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Journal articles on the topic 'The Storyteller'

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

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1

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

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

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

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3

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

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4

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

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5

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

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6

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

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7

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

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8

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

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9

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

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10

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

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This article analyzes narratives about encounters between police officers and domestic violence victim/survivors in the context of domestic violence calls. Narratives are sites in which individuals create relationships between themselves and others, oriented around a set of unfolding events. Narrative is a motivated, engaged retelling of prior or anticipated events produced in interaction with others, in a particular context stocked with constraints and affordances. In the process of telling stories, identities emerge. In order to understand the relationship between narrative and identity, I analyze stories told about police interactions with domestic violence victim/survivors from the perspectives of both the police and the victim/survivors. Working empirically with a data set of 48 interviews, I use critical discourse analysis and discourse analysis to analyze the ways both groups narrate domestic violence and confrontations with police officers, the ways they create story worlds stocked with characters, the ways story characters are formed and deployed, and the ways those characters are positioned against/with/by the storyteller, allowing the storyteller’s identity to emerge. This article is an analysis of the relationship between the storyteller and the story world and the storyteller’s process of constructing an/other in order to position in relation to that other. Ultimately, I argue that identity emerges for the storyteller in the way she or he constructs characters in a story and then positions in relation to those characters.
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Lwin, Soe Marlar. "Stories of (self)-introduction for communicative effectiveness of an institutionalized storytelling performance." Narrative Inquiry 26, no. 1 (December 5, 2016): 64–87. http://dx.doi.org/10.1075/ni.26.1.04lwi.

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Over the last few decades, increasing interest in oral narratives as a point of entry into understanding self-presentation and construction of personal and social identities has led to several studies which adopt a contextualized approach to analyses of everyday conversational narratives. In this study, adopting a similar contextualized approach but focusing on a less spontaneous and more institutionalized type of oral storytelling, I examine the narrative told as an introduction to a professional storyteller before her storytelling performance, as well as the oral tale inscribed with institutional messages told during her storytelling performance. I discuss how the construction of storyteller’s identities in the narrative of introduction preceding the telling of an oral tale was an important strategy that enhanced the communicative effectiveness of the storytelling performance in disseminating the institutional messages. The study extends our understanding of the ways in which various institutions in contemporary society have been using storytelling performances by professional storytellers as a communicative, educative and meaning-making tool.
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12

Sato, Shosuke, and Masahiro Iwasaki. "Learning from the Training for the Successors and Storytellers the Legacy of Atomic Bombing in Hiroshima City: Lessons for Disaster Storytellers." Journal of Disaster Research 16, no. 2 (February 1, 2021): 216–23. http://dx.doi.org/10.20965/jdr.2021.p0216.

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Development of a “disaster storyteller (relater)” training program is necessary for sustainable and effective disaster management and tradition. In this paper, we observed a training program of atomic bombing storytellers (relater), who survived the bombing of Hiroshima, and legacy successors, who did not experience it. In addition, we conducted an interview survey of the Hiroshima City Hall administrative staff and eight tellers who completed the course program, as well as an analysis of training log data. The results showed that all interviewees who completed the program evaluated it positively, and many active storytellers completed the training every year. Finally, a standard training program for disaster storytellers was designed and proposed based on survey results.
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13

Zall, Carol. "Learning and Remembering Gaelic Stories: Brian Stewart." Scottish Studies 36 (December 31, 2013): 125. http://dx.doi.org/10.2218/ss.v36.2708.

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Questions about how Gaelic storytellers have learned, remembered and performed their tales are key to understanding the Gaelic narrative tradition. This article examines the experience of Brian Stewart, a Scottish Gaelic storyteller, and the techniques he reported using for learning, remembering and telling traditional Gaelic stories. Mr Stewart learned his stories – native heroic or international wonder tales – from his grandmother Susie Stewart and his uncle Alasdair Stewart (also known as ‘Alilidh Dall’). Strategies considered include taking an interest in stories; repeatedly listening to tales being told by a more experienced tradition bearer; practicing in front of, and being corrected by, another storyteller; consciously reviewing and rehearsing tales; visualizing stories; and retaining a faithful memory of formulaic language or runs. The difference between learning a story and learning a song is also discussed. It is suggested that studying these strategies can contribute to a better understanding of the Stewarts’ storytelling ethos.
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Baker, Carolyn, and Greer Cavallaro Johnson. "Stories of Courtship and Marriage: Orientations in Openings." Narrative Inquiry 10, no. 2 (December 31, 2000): 377–401. http://dx.doi.org/10.1075/ni.10.2.05bak.

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This paper presents initial analyses of the opening sequences of a number of courtship and marriage stories told by elderly Italian-Australians. Using a conversation-analytic perspective, the paper contributes to the study of how storytelling is a co-construction of teller and audience. The focus is on how the storyteller(s) and the interviewer, referring to a list of topics that might be covered in the story, negotiate how the story should be told. These instances of conversational storytelling differ from those in naturally occurring settings, since the storytelling is being recorded; further, they are distinctive because the storytellers know that the audio-recordings will be later transformed into chapters in a book. Therefore, there is a distinctive “for the record”orientation by both storyteller and interviewer, as might occur with oral history research. This paper explicates what might be involved in getting stories started under such circumstances. Some of the theoretical issues that arise from the analysis include the status, for storytellers, of the assumption that there is a correct or true story that represents what once happened. The orientation taken to analysis of the storytelling, however, is concerned with the “act of telling”(cf. Bamberg, 1997). This paper thus contributes to a pragmatic approach to narrative and narrative analysis.
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Linden, George W., and Gerald Mast. "Howard Hawks, Storyteller." Journal of Aesthetic Education 22, no. 3 (1988): 117. http://dx.doi.org/10.2307/3333061.

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16

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

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Smith, Ross. "Tolkien the storyteller." English Today 22, no. 1 (January 2006): 45–50. http://dx.doi.org/10.1017/s0266078406001076.

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The 20th century’s most popular novelist? – the third of three articles. The year 2005 marks the 50th anniversary of the publication of J.R.R. Tolkien’s prose epic The Lord of the Rings: voted ‘the book of the century’ in a poll conducted in 1997 by the UK book retailer Waterstones and ‘the UK’s best loved book’ in a BBC survey carried out in 2003. TLOTR was adapted to the screen in 2001 by the New Zealand-based director Peter Jackson and released, to widespread acclaim, in three parts between 2001 and 2003. The present is the third of three linked discussions of Tolkien’s work and the media through which it has been channelled (text and film), and of why it has been so phenomenally popular.
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Kuran, Evrim. "Leader as storyteller." Industrial and Commercial Training 45, no. 2 (March 8, 2013): 119–22. http://dx.doi.org/10.1108/00197851311309561.

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George, Daniel R., and Winona S. Houser. "“I’m a Storyteller!”." American Journal of Alzheimer's Disease & Other Dementiasr 29, no. 8 (June 19, 2014): 678–84. http://dx.doi.org/10.1177/1533317514539725.

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20

Mata, Tiago, and Harro Maas. "Craufurd Goodwin, Storyteller." History of Political Economy 51, no. 1 (February 1, 2019): 101–13. http://dx.doi.org/10.1215/00182702-7289312.

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21

Zekas, Christodoulos. "Odysseus as Storyteller." Mnemosyne 70, no. 5 (September 13, 2017): 721–39. http://dx.doi.org/10.1163/1568525x-12342196.

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AbstractThe scene in which Helius requires that Zeus avenge the slaughter of his sacred cattle is a unique case among the divine dialogues in Homeric epic. Its distinctiveness can be attributed to the fact that the demanding tone of the request, and the direct reply it receives, depart significantly from the communicative mode found in the other speech exchanges between the gods, principally in theOdyssey, but also in theIliad. I argue that this variation is intrinsically associated with the special narrative circumstances of the scene as reported by Odysseus, who as a human lacks the (precise) knowledge of divine discourse.
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Matthew Delmont. "Alex Haley, Storyteller." Transition, no. 122 (2017): 64. http://dx.doi.org/10.2979/transition.122.1.14.

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Theune, Mariët, Sander Faas, Anton Nijholt, and Dirk Heylen. "The virtual storyteller." ACM SIGGROUP Bulletin 23, no. 2 (August 2002): 20–21. http://dx.doi.org/10.1145/962185.962193.

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Meier, Scott T. "Statistician as Storyteller." Contemporary Psychology: A Journal of Reviews 41, no. 7 (July 1996): 694–95. http://dx.doi.org/10.1037/004632.

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Bronken, Berit Arnesveen, Marit Kirkevold, Randi Martinsen, and Kari Kvigne. "The Aphasic Storyteller." Qualitative Health Research 22, no. 10 (July 11, 2012): 1303–16. http://dx.doi.org/10.1177/1049732312450366.

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LaCombe, Michael A. "An Irish storyteller." American Journal of Medicine 96, no. 3 (March 1994): 292. http://dx.doi.org/10.1016/0002-9343(94)90156-2.

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King, Bruce, and Kenneth C. Kaleta. "Hanif Kureishi: Postcolonial Storyteller." World Literature Today 72, no. 4 (1998): 839. http://dx.doi.org/10.2307/40154351.

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Roy, Darlene. "Henry Dumas--Master Storyteller." Black American Literature Forum 22, no. 2 (1988): 343. http://dx.doi.org/10.2307/2904532.

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Ferran, Jaime, and Lorraine Elena Roses. "Voices of the Storyteller." Hispania 72, no. 1 (March 1989): 152. http://dx.doi.org/10.2307/342687.

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Beck, Deborah. "Odysseus: Narrator, Storyteller, Poet?" Classical Philology 100, no. 3 (July 2005): 213–27. http://dx.doi.org/10.1086/497858.

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Hung, Chang-Tai. "Reeducating a Blind Storyteller." Modern China 19, no. 4 (October 1993): 395–426. http://dx.doi.org/10.1177/009770049301900401.

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Versalle, Alexis. "Practicing the Wounded Storyteller." Journal of Pastoral Care & Counseling: Advancing theory and professional practice through scholarly and reflective publications 63, no. 1-2 (March 2009): 1–2. http://dx.doi.org/10.1177/154230500906300121.

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Weedon, Alexis. "Story, Storyteller, and Storytelling." Logos 29, no. 2-3 (November 17, 2018): 46–53. http://dx.doi.org/10.1163/18784712-02902006.

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Nothing has had so much impact on our daily lives in the past two decades as the revolution in technologies of communication. Across the resulting debate in industry and academia the notion of ‘storytelling’ has come into prominence. It is a term in need of conceptual placement and theoretical framing. Publishers may feel that they have first call on storytelling as primary producers of the written text. When oral traditions documented by scribes gave way to authorship of the written text, the dissemination of knowledge became by way of print. But since the invention and adoption of other media—film, radio, internet, web, book apps, interactive mobile media—storytelling has been the exclusive domain of none. This paper provides a definition of ‘story’, ‘storytelling’, and ‘storyteller’ based on contemporary examples and historical usage, and traces how the affordances of new technologies have opened up pathways in storytelling by looking at examples from the origins of media convergence in the early 20th century to today.
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34

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

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Verghese, Abraham. "The Physician as Storyteller." Annals of Internal Medicine 135, no. 11 (December 4, 2001): 1012. http://dx.doi.org/10.7326/0003-4819-135-11-200112040-00028.

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Hagedoorn, Berber, and Sabrina Sauer. "The Researcher as Storyteller." Audiovisual Data in Digital Humanities 7, no. 14 (December 31, 2018): 150. http://dx.doi.org/10.18146/2213-0969.2018.jethc159.

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This article offers a first exploratory critique of digital tools' socio-technical affordances in terms of support for narrative creation by media researchers. More specifically, we reflect on narrative creation processes of research, writing and story composition by Media Studies and Humanities scholars, as well as media professionals, working with crossmedia and audio-visual sources, and the pivotal ways in which digital tools inform these processes of search and storytelling. Our study proposes to add to the existing body of user-centred Digital Humanities research by presenting the insights of a cross-disciplinary user study. This involves, broadly speaking, researchers studying audio-visual materials in a co-creative design process, set to fine-tune and further develop a digital tool (technically based on linked open data) that supports audio-visual research through exploratory search. This article focuses on how 89 researchers – in both academic and professional research settings – use digital search technologies in their daily work practices to discover and explore (crossmedia, digital) audio-visual archival sources, especially when studying mediated and historical events. We focus on three user types, (1) Media Studies researchers; (2) Humanities researchers that use digitized audio-visual materials as a source for research, and (3) media professionals who need to retrieve materials for audio-visual text productions, including journalists, television/image researchers, documentalists, documentary filmmakers, digital storytellers, and media innovation experts. Our study primarily provides insights into the search, retrieval and narrative creation practices of these user groups. A user study such as this which combines different qualitative methods (focus groups with co-creative design sessions, research diaries, questionnaires), first, affords fine-grained insights. Second, it demonstrates the relevance of closely considering practices and mechanisms conditioning narrative creation, including self-reflexive approaches. Third and finally, it informs conclusions about the role of digital tools in meaning-creation processes when working with audio-visual sources, and where interaction is pivotal.
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Hamlyn, S. "Saki's Storyteller: A Source." Notes and Queries 60, no. 2 (April 5, 2013): 277–79. http://dx.doi.org/10.1093/notesj/gjt048.

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Beck. "Odysseus: Narrator, Storyteller, Poet?" Classical Philology 100, no. 3 (2005): 213. http://dx.doi.org/10.2307/3488388.

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Balon, Richard. "“I Am a Storyteller.”." Academic Psychiatry 41, no. 6 (October 30, 2017): 750–52. http://dx.doi.org/10.1007/s40596-017-0836-8.

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Elizabeth Bush. "Storyteller (review)." Bulletin of the Center for Children's Books 64, no. 3 (2010): 129–30. http://dx.doi.org/10.1353/bcc.2010.0266.

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41

Frank, Arthur W. "The Standpoint of Storyteller." Qualitative Health Research 10, no. 3 (May 2000): 354–65. http://dx.doi.org/10.1177/104973200129118499.

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Telford, William R. "Mark: Storyteller, Interpreter, Evangelist." Expository Times 118, no. 6 (March 2007): 282–83. http://dx.doi.org/10.1177/001452460711800607.

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43

Vlasov, A. N. "Concerning the Family Schools of Epic Storytellers: The Kryukov Dynasty." Russkaya literatura 2 (2020): 102–5. http://dx.doi.org/10.31860/0131-6095-2020-2-102-105.

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The article outlines the continuity of the family schools of epic storytellers in the North; the featured one is the Kryukov dynasty from the Winter Coast of the White Sea. The epic repertoire of an individual storyteller from the three generations of the Kryukov family is analyzed in the context of local and general Russian traditions. Possible ties of succession and differences between them are established. The author suggests that it is too early to postulate the existence of the family schools in Zimnyaya Zolotitsa with the same certainty as in the case of the Chuprovs on the Pizhma.
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44

Hartsell, Taralynn. "Digital Storytelling." International Journal of Information and Communication Technology Education 13, no. 1 (January 2017): 72–82. http://dx.doi.org/10.4018/ijicte.2017010107.

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Digital storytelling has many implications in teaching and learning. As a way to communicate ideas, experiences, beliefs, and topics to an audience through the use of technology and multimedia, digital stories help storytellers acquire many different skills and literacies. The most important aspect is that the storyteller learns to create stories using their personal voice and interpretation to be shared with a larger community. Self-expression is encouraged and confidence can be developed through the creation of digital stories. This paper examines digital storytelling from an instructional and learning perspective. Areas such as the implications of digital storytelling in education, the process of planning and developing stories, and a discussion of various tools to create digital stories are included. Digital storytelling can provide storytellers with an avenue for conveying ideas and information that are personal in nature or more informational.
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Norrick, Neal R. "Incorporating recipient evaluations into stories." Narrative Inquiry 20, no. 1 (October 11, 2010): 182–203. http://dx.doi.org/10.1075/ni.20.1.09nor.

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Evaluation constitutes a central feature of personal stories in conversation. Storytellers introduce evaluation into their narratives in various ways, including cases of appropriating assessments offered by their listeners. A storyteller may orient to the content of listener assessments and respond to them in various (positive or negative) ways, suspending the narrative in progress to comment or altering its direction. Shared assessments can lead to higher involvement and increased rapport with consequences for subsequent interaction between the participants. Rejections of listener assessments are much less frequent than ratifications: rejection of a listener assessment expresses the teller’s refusal to have it count as part of the overall evaluation of the story in progress.
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46

Silver, Larry, H. Perry Chapman, Wouter Th Kloek, and Arthur K. Wheelock. "Jan Steen: Painter and Storyteller." Sixteenth Century Journal 28, no. 2 (1997): 699. http://dx.doi.org/10.2307/2543564.

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47

Tearle, Oliver, and Ivan Kreilkamp. "Voice and the Victorian Storyteller." Modern Language Review 102, no. 3 (July 1, 2007): 843. http://dx.doi.org/10.2307/20467467.

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48

Hernandez, Dharma Thornton. ""Storyteller": Revising the Narrative Schematic." Pacific Coast Philology 31, no. 1 (1996): 54. http://dx.doi.org/10.2307/1316769.

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49

Atkinson, Amy. "The Storyteller by Evan Turk." Bulletin of the Center for Children's Books 69, no. 11 (2016): 603–4. http://dx.doi.org/10.1353/bcc.2016.0603.

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50

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

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