a Chicana perspective by telling fictional family stories in Caramelo. Not only have Chicanas traditionally been marginalized ethnically by the Anglo mainstream, they have also suffered disenfranchisement as women in their own male-dominated cultural community. Both elements have contributed to the cultural silencing of Chicanas outside of domestic spaces, and particularly in historical discourse. Cisneros introduces storytelling as a means of empowering Chicanas through language that allows them to speak historically and still signify culturally. By telling stories from the site of the family, she ingeniously utilizes a culturally allotted authority over the domestic sphere to branch out and discuss historical issues as they inform the lives of her Chicana narrator's family members. Thus, she succeeds in breaking the traditions of her culture that would silence Chicanas while allowing them to maintain their cultural identities. Presenting her historical assertions through fiction allows Cisneros to avoid the pitfalls of post-Enlightenment epistemological modes in historical discourse, introduce new perspectives on historical events, and invite historical discussion rather than shutting it off. Because all historical accounts are narratives that have been constructed by biased individuals, history and story are essentially the same. Cisneros calls attention to this concept as she conflates history and story in her novel. Empirically minded historians of the past insisted on one true version of history and thus ignored "other" viewpoints. Fiction creates a new space for discussion that does not disregard alternative viewpoints because it does not pretend to be fact. In addition, Cisneros employs an abundance of Chicano pop cultural references in Caramelo to create a cultural mythology for the Chicano community. Chicanos are alienated by the mainstream cultures on both sides of the border, and thus they generally feel culturally invalidated. By invoking pop cultural forms, primarily the telenovela, Cisneros fosters collectivity among Chicanos who can all relate to the signs of pop culture, which makes itself available to everyone regardless of class, race, gender, or geographic position. She asserts new views of history through the lens of pop culture, and strengthens the ability of Chicanos to enter historical discourse by strengthening cultural cohesiveness. Cisneros is helping to redefine American literature by calling attention to at least one of the marginal voices that are rapidly becoming the center in the United States.
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Elsmore, Cheryl Laverne. "Contemporary American Indian storyteller, N. Scott Momaday: Rhetorical tradition and renewal." CSUSB ScholarWorks, 1993. https://scholarworks.lib.csusb.edu/etd-project/629.
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Vargo, Sarah Louise. "The Embodied Storyteller: Emerging Amidst Tensions of Body, Culture, and Medicine." The Ohio State University, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392060509.
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Radecke, Mark William. "Television and the church the electronic storyteller and the story-formed community /." Theological Research Exchange Network (TREN), 1999. http://www.tren.com.
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Ryan, Patrick. "The contemporary storyteller in context : a study of storytelling in modern society." Thesis, University of South Wales, 2003. https://pure.southwales.ac.uk/en/studentthesis/the-contemporary-storyteller-in-context-a-study-of-storytelling-in-modern-society(b3c12d9f-e883-4cf6-9348-f980df94c57f).html.
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Professional storytellers and their work over the past three decades have been acknowledged as a field worthy of study by many scholars. While drawing from traditional sources and abstract concepts concerning what is traditional storytelling, contemporary storytelling practitioners' methods often focus on stories and the act of telling devoid of contexts and the evolution of storytelling in modern society. They rely on out-dated terminology and methods which folklorists have long since abandoned. Similarly, contemporary storytellers and storytelling enthusiasts neglect the past and current influences arising from literature, performance art, and new electronic media in the formation of their identities and their work. This thesis draws upon current theories in performance, folklore, literature and cognitive science to understand some manifestations of contemporary storytelling. Literary criticism and folklore, particularly, are beginning to make extensive use of cognitive theories to develop a more useful critical language for analysis. The thesis makes use of interviews with professional and traditional storytellers, video and audio recordings of professional and traditional storytellers' performances, and a journal recording and analysing the student's own experiences as a professional storyteller.
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Sutton, Matthew D. "The Signifying Storyteller: Harriette Simpson Arnow’s “The Goat Who Was a Cow." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etsu-works/2366.
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Ladeira, Ilda. "Imulating storyteller-audience interactions in digital storytelling: questions, exchange structures & story objects." Doctoral thesis, University of Cape Town, 2012. http://hdl.handle.net/11427/14575.
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Includes bibliographical references.This work revolves around the design and evaluation of digital storytelling simulating real personal storytelling. Study One was an ethnography, of real storytellers, which revealed types of narratives, dynamism and interactivity in storytelling. This was used to design digital storytelling, which simulated the behaviours of real storytellers. Three design ideas, questions, exchange structures and story objects , were prototyped and evaluated in Studies Two, Three and Four. Study One took place over three months at the District Six Museum, Cape Town. We studied narratives from three guides about their Apartheid-era experiences. Discourse analyses showed the narratives: (a) were structured as clauses, each relating a story event or thought; (b) varied minimally across retellings; (c) incorporated storyteller-audience interactions (periodic questions) between clauses which matched teacher-student interactions described by Sinclair & Coulthard (1975); and, in exchange structures, guides periodically asked audiences questions; and (d) incorporated the museum exhibit and memory box objects. The digital storytelling design focused on: simulating questions and exchange structures; and story objects, allowing user-triggered narratives. We implemented a virtual environment containing two interactive storyteller agents, and several story objects. Study Two (n=101) manipulated the effect of questions and exchange structures on story experience. Study Three (n=69) manipulated the effect of story objects on story experience. Story experience was composed of: interest in the narrative context, enjoyment of and engagement in the storytelling, and the storytelling realism. These were measured with a questionnaire created for these studies; psychometric analysis showed it to be valid and reliable. Linear models showed questions increased interest (F =5.72, p =0.02) and engagement (F= 3.92, p =0.05) while exchange structures increased interest ( F =6, p =0.02), enjoyment ( F =4.14, p <0.04) and engagement ( F =10.53, p =0.002). Usage logs showed participants interacted readily with both while the agents could answer a mean of 35% of user questions. Story objects did not impact story experience. Study Two and Three's participants reported high story experience scores and predominantly positive qualitative feedback. In Study Four (n=93), the prototype was exhibited at District Six Museum for nine days. We observed visitor interaction, logged usage automatically and gathered voluntary feedback, which was largely positive. Visitors tended to engage passively with the prototype and linear models showed age was a predictor of the number of question ( F= 31.75, p <0.001) and exchange structure ( F =4.45, p <0.04) inputs. Additionally, multiple visitors would use the prototype simultaneously. We conclude that integrating different methodologies allowed us to simulate real storyteller-audience interactions and that the questions and exchange structure interactions we designed improved experiences of digital personal narratives. This design may be replicated by others seeking to similarly preserve the experience of personal storytelling.
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Siqueira, Giuliano Tierno de [UNESP]. "O Narrador: considerações sobre a arte de contar histórias na cidade." Universidade Estadual Paulista (UNESP), 2016. http://hdl.handle.net/11449/139540.
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Esta tese trata de pensar a arte de contar histórias na cidade. O título é uma alusão à clássica obra de Walter Benjamin,O Narrador. Considerações sobre a obra de Nikolai Leskov, texto de 1936. Foram consideradas nessa investigação a experiência do pesquisador/contador de histórias e de alguns narradores brasileiros que atuam em contexto urbano. Em diálogo com pensadores, educadores, artistas contemporâneos, o foco central da discussão é o paradoxo existente entre o ressurgimento da figura do contador de histórias nas cidades nas últimas décadas - com vistas à valorização da palavra pública e de retomada do encantamento dos encontros por meio da partilha de histórias - e o seu alinhamento com as práticas artísticas e performáticas ligadas ao entrenimento. Esse último ponto, pensado à luz das ideias de Guy Debord (1931-1994), sobretudo em relação ao conceito de Sociedade do Espetáculo; e, Christoph Turcke (1948 -) e sua tese sobre a Sociedade Excitada. Para responder esse explícito paradoxo entre a necessidade do exercício da partilha pública da palavra e sua concomitante armadilha sensório-espetacular nos dias de hoje, o leitor encontrará o relato de experiência do pesquisador/contador de histórias (articulado às experiências que são comuns a tantos outros narradores que surgiram nas cidades); um diálogo fictício entre o pesquisador e os autores referenciais dessa pesquisa; e, por fim, o desdobramento de outras questões pertinentes aos posicionamentos ético, estético, poético e político do contador de histórias na atualidade.
This thesis aims to reflect on the art of storytelling in the city. The title aludes to Walter Benjamin’s classic, The Storyteller. Reflections on the work of Nikolai Leskov (from 1936). There were taken into consideration in this research investigation the experience of the researcher/storyteller and of some Brazilian raconteurs who act in the urban contexts. In a dialogue with philosophers, art and educators and contemporary thinkers, the central focus of this discussion is the paradox between the rebirth of the storyteller within cities in the last decades (with regards to the appreciation of the public word and of the enchantment) and, it’s alignment with the cultural practices of entertainment. This last point, thought under the enlightenment of Guy Debord (1931-1994) and his considerations about the spectacle society; and, Christoph Turcke (1948) thoughts about the excited society. This paradox will be seen on the interviews conducted with the storytellers, and also by the bibliographical research that approaches the art of contemporary storytelling. To reach this paradox it was necessary to retell some of the pathways for formation and acting of storytellers who will appear on the research as Brazilian icons of this comeback of the art of storytelling within cities, besides understanding the roots that originated the storytelling styles we see nowadays on social and public spaces, along with the kinds of stories which will mostly compound this raconteurs repertoires. Through a fictional dialogue between the researcher and the reference authors of this research it is explicit the paradox pointed above and also unfolded from other relevant questions referring to the ethical, aesthetical, poetical and political positioning of the storyteller nowadays.
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Drury, Leslie. ""Authoris'd by her grandam'" : old wives' tales and the female storyteller in early modern English drama." Thesis, University of Aberdeen, 2014. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=210790.
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This thesis addresses the representation of old wives' tales and the female storyteller in early modern English literature, with a focus on particular works of drama between 1590-1615. Drawing upon the debased cultural status of female storytellers and their tales, the texts under discussion in this thesis utilise their relationship to feminine tales to express their own engagements with issues both social and artistic: in their relationship to social distinction, to fiction-making, and to authorship. The first chapter investigates the generic associations of tale-telling as represented in literature, focusing on the key physical and social contexts invoked. An analysis of George Peele's The Old Wives' Tale focuses upon the play's central affiliation with oral forms in its representation of the social, thematic, structural setting of its tale-telling frame and inner-play. The chapter posits a social model of distinction in which old wives' tales are part of a larger category of popular pastimes and points toward broader dramatic engagement with the debased nostalgia associated with these pastimes. The second chapter considers the common association between women's tales and childhood, but diverts from the general critical focus on the subjectivity of former children and instead explores the adult patriarch's anxieties elicited around women's vocal sociability and their implied effect upon paternity through the female social dominance during childbirth. In this context, William Shakespeare's The Winter's Tale is fundamentally shaped by the extended birthing ritual of early modern England through its tale-like narrative structure. In doing so, the play engages with women's vocal role both in creating fiction and confirming paternity and women's denigrated social and artistic authority is shown to affirm the transformative power of tales as drama. The third chapter inspects an image of female tale-telling in garrulous alewives in the popular tradition. Examining representations of the bawdy and bodily excess of the jesting alewife and the repellent conviviality of the alehouse community, this chapter scrutinizes the ensuing implications for both authorial production and literary consumption. Ben Jonson's Bartholomew Fair is explored through Jonson's usage of the female victualler, Ursula the pig-woman, to engage with an ambivalent message of debasement as the common condition and the communal participation in morally relativistic modes of consumption.
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Shirley, James Michael. "Storyteller, Story-Teacher: A Portrait of Three Teachers’ Use of Story in Elementary Classes." Digital Archive @ GSU, 2005. http://digitalarchive.gsu.edu/msit_diss/3.
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The purpose of this qualitative study was to investigate the use of storytelling as a teaching strategy in the classrooms of three experienced elementary school teachers. Storytelling is defined in this study as the use of a narrative, spoken or written, in prose or in verse, true or fictitious, related so as to inform, entertain, or instruct the listener or reader. This research answers questions concerning; (a) what constitutes storytelling in these teachers’ classrooms, (b) teachers’ purposes for using storytelling, and (c) factors that have encouraged these teachers to employ storytelling in their teaching practices. Framed within constructivist theory, the study provides insight into how these three respondents teach content through storytelling and bridge information from teller to listener. Data collection included classroom observations, interviews of teacher-participants, and the collection of teacher-generated artifacts such as lesson plans and teacher notes. Portraiture is used as a method for writing up the data in order to record the perspectives and experiences of the participants in this study by documenting their voices, visions, and wisdom in a detailed exploration into the feelings about and use of storytelling in their teaching practices. The instructional strategies reported through this qualitative inquiry support a socio-cognitive interactive model of literacy and demonstrate its importance in learning content in an elementary school environment. The data were analyzed continually through a search for emerging patterns and through constant comparison analysis. The researcher found that the teachers used stories and illustrations in an impromptu manner and that storytelling served both cognitive and affective purposes. Cognitively, storytelling was employed to form connections to students’ prior knowledge and new knowledge being introduced. Storytelling was used as a mnemonic device to help students transfer storied information to new situations. Affectively, storytelling served to engage students in an enlightening and entertaining manner. Students responded to the use of stories through actively participating in classroom discussions and sharing stories of their own. Storytelling assists these teachers in their critical roles as negotiators and facilitators of meaning construction in the text and social context of the classroom.
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Shirley, J. Michael. "Storyteller, story-teacher a portrait of three teachers' use of story in elementary classes /." unrestricted, 2005. http://etd.gsu.edu/theses/available/etd-07262005-161522/.
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Thesis (Ph. D.)--Georgia State University, 2005.Title from title screen. Peggy Albers, committee chair; Joyce Many, Dana Fox, Sheryl Gowen, committee members. Electronic text (294 p.). Description based on contents viewed May 15, 2007. Includes bibliographical references (p. 280-294).
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Forest, Heather. "Inside Story: An Arts-Based Exploration of the Creative Process of the Storyteller as Leader." [Yellow Springs, Ohio] : Antioch University, 2007. http://www.ohiolink.edu/etd/view.cgi?acc_num=antioch1193235618.
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Thesis (Ph.D.)--Antioch University, 2007."Submitted to the Ph.D. in Leadership & Change Program of Antioch University in partial fulfillment of the requirements for the degree of Doctor of Philosophy August 2007."--from the title page. Title from PDF t.p. (July 31, 2008). Advisor: Carolyn Kenny Keywords: storytelling, leadership training, creative thinking, change leader, arts-based research, autoethnography, communication skills Includes bibliographical references (p. 213-238 ).
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Cordi, Kevin Dean. "Using Stories and Drama to Improve My Teaching: A Professional Storyteller “Bends Back” to Look Forward." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1253364538.
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Winberg, Marlien. "Stories of war and restitution Curating the narratives of the !xun storyteller Kapilolo Mahongo (1952 – 2018)." Doctoral thesis, Faculty of Science, 2021. http://hdl.handle.net/11427/33979.
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Southern Africa's San people have embodied the sub-human other in colonial and Apartheid historiography and has lived fractured, often traumatised lives as a result. The aftermath of dispossession, genocide and war has echoed down the generations and still manifests itself in visible and intangible ways. Previous research has not addressed the personal stories of the immigrant !xun community living on the San farm, Platfontein, near Kimberley in the Northern Cape Province. My thesis works towards filling this gap. The focus of my research was to open up a space in which the !xun leader and storyteller, Kapilolo Mario Mahongo, could actively engage the energy of storytelling in representing his personal history and for the first time, record an Indigenous !xun perspective of the regional wars during the latter part of the 20th century - and its aftermath. By focusing on his personal stories, I demonstrate how anti-colonial narratives are embodied in specific and multiple histories and cannot be collapsed into homogenized narratives. Kapilolo Mahongo died at the age of 68, on May 12th 2018 while working with me on curating his own and his community's stories. My thesis thus evolved to question his place in the San corpus, asking how his memoirs, and the ways in which we produced it over a period of more than twenty years, may contribute toward our knowledge – not only of his personal life, but of the !xun community's history and southern Africa's San people as a whole. With our colonial and apartheid background of discrimination, my role as fellow storyteller and researcher assumes a compelling resonance. I address this directly by engaging an autoethnographic voice to tell my story parallel to the stories by Mahongo and other !xun storytellers, with the intention of creating a record of coming together against the background of our otherness, showing how we lived our difference (through the methodology of storytelling), to create new narratives of truth. My findings report on how storytelling in indigenous epistemologies are knowledge producing and disruptive of colonial narratives, while supporting recovery from the posttraumatic effects of dispossession and war among indigenous communities.
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McClelland, Susan L. "An Oversimplified Construction of a Conplex Uncertainty." Kent State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=kent1321975580.
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Crawford, Rebekah Perkins. "A Spectrum of Silence and the Single Storyteller: Stigma, Sex, and Mental Illness among the Latter-day Saints." Ohio University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1532978500917072.
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Tarragó, Mussons Anna. "El fantàstic en mons ordinaris: Michael Night Shyamalan o la segona generació de Storytellers fantàstics." Doctoral thesis, Universitat Ramon Llull, 2020. http://hdl.handle.net/10803/668977.
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Aquesta tesi doctoral té com a objecte d’estudi l’obra fílmica del director M. N. Shyamalan i la reformulació autoral que efectua de la tradició narrativa sobre el fet fantàstic com a cineasta contemporani del gènere híbrid de fantasia d’aventures.
A partir de la fonamentació en les aportacions teòriques de la narratologia, la sociosemiòtica, el neoformalisme i els estudis culturals, s’aplica una metodologia qualitativa a través d’entrevistes exploratòries a autors de referència i, sobretot, de l’anàlisi fílmica dels deu films (1999-2019) en què el cineasta intervé com a director, guionista i/o productor. L’organització de la graella d’anàlisi permet identificar quatre tipus de categories:
a) característiques generals de la pel·lícula, que permeten identificar elements contextuals de la producció i la intervenció de les lògiques de la indústria audiovisual;
b) característiques del sistema formal fílmic (recursos narratius);
c) característiques del sistema estilístic (codis cinematogràfics), i
d) característiques autorals en relació a la recurrència o renovació dins del gènere de fantasia.
Finalment, s’assoleixen els objectius de demostrar que Shyamalan recull el relleu i fa un homenatge volgut a l’anomenada primera generació de Storytellers fantàstics -en què destaca particularment la influència de Spielberg-, i alhora inaugura, com a representant emblemàtic, una segona generació amb voluntat de contenció de l’espectacularitat dins de l’assumida pertinença a la cultura mainstream, tot i que en Shyamalan aquesta tensió es particularitza en la consideració del fantàstic transcendental.Esta tesis doctoral tiene como objeto principal de estudio la obra fílmica del director M. N. Shyamalan y la reformulación autoral que éste efectúa de la tradición narrativa sobre el hecho fantástico en tanto que cineasta contemporáneo del género híbrido de la fantasía de aventuras. A partir de la fundamentación en las aportaciones teóricas de la narratología, la sociosemiótica, el neoformalismo y los estudios culturales, se aplica una metodología cualitativa a partir de entrevistas exploratorias a autores de referencia y, sobre todo, del análisis fílmico de las diez películas (1999-2019) en las cuales interviene como director, guionista y/o productor. La organización de la ficha o parrilla de análisis permite identificar cuatro tipologías de categorías: a) características generales de la película, que permiten identificar elementos contextuales de la producción y la intervención de las lógicas de la industria audiovisual; b) características del sistema formal fílmico (recursos narrativos); c) características del sistema estilístico (códigos cinematográficos), y d) características autorales respecto a la recurrencia o renovación dentro del género de la fantasía. Finalmente, se alcanzan los objetivos de demostrar que Shyamalan asume el relevo y hace un homenaje deliberado a la primera generación de Storytellers fantásticos, además de inaugurar, como representante emblemático, una segunda generación con voluntad de contención de la espectacularidad dentro de su pertenencia o inclusión en la cultura mainstream, aunque en Shyamalan, esta tensión se vea particularizada en la consideración del fantástico trascendental.
This doctoral thesis studies the filmography of director M. N. Shyamalan, paying special attention to his reformulation of the narrative tradition of the Fantastic Fact as a contemporary filmmaker within the hybrid genre of Adventure Fantasy. Starting off from different theoretical contributions in the fields of Narratology, Social Semiotics, New Formalism and Cultural Studies, this research applies a qualitative methodology based on exploratory interviews with referenced authors and the analysis of the ten films (1999-2019) by Shyamalan as director, screenwriter and/or producer. The analysis identifies four main categories: a) General characteristics of the films, identifying contextual elements of the production and intervention of the cinema industry logics; b) Characteristics of the formal system (narrative resources of the films); c) Characteristics of the stylistic system (cinema codes), and d) Authorial characteristics regarding the recurrence or renewal within the fantasy genre. All in all, this study proves that Shyamalan takes over and makes a tribute to the First generation of Fantastic Storytellers. In addition, the work shows that this director could start a Second Generation with a will to restrain spectacularity within its inclusion to the mainstream, even becoming an emblematic representative. Finally, this research also concludes that this narrative tension in Shyamalan is to be considered as Transcendental Fantasy.
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Paulino, Simone Campos. "Nos fios das narradoras: tramas e urdiduras do feminino nos contos de fadas de Angela Carter e Marina Colasanti." Universidade do Estado do Rio de Janeiro, 2014. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=6845.
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Essa dissertação tem como objetivo a leitura comparativa dos contos de fadas da escritora inglesa Angela Carter, contidos no livro O quarto do Barba Azul, e os da ítalo-brasileira Marina Colasanti, presentes em livros como Uma ideia toda azul, Entre a rosa e a espada, Doze reis e a moça no labirinto do vento. Foram analisadas os modos pelo quais as duas autoras, através da reescrita dos contos de fadas, resistem a morte do narrador tradicional descrita por Walter Benjamin e criticam a sociedade patriarcal, revelando, naturalmente, uma postura feminista. Identificou-se, ainda, como estratégias poéticas comuns à escrita de ambas as autoras, aspectos intertextuais como a paródia, o palimpsesto e o pasticheThis dissertation aims to comparative reading of fairy tales English writer Angela Carter, in the book The Bloody chamber, and the Italian-Brazilian Marina Colasanti, present in books like Uma ideia toda azul, Entre a espada e a rosa , Doze reis e a moça no labirinto do vento. We analyze how these authors resist the death of the storyteller described by Walter Benjamin and criticize the patriarchal society, revealing, of course, a feminist stance. Identified also as poetic strategies common to the writing of both authors, intertextual aspects such as parody, pastiche and the palimpsest
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Prieto, Heloisa Braz de Oliveira. "A memória do sonho: um estudo sobre a tradição oral e seus porta-vozes, os contadores de histórias." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/8/8146/tde-08112007-152330/.
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Memória da Cultura, textos constantes e textos excluídos pelo esquecimento. A memória do sonho como a primeira obra de ficção jamais criada pelo homem. O sonho enquanto embrião narrativo de fábulas. Cânones, mecanismos culturais de controle. A performance da palavra. A movência das narrativas orais. O projeto poético e a rede intersemiótica de criação. Inconsciente coletivo, matizes arquetípicos e o mar como metáfora da metáfora do manancial das fábulas imemoriais.The memory of culture, constant texts versus excluded texts, fables doomed to be forgotten. Remembering dreams as the first work of fiction ever created by mankind. Dreaming as telling tales. Standards as cultural controlling devices. Words as performances. Travelling through oral folktales. Poets and their artistic approach to life, plus the intersemiotic net for art creation. Unconscious collective, archetypical blending of nuances and the sea as the universal metaphor of the everlasting source of long forgotten fables.
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Aboubakr, Alkhammash Farah. "The folktale as a site of framing Palestinian memory and identity in 'Speak, Bird, Speak Again' and 'Qul Ya Tayer'." Thesis, University of Manchester, 2014. https://www.research.manchester.ac.uk/portal/en/theses/the-folktale-as-a-site-of-framing-palestinian-memory-and-identity-in-speak-bird-speak-again-and-qul-ya-tayer(1c9e41a9-323b-4846-948d-ffe351a0003e).html.
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Following the trauma of the Nakba (Catastrophe) of 1948, Palestinians still suffer from constant violations of their rights, land and culture. To fight forgetfulness and denial, some Palestinian folklorists have sought to collect, document, analyse and translate pre-1948 Palestinian folktales. One major example is Speak, Bird, Speak Again (1989), a selection edited by Ibrahim Muhawi and Sharif Kanaana, and its Arabic version Qul Ya Tayer (قول يا طير (2001)). The folktales, told mainly by women, are divided by the compilers into five main groups, following the individual’s life cycle from childhood to old age: Individuals, Family, Society, Environment and Universe. This thesis analyses the folktales in the English and Arabic compilations along with their paratextual elements (introduction, footnotes, afterwords etc) in order to explore the importance of orality and folktales in framing and preserving Palestinian memory and identity. Structured into four chapters, the thesis starts by highlighting the cultural and social roles of storytellers in Palestine, followed by an overview of the religious, social and psychological functions of folktales. It then describes the paratextual elements in the Arabic and English compilations, shedding light on the need to carry out scientifically and academically based documentation of Palestinian folktales. The compilers’ contribution, the thesis argues, reinforces the discourse of cultural resistance and cultural identity affirmation. The thesis takes memory studies as its main theoretical framework. Synthesising various concepts within memory studies, Chapter Two explains relevant ideas for analysing the folktales, such as collective memory, post-memory, cultural/communicative memory and prosthetic memory. The discussion connects memory to a number of generations across time and space, creating a narrative of continuity. This chapter also explores the components of Palestinian collective memory - oral history, language, nationalism and the Nakba; the latter the thesis attempts to situate within the field of memory and trauma studies. The thesis then probes the essential role played by Palestinian women in transmitting and preserving Palestinian memory and cultural identity, and explores their agency both as storytellers and protagonists. Through their roles as mothers, sisters, wives and daughters, and through their narrative skills and humour, women, the thesis argues, engender and gender Palestinian memory and identity. To understand the interconnection between language, cultural and collective identity, Chapter Four highlights the significance of peasantry discourse in the folktales’ pre-1948 setting, creating a site of memory and homeland while triggering nostalgia and collectivity. Folk religion and food culture are important markers of Palestinian cultural identity and memory; hence, religious expressions, folktale characters and food references in the folktales and tellings are also investigated. The thesis highlights the agency of Palestinian women via food culture, and thus their power in promoting long established cultural and social values as well as regenerating cultural memory. This research sheds new light on the role of the Palestinian folklorist, folktales and storytellers, adopting a novel approach that combines memory, trauma, and food studies among others.
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Vasconcelos, Gisele Soares de. "Ator-contador: a voz que canta, fala e conta nos espetáculos do Grupo Xama Teatro." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/27/27156/tde-22092016-143149/.
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O trabalho analisa os processos criativos da escritura do texto e escritura do corpo na rapsódia Minha Mãe Preta e nos espetáculos A Carroça é Nossa, A Besta Fera e As Três Fiandeiras, do grupo Xama Teatro. O grupo, com sede em São Luís, Maranhão, desenvolve seus espetáculos tendo como ponto de partida a arte de narrar. Nas produções artísticas do grupo ganha destaque a figura do ator-contador: aquele que canta, conta e fala, que reveza o narrador e a personagem, a primeira e a terceira pessoa. O ator-contador constrói seus passos a partir dos rastros dos rapsodos e griots, do sujeito épico, dos brincantes e narradores anônimos. Com o pé fincado na memória, na tradição e na oralidade, ele fala de si e também fala do outro; com o poder da palavra mescla histórias reais e ficcionais. Para a manifestação da figura do ator-contador são necessárias algumas condições. Entre elas: o uso de uma voz que evoca elementos ausentes; o pensamento do neutro que produz o espaçamento entre a fala e a ação; a noção do espectador como público-ouvinte; o uso de uma fala direta para o público; a criação autoral de obras com textos de vocação oral; a escrita de uma dramaturgia híbrida que mescla os modos épico, lírico e dramático; a inserção do dramaturgo-contador no processo de criação, de forma conjugada com os atores-contadores.This research paper analyzes the creative processes of both text and body writings of the rhapsody Minha Mãe Preta (My Black Mother), and the presentations A Carroça é Nossa (The Cartwheel is Ours), A Besta Fera (The Stupid Beast), and As Três Fiandeiras (The Three Spinners). The Xama Teatro Group, established in the city of São Luís, in the State of Maranhão, develops its presentations having the art of narrating as its starting point. In its artistic productions, the character of the actor-storyteller stands out: he is the one that sings, tells stories and talks, switching from the persona to the narrator, from the first to the third person. The actor-storyteller builds up his steps as from the path of rapsodos and griots, from the epic subject, from the brincantes (players), and from the anonym narrators. With his foot planted in memory, tradition and orality, he speaks of himself and also speaks of others, combining both real and fictional stories. In order to manifest the character of the actor-storyteller, some settings are necessary. Among them: the use of a voice that evokes missing elements; the neutral thought that produces the spacing between speech and action; the notion of the observer being the public listener; the use of a direct speech to the public; the authorial creation of works with oral vocation texts; the writing of a hybrid dramaturgy that mixes the epic, lyric and dramatic modes; the insertion of the playwright-storyteller in the creation process, in a conjugated way with actors-storytellers.
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Pizzino, Leticia. "“Who I Was Is Not Who I Am”: A Qualitative Study of Effects of Voice Loss on Professional Voice Users." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/asrf/2020/presentations/52.
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Storytelling is recognized as an important skill in many fields including, but not limited to communication, education, and business. A professional storyteller is dependent on their voice, which is their biomedically imbedded work tool. This study, guided by research questions, examines the effects of voice loss on professional voice users. Employing a qualitative method, using one-one-one interviews and a focus group, this study investigates the experiences of a singer/actor, a singer/storyteller, a storyteller/public speaker, a teacher/storyteller, and an administrator to examine impacts of their varying degrees of voice loss on their quality of life. Findings indicate that vocal dysfunction, or dysphonia, had the following impacts for storytellers and professional voice users. First, it impaired their ability to work. Participants experienced from limited to complete inability to perform their job. This suggests that professional vocal performers are at risk for economic distress if they lose full use of their voice. Second, dysphonia created emotional distress. The implications of voice loss for those who heavily rely on their voices for work, include reduced quality of life. Finally, dysphonia impacted identity. Specifically, the participants described the challenge of losing their defined role as speaker or singer and having to let go of their former identity. This suggests that when voice professionals experience voice loss, they may be faced with relinquishing their identity and seeking a new one. The author makes suggestions for future research on voice loss for specific groups of professional voice users, such as storytellers, singers, teachers, actors, and others. These individuals may use this knowledge to better negotiate challenges of vocal dysfunction if it occurs. Understanding the relationship of a vocal professional and their voice will enable healthcare providers and other professionals to better provide care and support.
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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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Sousa, Alysson Ericeira. "A PERFORMANCE DO CONTADOR DE HISTÓRIA CONTEMPORÂNEO: a experiência do grupo Xama Teatro." Universidade Federal do Maranhão, 2014. http://tedebc.ufma.br:8080/jspui/handle/tede/12.
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Previous issue date: 2014-01-31Aiming to comprehend the issues related to the storyteller s performance on contemporary days, this essay analyzes the experience of XamaTeatro group, having as a reference the spectacle A carroça é nossa . In order for that, it is discussed about the historical path that has led to disappearance and resurgence of storytellers on urban centers, taking in consideration the concepts of memory, tradition and modernity as well as the studies concerning performance, performativity and theatricality on contemporary scene. The essay results from a qualitative investigation based on a narrative research on which I analyze the training laboratories and the spectacles performed by this research s object group.
Visando a compreender as questões relacionadas à performance do contador de histórias na contemporaneidade, o trabalho analisa a experiência do grupo Xama Teatro, tendo como referência o espetáculo A carroça é nossa. Para tanto, discorre sobre o percurso histórico que levou ao desaparecimento e ao ressurgimento dos contadores de histórias nos centros urbanos, levando em consideração os conceitos de memória, tradição e modernidade, assim como os estudos sobre performance, performatividade e teatralidade na cena contemporânea. O trabalho é resultado de uma investigação qualitativa com base na pesquisa narrativa em que analiso os laboratórios de formação e os espetáculos realizados pelo grupo objeto da pesquisa.
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Niang, Hadja. "Littérature et cinéma africains dans le champ de création de Sembene Ousmane : la source des adaptations." Thesis, Paris Est, 2009. http://www.theses.fr/2009PEST0007.
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Guelwaar, à l’opposé des autres œuvres de Sembène Ousmane – dont les films sont tirés de nouvelles et de romans- a suivi le sens inverse du schéma classique de l’adaptation en ce qu’il est un film devenu roman. Une telle particularité fait que notre travail suit deux parcours : de l’écrit à l’écran et de l’écran à l’écrit. La fonction narrative de Sembène qui représente dans l’écriture l’art du conte africain constitue le point commun entre un bon nombre de travaux sur l’œuvre littéraire et filmique de Sembène Ousmane. A partant du narratif pris en charge par le « griot-conteur », notre étude tient à montrer que le langage de l’œuvre de Sembène n’est pas seulement narratif, il est aussi « monstratif » et surtout visuel, lequel langage occupe une part importante dans la lecture du livre et du film de Sembène OusmaneGuelwaar, contrary to other works of Sembène Ousmane - Films of which are pulled by news and by novels, followed the inverse sense of the classic plan of the adaptation in the fact that it is a film become novel. Such a peculiarity makes that our work follows two courses: of the paper in the screen and the screen to the paper.The narrative function of Sembène which represents in the writing the art of the African tale constitutes the common point enter a good many of works on the literary and cinematic work of Sembène Ousmane. In leaving of narrative taken care by the "griot-storyteller", our study is anxious to show that the language of the work of Sembène is not only narrative,He is also " monstratif " and especially visual, who language occupies an important part in the reading of the book and the film of Sembène Ousmane
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Nantes, Josiane Valcarenghi Ribeiro. "Quem é que fala nos filmes de Lucrecia Martel? O olhar, a narrativa, o narrador e o ponto de vista." Universidade Estadual do Oeste do Paraná, 2018. http://tede.unioeste.br/handle/tede/3678.
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license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5)Made available in DSpace on 2018-05-22T17:35:42Z (GMT). No. of bitstreams: 2 Josiane Valcarenghi Ribeiro Nantes.pdf: 2385914 bytes, checksum: d4f61aeaaa122ceb57e096947e8c4ee7 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-02-26
This dissertation aims to reflect on the narrative construction, narrator and point of view in Lucrecia Martel's feature films, specifically “La ciénaga” (2001), “La niña santa” (2004) and “La mujer sin cabeza” (2008). Considering that the above mentioned works were produced at a historical moment called Postmodernism, some theorists are used to determine this concept, and thus to realize that this period determines and influences many of the fields of social life, including the arts and its aesthetic framework. The narrative, the narrators and the point of view of these filmmaker's works are part of this group, and therefore a more in-depth study of the postmodern issues is justified. Lucrecia Martel has a peculiar way of filming and constructing her narrative space – the sense of disorder is constant –, consequences of the use of the flow narrative. In addition, she also uses orality techniques, making her works to be complex, not only in their compositional structure, but thoroughly. Their narrators are hybrids, as well as the point of view used to tell/show their fiction. Postmodern works are constructed without limiting boundaries. They slide between the various artistic fields, making the cultural representations fragmented, ephemeral and fluid, remnants of the social structure. For theoretical basis, the propositions of Fredric Jameson ([1991] 1996), David Harvey ([1989] 2008) and Linda Hutcheon ([1988] 1991) are sought to address the questions of Postmodernism. Silviano Santiago ([1989] 2002) and Flavio de Campos ([2007] 2009), regarding the specifications of the narrators, Norman Friedman ([1967] 2002) as for the specification of the point of view, and, when necessary, by way of theoretical comparison, other authors dealing with these subjects. This way, it is intended to discuss and undertake the delineation of how the narrative, the narrator(s) and the point of view in the cinematographic works are constructed in Lucrecia Martel's films.
A presente dissertação objetiva refletir sobre a construção narrativa, do narrador e do ponto de vista nos longas-metragens de Lucrecia Martel, específicamente La ciénaga (2001), La niña santa (2004) e La mujer sin cabeza (2008). Considerando-se que as obras citadas se construíram em um momento histórico denominado como Pós-modernismo, utilizam-se alguns teóricos para a definição desse conceito e, assim, perceber que este período determina e influencia muitos dos campos da vida social, incluindo as artes e seu arcabouço estético. A narrativa, os narradores e o ponto de vista das obras da cineasta citada fazem parte deste grupo e, por isso, justifica-se um estudo mais aprofundado das questões pós-modernas. Lucrecia Martel possui uma forma peculiar de filmar e construir seu espaço narrativo - a sensação de desordem é constante - consequências da utilização da narrativa de fluxo. Além disso, utiliza-se ainda das técnicas da oralidade, tornando suas obras complexas, não somente em sua estrutura composicional, mas na totalidade delas. Seus narradores são híbridos, assim como o ponto de vista utilizado para contar/mostrar sua ficção. Obras pós-modernas se constroem sem fronteiras delimitadoras, elas deslizam entre os vários campos artísticos, tornando as representações culturais fragmentadas, efêmeras e fluídas, resquício da estrutura social. Para fundamentação teórica, buscam-se as proposições de Fredric Jameson ([1991] 1996), David Harvey ([1989] 2008) e Linda Hutcheon ([1988] 1991), a fim de abordar as questões do Pós-modernismo. Silviano Santiago ([1989] 2002) e Flavio de Campos ([2007] 2009), no que concerne às especificações dos narradores, Norman Friedman ([1967] 2002), quanto à especificação do ponto de vista e, quando necessário, a título de comparação teórica, de outros autores que tratam destes assuntos. Pretende-se, deste modo, discutir e empreender o delineamento de como se constrói a narrativa, o(s) narrador(es) e o ponto de vista nas obras cinematográficas de Lucrecia Martel.
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Catenacci, Vivian Silva. "O vôo dos pássaros: uma reflexão sobre o lugar do contador de histórias na contemporaneidade." Pontifícia Universidade Católica de São Paulo, 2008. https://tede2.pucsp.br/handle/handle/3924.
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Previous issue date: 2008-05-19Conselho Nacional de Desenvolvimento Científico e Tecnológico
Modernity identified the practice of telling stories against a background of tradition, involving people who were illiterate, peasant workers and for this reason fated to disappear. Contrary to popular belief there is now a substantial and continuous growth of this activity in the big cities. This study makes this assumption in order to understand what is specific to the practice in contemporary narrative. This study articulates concepts developed by researchers dedicated to the theme of narration and the world of short stories, by the narrative of storytellers invited to participate in the "II International Meeting of Storytellers" and the video documentary, "Histórias . It is also composed by statements from new storytellers and traditional narrators recorded in researches related to the theme. The story described in this dissertation is based on the experiences of the researcher, as listener and narrator, in raising and drawing up the issues investigated. This paper is divided into three chapters: the first is dedicated to the specific aspects of the art of oral narrative and the place the storyteller has been relegated to in Modern Times. Chapter two considers the changes which have occurred in the narrative practices under the influences of a society in transition. The last chapter presents a reflection on the skills of the storyteller in the contemporary context
A modernidade identificou a prática de contar histórias com o universo da tradição, uma ação própria das camadas populares iletradas, ligadas ao campo e, por isso, fadada ao esquecimento. Ao contrário da aposta moderna, verifica-se, na atualidade, um crescimento considerável e contínuo dessa atividade nas grandes cidades. Esta pesquisa parte desse pressuposto com o objetivo de compreender o que é específico à prática narrativa na contemporaneidade. Este estudo articula conceitos desenvolvidos por pesquisadores dedicados à temática da oralidade e do universo dos contos, à fala de narradores convidados a participar do II Encontro Internacional de Contadores de Histórias e do vídeo-documentário Histórias. O texto também é composto por depoimentos dos novos contadores e de narradores tradicionais registrados em pesquisas relacionadas ao tema. A história narrada nesta dissertação, é permeada pelas experiências da pesquisadora, como ouvinte e narradora oral, por terem suscitado a elaboração das questões investigadas. Este trabalho divide-se em três capítulos: o primeiro dedicado às especificidades da arte de narrar oralmente e ao lugar relegado ao contador com advento da modernidade. O capítulo dois tematiza as mudanças da prática narrativa ocorridas sob as influências de uma sociedade em transformação. No último capítulo apresento uma reflexão sobre o ofício de contador no contexto contemporâneo
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Bourgne, Alexandra. "Le geste du conteur chez l'écrivain Erri de Luca." Thesis, Sorbonne Paris Cité, 2019. http://www.theses.fr/2019USPCA001.
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L’écrivain Erri De Luca agit comme un passeur d’histoires personnelles, intimes et collectives, ce qui nous conduit à en étudier les origines et les fondements. À nous interroger sur la manière dont l’écriture poétique et sensible du poète rend possible une transmission de l’Histoire. Or, cela pose évidemment la question de la mémoire et de la manière dont elle est restituée : interprétation, manque, oubli, réinvention rétrospective. Mais révèle aussi la possibilité des récits d’offrir au lecteur contemporain la capacité de s’approprier cette Histoire qu’il n’a pas nécessairement vécue. En effet au coeur de cette oeuvre singulière se déploie une force de prédication qui donne au lecteur attentif la possibilité de saisir une phrase sensible où s’exprime la puissance de l’image, de se l’approprier, de la mémoriser et enfin de la transmettre de nouveau en la remodelant. D’où l’importance de ce geste du conteur dans l’écriture d’Erri De Luca et l’intérêt que nous y portons. Dès lors le style narratif où domine cette poétique de la sensation, révèle un art de raconter par excellenceThe writer Erri De Luca acts as a storyteller of personal, intimate and collective stories. It leads us to study the origins and the foundations of his writing. It makes us think about the way his poetic and sensitive writing makes a transmission of History possible. Yet, it inevitably questions memory and the way this memory is reproduced: interpretation, absence, forgetfulness and retrospective reinvention. It also reveals the possibility of story telling to offer today’s reader the capacity to appropriate this History he may not have lived through. A the heart of this singular work indeed, there is a strength of speech which enables the attentive reader to understand a sensitive sentence in which the power of the image is fully expressed. The reader can seize this sentence and memorize it before transmitting it again after remodelling it. Thus the importance of this storytelling particularity in Erri De Luca’s writing. From then on De Luca’s narrative style full of lyrical sensation, reveals a powerful mastery of telling
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Manning, Kimberly. "Authentic feminine rhetoric: A study of Leslie Silko's Laguna Indian prose and poetry." CSUSB ScholarWorks, 1996. https://scholarworks.lib.csusb.edu/etd-project/1100.
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Ludwig, Cristiane. "Educar sem corrimões? A formação em tempos de ruptura com a tradição." Universidade Federal de Santa Maria, 2013. http://repositorio.ufsm.br/handle/1/3470.
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This dissertation seeks to understand Hannah Arendt thought as hermeneutical link of formation comprehension, in face to the situation of breaking with tradition. Taking, as background, the turnaround operations of the category framework from the tradition, that destabilize the strict underpinnings of the thought, producing a crisis in education, it is brought the idea of the activity of thinking by dis-sensorialization as a hermeneutical resource in pedagogical field. This act implies in taking into account the real experience, but does not submitted to it at all; otherwise, there will not activity of the thought. This last occurs by experience contact and, at the same time, disengagement. Nevertheless, in order to have dis-sensorialization, it is necessary the pedagogical invention of telling stories, for example. For that, it is sought to recover some reflections from her work A Vida do Espírito, focusing on the understanding of the proposal of conservation as education essence, in light of the metaphor of the thought without handrails. Under this condition, it is asked: how the Hannah Arendt perspective of the thought worried about past conservation can yet give stimulus to the contemporary formation? Beyond the cognitive sphere of the senses directed to know , the idea of the activity of thinking helps in the resizing of education meaning to a more comprehensive place. Such condition also replaces the dichotomies of pedagogical theories, divided, historically, between the attraction from the new education and the coming back of the tradition. In this sense, the teacher formation, beyond be conducted by the authority to assure the discipline or the students interests, receives orientation from both positions, bringing thus, new comprehensive possibilities. Turning present what is in absence to the senses and the experiences, the activity of thinking by dis-sensorialization makes arise, under language perspective, the stranger gaze and voice so precious to formative processes , at the storyteller image, that invites his hearers to reflect, making each one takes a decision and begin something new. Despite of the breaking with the tradition, the inspiration in the youngsters birth and in the commitment with the amor mundi lead the education to go away from the confines of dichotomies and modes, caused by not listen to his voice, due to its fall. The capacity of creating possibilities by the youngsters birth and the amor mundi (re)kindle the dialogue between Philosophy and Education at the horizon common to everybody.Este trabalho procura analisar o pensamento de Hannah Arendt como elo hermenêutico de compreensão da formação, diante do diagnóstico de ruptura com a tradição. Ao tomar, como pano de fundo, as operações de reviravolta do quadro categórico da tradição, que desestabilizaram os fundamentos rígidos do pensamento, produzindo a crise na educação, lança-se a ideia da atividade de pensar por dessensorialização como um recurso hermenêutico no campo pedagógico. Esse ato implica em contar com a experiência do real, mas não se submeter totalmente a ela; caso contrário, não haveria atividade do pensamento. Esse ocorre no contato e, ao mesmo tempo, no afastamento da experiência. Entretanto, para que haja a dessensorialização, é preciso a invenção pedagógica de contar histórias, por exemplo. Para isso, busca-se recuperar algumas reflexões extraídas, principalmente, de sua obra A Vida do Espírito, concentrando-se na interpretação da proposta de conservação como essência da educação, à luz da metáfora do pensamento sem corrimão. Sob esse horizonte, pergunta-se: de que modo a perspectiva de Hannah Arendt do pensamento preocupado com a conservação do passado ainda pode energizar o espírito da formação na contemporaneidade? Para além da esfera cognitiva dos sentidos direcionados ao conhecer , a ideia da atividade do pensar auxilia no redimensionamento do sentido da educação para um patamar mais compreensivo. Tal cenário também reposiciona as dicotomias das teorias pedagógicas, divididas historicamente entre o apelo à educação nova ou a volta à tradição. Nesse sentido, a formação do professor, para além de se conduzir pela autoridade em nome da disciplina ou pelos interesses dos alunos, orienta-se entre ambas as posições, abrindo, assim, novas possibilidades compreensivas. Ao tornar presente o que se encontra ausente dos sentidos e da experiência, a atividade de pensar por dessensorialização traz à tona, sob a perspectiva da linguagem, o olhar e a voz do estrangeiro tão cara aos processos formativos na imagem do contador de histórias, que convida seus ouvintes a refletir, a ponto de cada um tomar uma posição e iniciar algo novo. Apesar da ruptura da tradição, a inspiração na natalidade dos novos e o compromisso com o amor mundi provocam a educação a sair do confinamento das dicotomias e dos modismos, ocasionado justamente por não escutar a sua voz, em virtude da sua queda. A capacidade de criar possibilidades pela natalidade e pelo amor mundi (re)acende o diálogo entre Filosofia e Educação no horizonte do mundo comum a todos.
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Soares, Tânia Cristina de Sousa. "As múltiplas vozes de Ananse: reflexões sobre a voz no processo criativo de uma atriz inspirada nos griots." Escola de Teatro, 2012. http://repositorio.ufba.br/ri/handle/ri/27302.
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Esta pesquisa teórico-prática traz reflexões acerca do uso da voz do ator a partir do processo criativo do monólogo “Na Teia de Ananse” inspirado nos contadores de história de matriz africana, os griots, onde inventa-se uma contadora de histórias a partir de procedimentos de criação e de encenação. A dissertação que resultou num exercício de encenação, aborda os meios e modos de atuação utilizados pela atriz Tânia Soares para compor personagens a partir das múltiplas vozes do contador de histórias da tradição oral. Os procedimentos apontados, dialogam intensamente com a pesquisa de Rafael Morais de Souza, intitulado “Na Teia de Ananse: Um Griot no Teatro e sua Trama de Narrativas de Matriz Africana”, do Mestrado em Artes Cênicas da UFBA. O uso expressivo da voz, as experiências vividas, a utilização de improvisação, emoção e memória, a interação com o público, corroboram para o processo criativo e a escrita do texto, revelando a importância do trabalho vocal do intérprete como mobilizador para a construção dramática. As referências bibliográficas destacam diversos autores que abordam as áreas de teatro, cultura e mitologias africanas e afro-brasileiras, memória, improvisação teatral e técnica vocal.
This research provides theoretical and practical reflections on the use of voice actor from the creative process of the monologue "The Web of Ananse" inspired by the storytellers of African origin, the griots, the invention where a storyteller from procedures creation and staging. The dissertation which resulted in a scenario exercise, discusses the ways and means of action used by actress Tânia Soares to compose characters from the multiple voices of the storyteller's oral tradition. The procedures mentioned, intense dialogue with the research of Rafael Morais de Souza, entitled "The Web of Ananse: A Griot Theatre and its Plot Narratives of African Matrix", the Master of Performing Arts of the university. The expressive use of voice, the experiences, the use of improvisation, emotion and memory, the interaction with the public, serve to support the creative process and writing the text, revealing the importance of the vocal work of the interpreter as a mobilizer for dramatic construction. The references highlight several authors that address the areas of theater, culture and mythology african and African-Brazilian, memory, theatrical improvisation and vocal technique.
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Oliveira, Edna Caroline Alexandria da Cunha. "Os impasses amorosos na crônica de Paulo Mendes Campos." Pós-Graduação em Letras, 2018. http://ri.ufs.br/jspui/handle/riufs/8177.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPESThis is dissertation to propose a lection of the chronic by Paulo Mendes Campos, about human desert to describe the love problems between man and woman into contexts to refer cultural transmutation time, between age 1950 a 1960, particularly. The texts reference the poetic attribute into hybrid forms as essay, maxim and poetic prose. So, the poet who writes in a lyrical style to contrast poetic himself and to describe the action from love to no love. The discussion to set up between the chronic of the book O amor acaba: crônicas líricas e existenciais and the book Poemas, by Campos. About to build the love relation in the contexts, we investigate the poetic and infidel writing by Campos from to know the influence the news subjects into contexts, by subject displacement and identities decentralize, by Hall. About the love concepts different, we emphasize the theories by Zygmunt Bauman and the pictures putting by Roland Barthes on the book about to love dictionary. In the phase one, we describe the hybrid chronic between journalism and literature to show the double style by Campos. So, we describe style himself from to problematize yours chronic about human desert and to go different ways to love between lovers. In the phase two, we contextual the characteristics from chronic by Campos to describe the affective break between lovers, simultaneously we describe the book O amor acaba. In the phase three, we make intertextual analysis by Brazilian Literature, because, we know the texts are incompletes, so, talking with other texts by traditional literary we extend the concepts to read the love problems by Campos, so, to indicate the literary style for him.
Esta dissertação se propõe a leitura da crônica de Paulo Mendes Campos, quando parte da solidão da alma humana para narrar os impasses amorosos entre homem e mulher em contextos que remetem a uma época de transformações socioculturais, entre as décadas de 1950 a 1960, especificamente. Trata-se de textos cuja poeticidade se revela pelo mosaico de formas híbridas entre ensaio, aforismo e poema em prosa. Desse modo, o narrador lírico-filosófico que há em Campos recorta seu fazer poético também para descrever o movimento do amor ao desamor. O diálogo se estabelece entre as crônicas do livro O amor acaba: crônicas líricas e existenciais e os textos que há no livro Poemas, ambos de autoria do referido cronista. Para discutir o modo como vão sendo constituídas as relações amorosas neste cenário, investigamos o olhar poético e cético de Campos a fim de compreender as influências do meio na constituição do sujeito, mediante o deslocamento e a descentralização das identidades fragmentadas, conforme Stuart Hall. Para os diferentes conceitos sobre o amor, enfatizamos as teorias em Zygmunt Bauman e as figuras propostas por Roland Barthes em seu dicionário amoroso. No capítulo 1, descrevemos a crônica híbrida entre jornalismo e literatura no momento que revela a carreira dupla de Campos. Delineamos sua postura como sujeito-leitor e traços da escrita a fim de questionar suas crônicas quando parte da solidão para os desencontros amorosos entre casal. No capítulo 2, contextualizamos especificidades das crônicas de Campos pela abordagem das rupturas afetivas entre amantes, ao mesmo tempo em que analisamos as crônicas selecionadas do livro O amor acaba. No capítulo 3, desenvolvemos um recorte intertextual pela literatura brasileira, pois, considerando que os textos são inacabados, entendemos que dialogando com outros textos da tradição ampliamos os conceitos para os impasses amorosos em Campos, e assim, apontamos um viés literário à consciência crítica do referido cronista.
São Cristóvão, SE
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Batini, Rafael Antonio. "O contista Mário de Andrade e seus pseudônimos no Diário Nacional: edição dos textos." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/8/8149/tde-25062012-162955/.
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A dissertação dedica-se ao estudo do manuscrito e à edição dos contos O relógio, O golpe de ar, O Bamba, O fugitivo, A viúva por demais fiel e Serenidade, publicados por Mário de Andrade, com os pseudônimos Luís Antônio Marques e Luís Pinho, no periódico paulistano Diário Nacional, em 1930. Os contos são inéditos e fazem parte do manuscrito Contos curtos, no arquivo do escritor. A pesquisa analisa e edita os documentos à luz da arquivística, da codicologia e da crítica genética. A abordagem do manuscrito considera a criação de Mário de Andrade como ficcionista.The dissertation is dedicated to the study of the manuscript and the edition of the tales O relógio, O golpe de ar, O Bamba, O fugitivo, A viúva por demais fiel and Serenidade, published by Mário de Andrade, with the pseudonyms of Luís Antônio Marques and Luís Pinho, in the Paulistan journal Diário Nacional, in 1930. The stories are original and belong to the manuscript Contos curtos, in the writers archive. The research analyzes and edits the documents in the light of Archivistic, Codicology and Genetic Criticism. The approach to the manuscript takes into account the creation of Mário de Andrade as fiction writer.
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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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Rivera, Sr Martin Juan. "The Storytellers' Journeys: A Study Using Portraiture Method." Diss., The University of Arizona, 2006. http://hdl.handle.net/10150/194463.
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The Storytellers' Journeys: A Study Using Portraiture Method is an in-depth study of three highly recognized storytellers, Michael Lacapa, Patricia Preciado Martin, and Joe Hayes. These artists were studied using a qualitative research method developed by Sara Lawrence-Lightfoot called portraiture. Portraitists study individuals to record their experiences and to interpret their perspectives. The main purpose of the study was to determine the extent to which professional struggles were considered barriers, preventing access to a career or to career goals. I developed questions that allowed me to gather information concerning the storytellers' professional struggles and their style of dealing with those struggles. I also probed for their individual definition of success, the measuring stick they use as a determination of their success, and if they relied on perseverance to reach their level of success. I tape-recorded interviews with the storytellers in order to transcribe them. I acquired supplemental data by attending the storytellers' public performances and by referring to published information about them. After critically reviewing the data I organized it into thematic areas. Each of the storytellers was treated individually. Lawrence-Lightfoot says, "The development of emergent themes reflects the portraitist's first efforts to bring interpretive insight, analytic scrutiny, and aesthetic order to the collection of data" (1997c, pg. 185). Initially, the three artists said that they did not have to contend with professional obstacles to reach their level of success. However, the analysis of the in-depth interviews showed that all the storytellers dealt with professional complications, but they did not allow those complications to interfere with their goals. In fact, one of the artists merely cited those situations as "dues that needed to be paid." Because the portraiture method encourages researchers to include themselves in their studies, I became the fourth storyteller in the project. I did the same introspective process about my careers that I asked of the other storytellers. My self-analysis supported some of the results I obtained from the other artists but it also showed some differences. These differences are explored in the dissertation.
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Peerless, Cathy Bufflap. "Storytellers' reports of the good work of storytelling." Thesis, University of Hartford, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3620411.
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Storytelling is often experienced as profound and transformative. Scholars view storytelling as both human essence and essential to human survival. This exploratory, qualitative study explored contemporary storytellers' reports of the good work of storytelling using the GoodWork Project (GWP) (Gardner, Csikszentmihalyi, and Damon, 2001) as the conceptual framework. Guided by the GWP this study examined cultural controls, social controls, individual standards, and outcome controls that impacted storytellers, their practice and good work.
This study applied the methodology of Gardner, Gregory, Csikszentmihalyi, Damon, and Michaelson (1997) and Gardner et al. (2001) to answer the primary research question, What do storytellers report regarding the good work of storytelling as conceptualized by the GWP (Gardner et al, 2001)? The unit of analysis was professional storytellers representing a population that that has not been studied any detailed and disciplined way. The cohort of a 12 storytellers, 3 men and nine women represented African American, Appalachian, Jewish, and Native American storytelling traditions. The protocol instrument consisted of inquiries in nine areas about their experiences, professional work, personal values, beliefs, opportunities and responsibilities relevant to storytelling.
The author conducted an in-depth one-on-one interview with 12 exemplary storytellers, all creative leaders. The complete interview was digitally recorded and transcribed verbatim. Storyteller responses comprised the data. The researcher hand-coded the content by hand, identifying eleven themes and GWP subtopics. For further data analysis, NVivo 10 text-analysis software was used. These steps categorized interviewees' statements according to richly interlinked motifs and ideas, which permitted the author to verify nodes showing the data's correspondence to the GWP conceptual framework.
Seven conclusions emanated from the findings describing storytellers' good work. The oral tradition, dedication to serving others, personal values, trust in storytelling community, culture and cultural heritage, and the paradox of technology impacted storytellers' good work. All of the storytellers interviewed and the overwhelming majority of contemporary scholarly literature agree with the argument that this dissertation develops, which is threefold: the human connection is at the heart of the power of story; second, the social environment for creative expression underlies the capacity of storytellers to do their professional work; and third, the opportunity to benefit other people, communities and support their own culture, also form critical features of storytellers' good work.
This study contributes to the view of storytelling as an art form and a leadership skill. It addresses the ethical questions of the use of stories and storytelling in business or corporate settings. This study described professional storytellers' experiences navigating complexities of the storytelling profession in today's highly technological and rapidly changing environment.