The Big Boxcar
Alfred Maund University of Illinois Press, 1957 Library of Congress PS3563.A876B54 1999 | Dewey Decimal 813.54
Five men and a woman, all African Americans, huddle in the rattling darkness of a boxcar headed north, away from a brutal South, seeking freedom and opportunity. They are joined by a white intruder whose own quest puts them all in great danger. Like Chaucer's pilgrims in The Canterbury Tales, each of these travelers has a story to tell, and these stories—of humor and humiliation, of prostitution and pride, of love and murder—unfold in the course of the journey. They reveal the lives and secrets of the tellers and give this transient community self-respect and solidarity as it hurtles toward arrest or worse. The Big Boxcar, written from a totally black perspective by a white author, bears witness to the structural racism of a social order that sets ordinary people of different colors against each other to the disadvantage of all. Alan Wald's introduction documents Maund's life of activism and his uncompromising commitment to social emancipation.
The attraction of scary stories begins very early in childhood, but the fortitude to be truly scared comes later. So where are the scary stories for young children? Educators and storytellers, Ford and Norfolk deliver a silly and gently spooky collection of jumps, laughs, interactive moments, and mostly happy endings to satisfy the curious-for-creepy Pre-K through Grade 4 set. Their weirdly funny and gently scary collection of adapted folktales, original stories, and verses will delight those who enjoy being surprised more than being scared.
This book is for:
Parents, grandparents, and other mentors who work with children developmentally aged 4 to 9
Educators, librarians and others serving young listeners, who like silly and creepy stories, but may not like very scary material
Audiences ages 4-9, who like creepy but not-too-scary stories.
Twelve pen-and-ink drawings based on folktale motifs complement the fanciful tone of the book.
“With openhearted generosity, Kristin shares not only the story of her amazing journey but complete lesson plans and valuable tips on inter-cultural work. She deepens our understanding of the culture and legends of Belize all the while imparting courage and a can-do philosophy that could truly change the world. Read and be inspired!”
—Diane Edgecomb, author of A Fire in My Heart: Kurdish Tales
In this audacious memoir, William Cobb reveals the tumultuous creative life of a distinguished practitioner of southern and Alabama storytelling. As poignant and inspiring as his own fiction, Captain Billy’s Troopers traces Cobb’s early life, education, and struggles with alcohol and the debilitating condition normal pressure hydrocephalus (NPH).
Like a curving river, the broad sweep of Cobb’s turbulent life includes both startling cataracts and desultory eddies, leading sometimes into shadows or opening into unexpected sunlight. With unsentimental clarity, Cobb recounts coming of age in his native Demopolis in the churning middle years of the twentieth century. It’s there he has his first tantalizing tastes of alcohol and begins to drink habitually. Readers then travel with Cobb to Livingston University (now the University of West Alabama) and then on to Vanderbilt University. Along the way, readers relish his first experiences of love and success as a writer, leading to a career as a professor of writing at Alabama College (now the University of Montevallo) in 1963.
From there Cobb’s struggles with alcohol and depression lead to elongated years of tumbling creative output and the collapse of his marriage. The summer of 1984 found Cobb in rehab, the first step in his path to recovery. His unflinching memoir narrates both the milestones and telling details of his intense therapy and years in Alcoholics Anonymous (AA). In the sober thirty years since, Cobb has published a string of critically praised novels and a prize-winning collection of short stories. The capstone of his comeback was winning the Harper Lee Award in 2007 for distinguished fiction writing.
In 2000, shortly after retiring, Cobb developed NPH, which upset his sense of balance and triggered dementia symptoms and other maladies. Nine years later in 2009, brain surgery brought Cobb a dramatic recovery, which began the third act in his writing career. Vital, honest, and entertaining, Captain Billy’s Troopers captures the life of an Alabama original.
Teacher and author Vivian Paley is highly regarded by parents, educators, and other professionals for her original insights into such seemingly everyday issues as play, story, gender, and how young children think. In The Classrooms All Young Children Need, Patricia M. Cooper takes a synoptic view of Paley’s many books and articles, charting the evolution of Paley’s thinking while revealing the seminal characteristics of her teaching philosophy. This careful analysis leads Cooper to identify a pedagogical model organized around two complementary principles: a curriculum that promotes play and imagination, and the idea of classrooms as fair places where young children of every color, ability, and disposition are welcome.
With timely attention paid to debates about the reduction in time for play in the early childhood classroom, the role of race in education, and No Child Left Behind, The Classrooms All Young Children Need will be embraced by anyone tasked with teaching our youngest pupils.
Translations of forty-two Bulgarian folktales, together with introductory essay and notes for teachers and storytellers following each story, with a list of Resources Cited.
Each folktale expresses an aspect of Bulgarian folk culture, presents characters who are clever enough to avoid ill-conceived courtship, kind enough to esteem even the poorest of neighbors, tricky enough to evade shysters, or sly enough to remain independent in the face of great power. Each of these traits has helped the Bulgarian people survive and thrive in a relatively poor, mountainous environment for more than fourteen centuries. In celebrating these traits and others, the folktales collected here honor the character of a people.
Because American Indian literatures are largely informed by their respective oral storytelling traditions, they may be more difficult to understand or interpret than the more text-based literatures with which most readers are familiar. In this insightful new book, Susan Berry Brill de Ramírez addresses the limitations of contemporary criticism and theory in opening up the worlds of story within American Indian literatures, proposing instead a conversive approach for reading and understanding these works. In order to fully understand American Indian literatures, Brill de Ramírez explains that the reader must become a listener-reader, an active participant in the written stories
. To demonstrate this point, she explores literary works both by established Native writers such as Sherman Alexie, N. Scott Momaday, Leslie Marmon Silko, and Luci Tapahonso and by less-well-known writers such as Anna Lee Walters, Della Frank, Lee Maracle, and Louis Owens. Through her literary engagements with many poems, novels, and short stories, she demonstrates a new way to read and understand the diverse body of American Indian literatures. Brill de Ramírez's conversive approach interweaves two interconnected processes: co-creating the stories by participating in them as listener-readers and recognizing orally informed elements in the stories such as verbal minimalism and episodic narrative structures.
Because this methodology is rooted in American Indian oral storytelling traditions, Native voices from these literary works are able to more directly inform the scholarly process than is the case in more textually based critical strategies. Through this innovative approach, Brill de Ramírez shows that literature is not a static text but an interactive and potentially transforming conversation between listener-readers, storyteller-writers, and the story characters as well. Her book furthers the discussion of how to read American Indian and other orally informed literatures with greater sensitivity to their respective cultural traditions and shows that the immediacy of the relationship between teller, story, and listener can also be experienced in the relationships between writers, literary works, and their listener-readers.
Donald Davis was a young United Methodist minister when the telephone rang one morning. "It's your daddy," the caller said, "Mama just couldn't get him awake this morning. He is gone."
"A million questions about him began to line themselves up in my mind." Davis writes. "Where did he go to high school? I did not know." Did he get any education behind that? What were his early jobs, and where did he live then? I was now only twenty-eight, my father was dead, and I had been to young and immature to know to ask t=for the stories that would have filled out his life for me."
The surprise of a lifetime came when he called home and his recently departed father picked up the phone: "Hello! This is Joe Davis. What can I do for you today?"
That case of mistaken identity changed Donald Davis's outlook on the value of family and the need for story gathering. In the twenty-two years until his father's second death, he rarely let an opportunity pass to collect and cherish the stories of his life.
Cripple Joe is the happy result.
Davis tells how his father and an African-American hospital orderly quietly broke down racial barriers in their small mountain town.
He tells how his father employed his humane brand of justice on an eager young chemist whose experiments veered into manufacturing gunpowder, on sons who nearly burned a barn, and on teenagers who organized a disastrous coed camping trip.
And best of all, he tells how Joe Davis--a man known as "Banker Joe" for his work in the loan department but to a select few as "Cripple Joe"--turned a gruesome accident into an opportunity that broadened his world and that of his son.
As the father of the hardboiled detective genre, Dashiell Hammett had a huge influence on Hollywood. Yet, it is easy to forget how adaptable Hammett’s work was, fitting into a variety of genres and inspiring generations of filmmakers.
Dashiell Hammett and the Movies offers the first comprehensive look at Hammett’s broad oeuvre and how it was adapted into films from the 1930s all the way into the 1990s. Film scholar William H. Mooney reveals the wide range of films crafted from the same Hammett novels, as when The Maltese Falcon was filmed first as a pre-Code sexploitation movie, then as a Bette Davis screwball comedy, and finally as the Humphrey Bogart classic. He also considers how Hammett rose to Hollywood fame not through the genre most associated with him, but through a much fizzier concoction, the witty murder mystery The Thin Man. To demonstrate the hold Hammett still has over contemporary filmmakers, the book culminates in an examination of the Coen brothers’ pastiche Miller’s Crossing.
Mooney not only provides us with an in-depth analysis of Hammett adaptations, he also chronicles how Hollywood enabled the author’s own rise to stardom, complete with a celebrity romance and a carefully crafted public persona. Giving us a behind-the-scenes look at the complex power relationships, cultural contexts, and production concerns involved in bringing Hammett’s work from the page to the screen, Dashiell Hammett and the Movies offers a fresh take on a literary titan.
The first work to combine literary criticism with other forms of death penalty–abolitionist writing, Demands of the Dead demonstrates the active importance of literature and literary criticism to the struggle for greater justice in the United States. Gathering personal essays, scholarly articles, and creative writings on the death penalty in American culture, this striking collection brings human voices and literary perspectives to a subject that is often overburdened by statistics and angry polemics. Contributors include death-row prisoners, playwrights, poets, activists, and literary scholars.
Highlighting collaborations between writers inside and outside prison, all within the context of the history of state killing laws and foundational concepts that perpetuate a culture of violent death, Demands of the Dead opens with a pamphlet dictated by Willie Francis, a teenager who survived a first execution attempt in Louisiana’s electric chair before he was subsequently killed by the state in 1947.
Writers are a conspicuous part of U.S. death-penalty history, composing a vibrant literary record of resistance to state killing. This multigenre collection both recalls and contributes to this tradition through discussions of such writers as Walt Whitman, Herman Melville, Gertrude Atherton, Ernest Gaines, Sonia Sanchez, Kia Corthron, and Sherman Alexie. A major contribution to literary studies and American prison studies, Demands of the Dead asserts the relevance of storytelling to ethical questions and matters of public policy.
This volume offers the first theoretical and experiential translation of Napo Runa mythology in English. Michael A. Uzendoski and Edith Felicia Calapucha-Tapuy present and analyze lowland Quichua speakers in the Napo province of Ecuador through narratives, songs, curing chants, and other oral performances, so readers may come to understand and appreciate Quichua aesthetic expression. Guiding readers into Quichua ways of thinking and being--in which language itself is only a part of a communicative world that includes plants, animals, and the landscape--Uzendoski and Calapucha-Tapuy weave exacting translations into an interpretive argument with theoretical implications for understanding oral traditions, literacy, new technologies, and language. A companion websiteoffers photos, audio files, and videos of original performances illustrates the beauty and complexity of Amazonian Quichua poetic expressions.
“Elizabeth Ellis’s words jump off the page and into the secret part of your heart where you keep treasured memories and sacred feelings. She sings to you of her life and the lives of others with whom she intersects. Compassionate and thought provoking, an Appalachian/Texan with a whole-world point of view with a little rabble rousing thrown in, Elizabeth Ellis is a true master of the written and spoken word.”
--Robin Bady, Storyteller, Arts Educator, Brooklyn, New York
Nobody knows how to tell a story like Bobby Norfolk, and here he tells his own life story. Norfolk grew up in hardscrabble neighborhoods of Saint Louis, Missouri, during the 1950s and 60s, sometimes walking to elementary school from an apartment his parents could not afford to heat. Lifting himself up by force of will and God-given talent, Norfolk defeated a childhood stutter to become a high school dramatist and later an exceptional college student. The path was never easy—and often frightening. With men of color being killed all-too-frequently in America, Norfolk sought a personal identity based upon talent and hard work, but also upon where safety and justice might be found. He tells these stories—some heartwarming or humorous, some frightful and treacherous—honestly, with a graceful mindfulness that all would do well to emulate.
From Plot to Narrative
Ellis, Elizabeth Parkhurst Brothers, Inc., 2012 Library of Congress PN212E55 2012 | Dewey Decimal 808.036
Each of the twelve chapters represents a rung on the ladder of dynamic narrative development. Beginning with the most basic plot outline, Ellis leads readers through exercises and discussions of elements that build a story into a memorable reading or listening experience. The chapters include many topics of interest to all writers, regardless of medium, but some will speak most potently to those writing either fiction or personal narrative. Chapters include Characterization, Point of View, Emotion, Context, Imagery, and Connection [with the reader]. Herself a leading professional storyteller, Ellis also includes a chapter especially for those who plan to craft stories for oral performance.
Hex: A Novel
Sarah Blackman University of Alabama Press, 2016 Library of Congress PS3602.L325298H49 2016 | Dewey Decimal 813.6
The debut novel by Sarah Blackman (award-winning author of Mother Box and Other Tales) Hex explores the ways one woman uses language and stories to rebuild her own shattered sense of self.
Alice is a motherless child, born to a motherless child, and raised with neither care nor grace. Her response to this multiple abandonment is a lifelong obsession with her best friend Ingrid, or Thingy, as Alice calls her, and a sort of fantastic narcissism wherein she figures herself as the nexus of a supernatural world she understands through a blend of mountain lore, indigenous Cherokee legend, and the dangerous idiom of the fairy-tale girl who enters the forest despite being warned.
The novel is written in blended parts and is crafted as an address to Thingy’s daughter, Ingrid the Second, who is now in Alice’s care. Alice attempts to tell Ingrid the story of her life: her friendship with Thingy; her troubled relationships with her father, a small-town sexual troubadour; her stepmother, a hard-minded business woman who treats all interactions as commerce; her marriage to her husband Jacob, a silent figure of tremendous will; and her growing suspicion that Ingrid is another girl-child around whom disaster accumulates. Simultaneously, Alice tells the child the kind of bedtime stories she herself has used to make sense of her world. For Alice, and thus in Hex, the line between fantasy and reality is nonexistent, the mountain is older than its geology, and the world a limbo in which everything that has ever happened is coming around again.
Hex is a novel about violence—the violence of the fist, of the womb, of the story. It is also a novel about language and how we use it to build a world when the one we find around us is irretrievably broken.
Ask a scientist about Hollywood, and you’ll probably get eye rolls. But ask someone in Hollywood about science, and they’ll see dollar signs: moviemakers know that science can be the source of great stories, with all the drama and action that blockbusters require.
That’s a huge mistake, says Randy Olson: Hollywood has a lot to teach scientists about how to tell a story—and, ultimately, how to do science better. With Houston, We Have a Narrative, he lays out a stunningly simple method for turning the dull into the dramatic. Drawing on his unique background, which saw him leave his job as a working scientist to launch a career as a filmmaker, Olson first diagnoses the problem: When scientists tell us about their work, they pile one moment and one detail atop another moment and another detail—a stultifying procession of “and, and, and.” What we need instead is an understanding of the basic elements of story, the narrative structures that our brains are all but hardwired to look for—which Olson boils down, brilliantly, to “And, But, Therefore,” or ABT. At a stroke, the ABT approach introduces momentum (“And”), conflict (“But”), and resolution (“Therefore”)—the fundamental building blocks of story. As Olson has shown by leading countless workshops worldwide, when scientists’ eyes are opened to ABT, the effect is staggering: suddenly, they’re not just talking about their work—they’re telling stories about it. And audiences are captivated.
Written with an uncommon verve and enthusiasm, and built on principles that are applicable to fields far beyond science, Houston, We Have a Narrative has the power to transform the way science is understood and appreciated, and ultimately how it’s done.
Essential classroom resource for New Testament courses
In this book, a group of international scholars go in detail to explain how the author of the Gospel of John uses a variety of narrative strategies to best tell his story. More than a commentary, this book offers a glimpse at the way an ancient author created and used narrative features such as genre, character, style, persuasion, and even time and space to shape a dramatic story of the life of Jesus.
An introduction to the Fourth Gospel through its narrative features and dynamics
Fifteen features of story design that comprise the Gospel of John
Short, targeted essays about how John works that can be used as starting points for the study of other Gospels/texts
It is widely believed that a child's imagination ought to be
stimulated and developed in education. Yet, few teachers
understand what imagination is or how it lends itself to
practical methods and techniques that can be used easily in
classroom instruction. In this book, Kieran Egan—winner of
the prestigious Grawemeyer Award for his work on
imagination—takes up where his Teaching as Story Telling
left off, offering practical help for teachers who want to
engage, stimulate, and develop the imaginative and learning
processes of children between the ages of eight to fifteen.
This book is not about unusually imaginative students and
teachers. Rather, it is about the typical student's
imaginative life and how it can be stimulated in learning,
how the average teacher can plan to achieve this aim, and how
the curriculum can be structured to help achieve this aim.
Slim and determinedly practical, this book contains a wealth
of concrete examples of curriculum design and teaching
techniques structured to appeal specifically to children in
their middle school years.
Activists and politicians have long recognized the power of a good story to move people to action. In early 1960 four black college students sat down at a whites-only lunch counter in Greensboro, North Carolina, and refused to leave. Within a month sit-ins spread to thirty cities in seven states. Student participants told stories of impulsive, spontaneous action—this despite all the planning that had gone into the sit-ins. “It was like a fever,” they said.
Francesca Polletta’s It Was Like a Fever sets out to account for the power of storytelling in mobilizing political and social movements. Drawing on cases ranging from sixteenth-century tax revolts to contemporary debates about the future of the World Trade Center site, Polletta argues that stories are politically effective not when they have clear moral messages, but when they have complex, often ambiguous ones. The openness of stories to interpretation has allowed disadvantaged groups, in particular, to gain a hearing for new needs and to forge surprising political alliances. But popular beliefs in America about storytelling as a genre have also hurt those challenging the status quo.
A rich analysis of storytelling in courtrooms, newsrooms, public forums, and the United States Congress, It Was Like a Fever offers provocative new insights into the dynamics of culture and contention.
“Even after dark, if you are quiet and attentive, you can hear a Killdeer far off. Sandbars, mud flats and grazed fields are where you find them. They are commonplace. So much so, that you might miss them if not for the unique sound they make as they fly overhead, or dart back and forth on the ground, as if wondering which way to go next. So it is with Michael Cotter’s stories. They are like a comfortable pair of slippers. Not flashy at all, but each time you put them on and walk in them, you are so glad you did. They appear so ordinary, but the way they wrap around your soul surprises you. And like slippers you thought you’d never buy, Michael’s stories surprise you. Even though they are not flashy, energetic or dramatic in ways we have come to expect in this digital age, they are grounded in universal truths, with timeless characters. They provide us with a sense of memory, wisdom and peace that celebrates the human spirit, and revels in the common man, woman, boy and girl that is in us all. When Michael tells his stories, it’s as if time stands still. We are reminded of who we really are….down deep….after the television is turned off, the radio is silenced, and we have put our egos on the shelf to rest a spell.”
--Rex Ellis, Director of Museum programs, Smithsonian Institution, Washington, D.C.
Children’s and young adult literature has become an essential medium for identity formation in contemporary Latino/a culture in the United States. This book is an original collection of more than thirty interviews led by Frederick Luis Aldama with Latino/a authors working in the genre. The conversations revolve around the conveyance of young Latino/a experience, and what that means for the authors as they overcome societal obstacles and aesthetic complexity. The authors also speak extensively about their experiences within the publishing industry and with their audiences. As such, Aldama’s collection presents an open forum to contemporary Latino/a writers working in a vital literary category and sheds new light on the myriad formats, distinctive nature, and cultural impact it offers.
Stories accompany us through life from birth to death. But they do not merely entertain, inform, or distress us—they show us what counts as right or wrong and teach us who we are and who we can imagine being. Stories connect people, but they can also disconnect, creating boundaries between people and justifying violence. In Letting Stories Breathe, Arthur W. Frank grapples with this fundamental aspect of our lives, offering both a theory of how stories shape us and a useful method for analyzing them. Along the way he also tells stories: from folktales to research interviews to remembrances.
Frank’s unique approach uses literary concepts to ask social scientific questions: how do stories make life good and when do they endanger it? Going beyond theory, he presents a thorough introduction to dialogical narrative analysis, analyzing modes of interpretation, providing specific questions to start analysis, and describing different forms analysis can take. Building on his renowned work exploring the relationship between narrative and illness, Letting Stories Breathe expands Frank’s horizons further, offering a compelling perspective on how stories affect human lives.
In essays about communities as varied as Alaskan Native, East Indian, Palestinian, Mexican, and African American, oral historians, folklorists, and anthropologists look at how traditional and historical oral narratives live through re-tellings, gaining meaning and significance in repeated performances, from varying contexts, through cultural and historical knowing, and due to tellers' consciousness of their audiences.
Constrained by traditions restricting their movements and speech, the Maithil women of Nepal and India have long explored individual and collective life experiences by sharing stories with one another. Sometimes fantastical, sometimes including a kind of magical realism, these tales allow women to build community through a deeply personal and always evolving storytelling form.
In Maithil Women’s Tales, Coralynn V. Davis examines how these storytellers weave together their own life experiences--the hardships and the pleasures--with age-old themes. In so doing, Davis demonstrates, they harness folk traditions to grapple personally as well as collectively with social values, behavioral mores, relationships, and cosmological questions.
Each chapter includes stories and excerpts that reveal Maithil women’s gift for rich language, layered plots, and stunning allegory. In addition, Davis provides ethnographic and personal information that reveal the complexity of women’s own lives, and includes works painted by Maithil storytellers to illustrate their tales. The result is a fascinating study of being and becoming that will resonate for readers in women’s and Hindu studies, folklore, and anthropology.
Fran Leeper Buss, a former welfare recipient who earned a PhD in history and became a pioneer in the field of oral history, has for forty years dedicated herself to the goal of collecting the stories of marginal and working-class U.S. women. Memory, Meaning, and Resistance is based on over 100 oral histories gathered from women from a variety of racial, ethnic, and geographical backgrounds, including a traditional Mexican American midwife, a Latina poet and organizer for the United Farm Workers, and an African American union and freedom movement organizer. Buss now analyzes this body of work, identifying common themes in women’s lives and resistance that unite the oral histories she has gathered. From the beginning, her work has shed light on the inseparable, compounding effects of gender, race, ethnicity, and class on women’s lives—what is now commonly called intersectionality. Memory, Meaning, and Resistance is structured thematically, with each chapter analyzing a concept that runs through the oral histories, e.g., agency, activism, religion. The result is a testament to women’s individual and collective strength, and an invaluable guide for students and researchers, on how to effectively and sensitively conduct oral histories that observe, record, recount, and analyze women’s life stories.
We were going down the road, and we came to this house. There was a little boy standing by the road just crying and crying. We stopped, and we heard the biggest racket you ever heard up in the house. œWhat ™s the matter, son? œWhy, Maw and Paw are up there fightin ™. œWho is your Paw, son? œWell, that ™s what they are fightin ™ over. Brimming with ballads, stories, riddles, tall tales, and great good humor, My Curious and Jocular Heroes pays homage to four people who guided and inspired Loyal Jones ™s own study of Appalachian culture. His sharp-eyed portraits introduce a new generation to Bascom Lunsford, the pioneer behind the œmemory collections of song and story at Columbia University and the Library of Congress; the Sorbonne-educated collector and performer Josiah H. Combs; Cratis D. Williams, the legendary father of Appalachian studies; and the folklorist and master storyteller Leonard W. Roberts. Throughout, Jones highlights the tales, songs, jokes, and other collected nuggets that define the breadth of each man ™s research and repertoire.
An American storyteller’s immersion In the Chinese folktale tradition
“Having traveled on the same People to People Ambassador journey to China with Julie, I have seen Julie's anthology from inception to fruition. It is a masterful, engaging, informative and scholarly addition to our understanding and appreciation of Chinese culture, particularly storytelling and folk traditions, from ancient days to today. Practicing storytellers will especially appreciate her tips for telling and context clues at the end of each story.” --Judith Heineman, storyteller, producer and Illinois Humanities Road Scholar
Other People's Myths celebrates the universal art of storytelling, and the rich diversity of stories that people live by. Drawing on Biblical parables, Greek myths, Hindu epics, and the modern mythologies of Woody Allen and soap operas, Wendy Doniger O'Flaherty encourages us to feel anew the force of myth and tradition in our lives, and in the lives of other cultures. She shows how the stories of mythology—whether of Greek gods, Chinese sages, or Polish rabbis—enable all cultures to define themselves. She raises critical questions about the way we interpret mythical stories, especially the way different cultures make use of central texts and traditions. And she offers a sophisticated way of looking at the roles myths play in all cultures.
Michael Joyce's new collection continues to examine the connections between the poles of art and instruction, writing and teaching in the form of what Joyce has called theoretical narratives, pieces that are both narratives of theory and texts in which theory often takes the form of narrative. His concerns include hypertext and interactive fiction, the geography of cyberspace, and interactive film, and Joyce here searches out the emergence of network culture in spaces ranging from the shifting nature of the library to MOOs and other virtual spaces to life along a river.
While in this collection Joyce continues to be one of our most lyrical, wide-ranging, and informed cultural critics and theorists of new media, his essays exhibit an evolving distrust of unconsidered claims for newness in the midst of what Joyce calls "the blizzard of the next," as well as a recurrent insistence upon grounding our experience of the emergence of network culture in the body.
Michael Joyce is Associate Professor of English, Vassar College. He is author of a number of hypertext fictions on the web and on disk, most notably Afternoon: A Story.
His previous books are Of Two Minds: Hypertext Pedagogy and Poetics and Moral Tale and Meditations: Technological Parables and Refractions.
The twelve contemporary fiction writers interviewed in Passion and Craft go beyond the merely autobiographical, revealing that, despite
their differences, they share passionate devotion and discipline for their
Included are Richard Ford, winner in 1995 of both the Pulitzer Prize
and the PEN/Faulkner Award; Gina Berriault, 1997 winner of the National
Book Critics Circle Award; Bobbie Ann Mason; T. Coraghessan Boyle; Rick
Bass; Leonard Michaels; Christopher Tilghman; Thom Jones; Julia Alvarez;
Andre Dubus; Jayne Anne Phillips; and Tobias Wolff.
Their comments will interest readers devoted to their novels and stories,
other writers, and aspiring writers.
Playing Doctor is an engaging and highly perceptive history of the medical TV series from its inception to the present day. Turow offers an inside look at the creation of iconic doctor shows as well as a detailed history of the programs, an analysis of changing public perceptions of doctors and medicine, and an insightful commentary on how medical dramas have both exploited and shaped these perceptions.
Drawing on extensive interviews with creators, directors, and producers, Playing Doctor is a classic in the field of communications studies. This expanded edition includes a new introduction placing the book in the contemporary context of the health care crisis, as well as new chapters covering the intervening twenty years of television programming. Turow uses recent research and interviews with principals in contemporary television doctor shows such as ER, Grey's Anatomy, House, and Scrubs to illuminate the extraordinary ongoing cultural influence of medical shows. Playing Doctor situates the television vision of medicine as a limitless high-tech resource against the realities underlying the health care debate, both yesterday and today.
It has not been easy to value play. Mainstream culture urges us to rush and finish what we are working on to quickly advance to the next task at hand. Too often we must punch our time clock forward without much consideration. As the minutes and hours move, we indirectly communicate both to ourselves and the world no time remains to play; we must work.
Despite that the world around me does not value play, in my creative life, play is necessary. In fact, I have discovered it is the real work I do as an artist and teacher. As a storyteller, writer, teacher, and imaginative thinker, it is play that has produced the most desired results in my life, in my work, and especially, in my creativity. It is in play that we experience who we are and we begin to extend our choices. Play is not consciously prepared; discovery that happens in the moment. It invites reflection. In fact, Plato once shared, “You can discover more about a person in an hour of play than in a year of conversation.”
In this book, you will discover new ways to work with your story craft and find new story direction using play. Indeed, play is a meaningful way to create and learn.
In both childhood and adult play, the imagination plays a central role in the meaning making process. Although there are many types of play: school-based, recess, sports, this work is rooted in play inviting the writer, storyteller, or imaginative thinker to make choices as they work to create meaning in their work.
I will share how collaborative play can increase your choices when making a story. You will find not only exercises to build your story making and telling skills, but pedagogy of practice to use when called to create story.
Prepare to Scareis a handbook edited by Circle of Excellence storyteller, Elizabeth Ellis, with contributions by the A-list of scary story writers and tellers on the American Storytelling Festival Circuit. It is a handbook for adults who tell stories to children or other adults in a variety of settings: storytelling events, schools, aftercare programs, camps, and homes.
The Radical Act of Community Storytelling is everything it claims in the title. It is the story of a radical step of faith taken by Penelope Starr to open her life by bringing community storytelling to her community. It is the story of voices that often go unheard having the opportunity to speak and be heard. And it is about community building from start to finish ... including everything any radical would need to start a community storytelling organization in any community.
—Adam Hostetter, Adult literacy educator, writer, and community storytelling producer
"In this passionate, erudite, and far-ranging book, Kroeber renews for our multi-cultural age a fundamental argument: the stories we tell, hear, read, and see make a difference to the lives we read."--Jonathan Arac, University of Pittsburgh
In this highly readable and thoroughly original book, Karl Kroeber questions the assumptions about storytelling we have inherited from the exponents of modernism and postmodernism. These assumptions have led to overly formalistic and universalizing conceptions of narrative that mystify the social functions of storytelling. Even "politically correct" critics have Eurocentrically defined story as too "primitive" to be taken seriously as art. Kroeber reminds us that the fundamental value of storytelling lies in retelling, this paradoxical remaking anew that constitutes story's role as one of the essential modes of discourse. His work develops some recent anthropological and feminist criticism to delineate the participative function of audience in narrative performances.
In depicting how audiences contribute to storytelling transactions, Kroeber carries us into a surprising array of examples, ranging from a Mesopotamian sculpture to Derek Walcott's Omeros; startling juxtapositions, such as Cervantes to Vermeer; and innovative readings of familiar novels and paintings. Tom Wolfe's comparison of his Bonfire of the Vanities to Vanity Fair is critically analyzed, as are the differences between Thackeray's novel and Joyce's Ulysses and Flaubert's Madame Bovary. Other discussions focus on traditional Native American stories, Henry James's The Ambassadors, Calvino's If on a winter's night a traveler, and narrative paintings of Giotto, Holman Hunt, and Roy Lichtenstein. Kroeber deploys the ideas of Ricoeur and Bakhtin to reassess dramatically the field of narrative theory, demonstrating why contemporary narratologists overrate plot and undervalue story's capacity to give meaning to the contingencies of real experience. Retelling/Rereading provides solid theoretical grounding for a new understanding of storytelling's strange role in twentieth-century art and of our need to develop a truly multicultural narrative criticism.
Barbara Myerhoff's groundbreaking work in reflexivity and narrative ethnography broke with tradition by focusing not on the raw ethnographic data, but on her interaction with those she studied. Myerhoff's unfinished projects, including her final talks on storytelling, ritual, and the "culture of aging and Yiddishkeit," offer a magisterial summary of her life's work.
"The beauty of Stories as Equipment for Living is the quality of being a compilation of rescued fragments, bits and pieces of a great master's writing and thinking that were coming towards synthesis but had never reached a finished form prior to her death. This collection is an examination of the place of narrative in human life, the synthetic nature of culture and the constant search for visibility particularly by those relegated for one reason or another to the margins. A thought-provoking book worthy of extended reflection."
---Jack Kugelmass, Professor of Anthropology and Director of Jewish Studies, University of Florida
"Stories as Equipment for Living achieves a nice balance between preserving Myerhoff's work in its original form and reconstructed contexts, but presenting it in a manner relevant to readers a generation after her death. The book documents Myerhoff's growing involvement with Jewish culture, the actual process of anthropological work through field notes, and the picture of how she always was bouncing the fine details of this combined professional and personal venture off the 'big questions' of anthropology in its broadest sense."
---Harvey E. Goldberg, Professor of Sociology and Anthropology, Hebrew University, Israel
"These essays capture the rhythm of Barbara Myerhoff's words and her vivid and distinctive train of thought, bringing the reader into the classroom of one of anthropology's finest lecturers. As an anthropologist with a poet's gift for language, she utilizes the tools of ethnography and extraordinary powers of observation---a remarkable 'ethnographic eye'---to explore the outward expressions and inner lives of the Fairfax neighborhood of L.A. These stories are not only glorious introductions to the study of culture, but provide in their revelations a reason for studying it. They are required reading for anyone passionate to know what an anthropologist can teach us about communities and ultimately about ourselves."
---Steve Zeitlin, Director, City Lore: The New York Center for Urban Folk Culture
"Master of the third voice, the voice of collaboration, Myerhoff is at once a consummate listener and inspired storyteller. This book offers a rare and luminous opening into the working process and wisdom of one of the great anthropologists of the twentieth century."
---Barbara Kirshenblatt-Gimblett, Professor of Performance Studies at New York University and coauthor of They Called Me Mayer July: Painted Memories of a Jewish Childhood in Poland Before the Holocaust
"Myerhoff and her collaborators have given her 'Hasidim,' her disciples old and new, a final and precious gift."
---Jonathan Boyarin, The Robert M. Beren Distinguished Professor of Modern Jewish Studies at the University of Kansas and author of Thinking in Jewish
Barbara Myerhoff was a renowned anthropologist who did pioneering work in gerontology, Jewish studies, folklore, and narrative anthropology. She is best known for her ethnography of and personal involvement with a community of elderly immigrant Jews in California. Her writings and lectures have had an enormous impact on all of these areas of study, and her books are widely celebrated, especially Number Our Days, whose companion documentary film won an Academy Award.
Marc Kaminsky is a psychotherapist, a poet, a writer, and the former codirector of the Institute on Humanities, Arts and Aging of the Brookdale Center on Aging.
Mark Weiss is a writer, an editor, a translator, and a poet; his books include the widely praised Across the Line/Al Otro Lado.
Deena Metzger is a novelist, a poet, and the founding codirector (with Marc Kaminsky) of the Myerhoff Center.
Thomas R. Cole is the Beth and Toby Grossman Professor and Director of the McGovern Center for Health, Humanities, and the Human Spirit at the University of Texas Health Science Center in Houston, and a Professor of Humanities in the Department of Religious Studies at Rice University; his expertise lies in the history of aging and humanistic gerontology.
Grounded in existing understandings of Yup’ik cosmology and worldview, this work is the first to look at how a Yup’ik community uses stories of place in social life. On the Bering coast of southwest Alaska, Cusack-McVeigh accompanied storytellers during their daily activities. Hearing many narratives repeatedly over a span of years, she came to understand how stories reflected interactions of people and places.
For the Yup’ik people, places are also social actors that react to human actions and emotions. Stories tell how people learn about each other through encounters on the land, and thereby places also learn about people. Places comment on human behavior through the land's responses to specific actions. Stories variously reveal ideas about human associations and relationships between humans and nonhuman beings. Pointing to a systematic correlation between places and narrative elements that has not been previously explored, this volume makes a unique contribution to the literature on place.
Winner of the Brian McConnell Book Award from the International Society for Contemporary Legend Research.
Stories are perceived as central to modern life. Not only in narrative entertainment media, such as television, cinema, theater, but also in social media. Telling/having "a story" is widely deemed essential, in business as well as in social life. Does this mark an intensification of what has always been part of human cultures; or has the realm of "story" expanded to dominate twenty-first century discourse? Addressing stories is an obvious priority for the Key Debates series, and Volume 7, edited by Ian Christie and Annie van den Oever, identifies new phenomena in this field — complex narration, puzzle films, transmedia storytelling — as well as new approaches to understanding these, within narratology and bio-cultural studies. Chapters on such extended television series as Twin Peaks, Game of Thrones and Dickensian explore distinctively new forms of screen storytelling in the digital age.With contributions by Vincent Amiel, Jan Baetens, Dominique Chateau, Ian Christie, John Ellis, Miklós Kiss, Eric de Kuyper, Sandra Laugier, Luke McKernan, José Moure, Roger Odin, Annie van den Oever, Melanie Schiller, Steven Willemsen, Robert Ziegler.
Harold Scheub University of Wisconsin Press, 1998 Library of Congress GR358.S34 1998 | Dewey Decimal 808.5430968
What is the essence of story? How does the storyteller convey meaning? Leading scholar Harold Scheub tackles these questions and more, demonstrating that the power of story lies in emotion.
While others have focused on the importance of structure in the art of story, Scheub emphasizes emotion. He shows how an expert storyteller uses structural elements—image, rhythm, and narrative—to shape a story's fundamental emotional content. The storyteller uses traditional images, repetition, and linear narrative to move the audience past the story’s surface of morals and ideas, and make connections to their past, present, and future. To guide the audience on this emotional journey is the storyteller’s art.
The traditional stories from South African, Xhosa, and San cultures included in the book lend persuasive support to Scheub’s. These stories speak for themselves, demonstrating that a skilled performer can stir emotions despite the obstacles of space, time, and culture.
Karen Chace’s book, Story by Story, Building a Storytelling Troupe is a must have for anyone even slightly interested in starting a storytelling group with students. I know I am guilty of sometimes skipping over sections, but every word that Karen writes is important and useful distilled (and therefore potent) information. Ms. Chace not only tells you what to do to run a successful troupe, but also WHY you need to do it. This is, to me, very important. Sometimes one is tempted to skip things, but this book explains how important the steps are. Everything from how many hours Karen thought it would take, to ACTUAL hours, where the funding comes from, how and why to lay foundations and expectations (including ‘no teasing policies’ and group dynamics), right the way through presentation skills to advertising the event and getting bums on seats (emphasis important)!
Over the years Karen has and continues to come up with new and inventive ways of teaching the skills of storytelling, and a great many of these exercises and activities are included in the book. When it comes to research and materials as well as technique, Karen adds new meaning to "thorough". There are links to websites for stories, for grants, for microphone techniques, and how storytelling connects to the school curriculum and more. And if you prefer to read books, there is an extensive bibliography, too.
Basically, I believe if you want to succeed in building a storytelling troupe or group, all you need is Karen Chace’s book, Story by Story, Building a Storytelling Troupe and to do everything Karen suggests. I am sure it would be very hard to fail if you follow her words of wisdom between the covers of her goldmine of a book.
Simon Brooks, storyteller, and educator
Making and experiencing stories, remembering and retelling them is something we all do. We tell stories over meals, at the water cooler, and to both friends and strangers. But how do stories work? What is it about telling and listening to stories that unites us? And, more importantly, how do we change them-and how do they change us?
In The Story Is True, author, filmmaker, and photographer Bruce Jackson explores the ways we use the stories that become a central part of our public and private lives. He examines, as no one before has, how stories narrate and bring meaning to our lives, by describing and explaining how stories are made and used. The perspectives shared in this engaging book come from the tellers, writers, filmmakers, listeners, and watchers who create and consume stories.
Jackson writes about his family and friends, acquaintances and experiences, focusing on more than a dozen personal stories. From oral histories, such as conversations the author had with poet Steven Spender, to public stories, such as what happened when Bob Dylan "went electric" at the 1965 Newport Folk Festival. Jackson also investigates how "words can kill" showing how diction can be an administrator of death, as in Nazi extermination camps. And finally, he considers the way lies come to resemble truth, showing how the stories we tell, whether true or not, resemble truth to the teller.
Ultimately, The Story Is True is about the place of stories-fiction or real-and the impact they have on the lives of each one of us.
This is the seed of The Storytellers' Journey, Joseph Daniel Sobol's history of the past thirty years of American storytelling. In this compelling examination of the contemporary search for myth, Sobol explores the social and psychological roots of the storytelling revival and the ever-resurgent power of the storyteller.
Drawing on interviews with dozens of storytellers around the country, Sobol paints the revival as part of a larger process of cultural revitalization. He traces the growth of the preeminent revival organization, the National Association for the Preservation and Perpetuation of Storytelling (NAPPS), and details the individual passions, the organizational politics, and the economic, social, and mythic forces that have combined to transform a ragtag assemblage of enthusiasts into a national and international network of arts professionals.
A seemingly chance encounter between a restlessly ambitious high school teacher and a coonhunting tale on the car radio sets off a chain of inspirations that changes the face of a small southern town, touches lives across America, and revitalizes a homely but treasured art form.
In this intriguing book, renowned sociolinguistics experts explore the importance of discourse analysis, a process that examines patterns of language to understand how users build cooperative understanding in dialogues. It presents discourse analyses of sign languages native to Bali, Italy, England, and the United States.
Studies of internal context review the use of space in ASL to discuss space, how space in BSL is used to “package” complex narrative tasks, how signers choose linguistic tools to structure storytelling, and how affect, emphasis, and comment are added in text telephone conversations. Inquiries into external contexts observe the integration of deaf people and sign language into language communities in Bali, and the language mixing that occurs between deaf parents and their hearing children.
Both external and internal contexts are viewed together, first in an examination of applying internal ASL text styles to teaching written English to Deaf students and then in a consideration of the language choices of interpreters who must shift footing to manage the “interpreter’s paradox.” Storytelling and Conversation casts new light on discourse analysis, which will make it a welcome addition to the sociolinguistics canon.
Based on an ethnographic study spanning four years, George H. Jensen’s Storytelling in Alcoholics Anonymous: A Rhetorical Analysis calls upon Bakhtinian theory to analyze storytelling in AA.
Jensen introduces his study with an analysis of “Bill W.’s Story” as it appears in the first chapter of AA’s central text, Alcoholics Anonymous. Drawing on Walter Ong’s work on orality and literacy, he argues that “Bill W.’s Story” as it appears in print cannot fully capture the oral tradition of storytelling as it occurs in AA meetings.
In his first section, Jensen discusses storytelling as practiced by the Washingtonians, a temperance organization much like AA. He also discusses the influence of the Oxford Group’s (an international and interdenominational religious movement seeking to recapture the enthusiasm and dedication of first-century Christianity) spiritual program to the development of AA’s Twelve Steps. The remainder of the first section serves as an introduction of the culture of AA to outsiders.
In the second section, Jensen covers Bakhtin’s theory of the relationship between the author and the hero of a text, using Lillian Roth’s autobiographies as counterexamples of AA talks. He devotes an entire chapter in this section to explaining how AA meetings provide an example of what Bakhtin meant by carnival, a process through which humor, irony, and parody supply a mechanism for questioning commonly held beliefs. He shows how newcomers to AA move away from their egocentric personae as practicing alcoholics to adopt a new identity within AA. Drawing further on Bakhtin, he examines the autobiographical moments of AA talks, stressing that these moments never become fully autobiographical. AA talks, Jensen argues, are fragmented, yet achieve coherence through the interweaving of two important chronotopes. Finally, using Bakhtin’s discussion of heroes in autobiography, Jensen discusses the kinds of heroes one typically finds in AA talks.
Poetry. Asian Studies. This moving, rich cycle of linked poems journeys from Cambodia's ancient mythic times to the killing fields and to the UN presence during Cambodia's first free elections. It bears witness to the plight of the Cambodian people and to all who have endured holocausts. The reader viscerally experiences the sweet-sour tastes of both jungle fruits and blackened, dead potato patches; the sights and sounds of the bombed Cambodian countryside and its fecund cities--as well as the humanity of others and ourselves.
Storytelling is perhaps the most common way people make sense of their experiences, claim identities, and "get a life." So much of our daily life consists of writing or telling our stories and listening to and reading the stories of others. But we rarely stop to ask: what are these stories? How do they shape our lives? And why do they matter?The authors ably guide readers through the complex world of performing narrative. Along the way they show the embodied contexts of storytelling, the material constraints on narrative performances, and the myriad ways storytelling orders information and tasks, constitutes meanings, and positions speaking subjects. Readers will also learn that narrative performance is consequential as well as pervasive, as storytelling opens up experience and identities to legitimization and critique. The authors' multi-leveled model of strategy and tactics considers how relations of power in a system are produced, reproduced, and altered in performing narrative.The authors explain this strategic model through an extended discussion of family storytelling, using Franco Americans in Maine as their exemplar. They explore what stories families tell, how they tell them, and how storytelling creates family identities. Then, they show the range and reach of this strategic model by examining storytelling in diverse contexts: a breast cancer narrative, a weblog on the Internet, and an autobiographical performance on the public stage. Readers are left with a clear understanding of how and why the performance of narrative is the primary communicative practice shaping our lives today.
Derided as simple, dismissed as inferior to film, famously characterized as a vast wasteland, television nonetheless exerts an undeniable, apparently inescapable power in our culture. The secret of television's success may well lie in the remarkable narrative complexities underlying its seeming simplicity, complexities Kristin Thompson unmasks in this engaging analysis of the narrative workings of television and film.
After first looking at the narrative techniques the two media share, Thompson focuses on the specific challenges that series television presents and the tactics writers have devised to meet them--tactics that sustain interest and maintain sense across multiple plots and subplots and in spite of frequent interruptions as well as weeklong and seasonal breaks. Beyond adapting the techniques of film, Thompson argues, television has wrought its own changes in traditional narrative form. Drawing on classics of film and television, as well as recent and current series like Buffy the Vampire Slayer, The Sopranos, and The Simpsons, she shows how adaptations, sequels, series, and sagas have altered long-standing notions of closure and single authorship. And in a comparison of David Lynch's Blue Velvet and Twin Peaks, she asks whether there can be an "art television" comparable to the more familiar "art cinema."
Table of Contents:
1. Go with the Flow? Analyzing Television 2. What Do They Think They're Doing? Theory and Practice in Screenwriting 3. The Dispersal of Narrative: Adaptations, Sequels, Serials, Spin-offs, and Sagas 4. The Strange Cases of David Lynch
Remarkably little work (scholarly or otherwise) has been done on television. These four essays provide what may be the most cogent and systematic study of the subject currently available. Thompson is an extremely solid writer with a keen intellect and exceptional analytical skills, and all of these qualities are in evidence here. Simply stated, there is at present no book quite like this one, despite the pressing need for such a book. --Thomas Schatz, Professor of Radio, Television & Film, University of Texas at Austin
I quite enjoyed reading this book. What I like most about it is its interdisciplinary approach. It shows the insights that an intellectually mature media scholar can have when she crosses disciplinary boundaries - applying analytical principles of one medium to another. I feel strongly that this sort of work should be encouraged. --Jeremy Butler, Professor of Telecommunications and Film, University of Alabama
In one of the first collections of scholarship at the intersection of LGBTQ studies and Appalachian studies, voices from the region’s valleys, hollers, mountains, and campuses blend personal stories with scholarly and creative examinations of living and surviving as queers in Appalachia. The essayists collected in Storytelling in Queer Appalachia are academics, social workers, riot grrrl activists, teachers, students, practitioners, scholars of divinity, and boundary crossers, all imagining how to make legible the unspeakable other of Appalachian queerness.
Focusing especially on disciplinary approaches from rhetoric and composition, the volume explores sexual identities in rural places, community and individual meaning-making among the Appalachian diaspora, the storytelling infrastructure of queer Appalachia, and the role of the metronormative in discourses of difference. Storytelling in Queer Appalachia affirms queer people, fights for queer visibility over queer erasure, seeks intersectional understanding, and imagines radically embodied queer selves through social media.
Olonkho , the epic narrative and song tradition of Siberia 's Sakha people, declined to the brink of extinction during the Soviet era. In 2005, UNESCO 's Masterpiece Proclamation sparked a resurgence of interest in olonkho by recognizing its important role in humanity 's oral and intangible heritage. Drawing on her ten years living in the Russian North, Robin P. Harris documents how the Sakha have used the Masterpiece program to revive olonkho and strengthen their cultural identity. Harris 's personal relationships with and primary research among Sakha people provide vivid insights into understanding olonkho and the attenuation, revitalization, transformation, and sustainability of the Sakha 's cultural reemergence. Interdisciplinary in scope, Storytelling in Siberia considers the nature of folklore alongside ethnomusicology, anthropology, comparative literature, and cultural studies to shed light on how marginalized peoples are revitalizing their own intangible cultural heritage.
“Mark's 101 snippets of sound advice are clearly written, touched with humor, offered in a common-sense, easily accessible format. This book is a quick yet worthwhile read, gleaned from Mark's own steady growth and experience as a successful storyteller and educator. Gather a tip or two at a time, or make this book your evening's entertainment; it can become a self-coaching guide for any new or learning storyteller and a great enrichment tool for the experienced raconteur.” --Lynette Ford, storyteller and author of Affrilachian Tales: Tales from the African-American Tradition in Appalachia
"I am very impressed by the practicality of [Egan's] introduction of the use of story-forms in curriculum for young children. His model is fascinating, and its various possibilities in a range of fields makes it worth a good look by many kinds of teachers."—Maxine Greene, Teachers College, Columbia
How are our memories, our narratives, and our intelligence interrelated? What can artificial intelligence and narratology say to each other? In this pathbreaking study by an expert on learning and computers, Roger C. Schank argues that artificial intelligence must be based on real human intelligence, which consists largely of applying old situations, and our narratives of them, to new situations in less than obvious ways.
Through performance and the spoken word, Yucatec Maya storytellers have maintained the vitality of their literary traditions for more than five hundred years. Telling and Being Told presents the figure of the storyteller as a symbol of indigenous cultural control in contemporary Yucatec Maya literatures. Analyzing the storyteller as the embodiment of indigenous knowledge in written and oral texts, this book highlights how Yucatec Maya literatures play a vital role in imaginings of Maya culture and its relationships with Mexican and global cultures.
Through performance, storytellers place the past in dynamic relationship with the present, each continually evolving as it is reevaluated and reinterpreted. Yet non-indigenous actors often manipulate the storyteller in their firsthand accounts of the indigenous world. Moreover, by limiting the field of literary study to written texts, Worley argues, critics frequently ignore an important component of Latin America’s history of conquest and colonization: The fact that Europeans consciously set out to destroy indigenous writing systems, making orality a key means of indigenous resistance and cultural continuity.
Given these historical factors, outsiders must approach Yucatec Maya and other indigenous literatures on their own terms rather than applying Western models. Although oral literature has been excluded from many literary studies, Worley persuasively demonstrates that it must be included in contemporary analyses of indigenous literatures as oral texts form a key component of contemporary indigenous literatures, and storytellers and storytelling remain vibrant cultural forces in both Yucatec communities and contemporary Yucatec writing.
In July 2012, the 8th Deaf History International (DHI) Conference featured 27 presentations from members of Deaf communities around the world who related their own autobiographies as well as the biographies of historical Deaf individuals. The presenters came from 12 different countries, but their stories traverse many other locales. Thus, they created a transnational phenomenon of widespread interest in the collection, documentation, and dissemination of Deaf history by and for members of the deaf community. Telling Deaf Lives: Agents of Change brings together the best of the DHI Conference offerings in this volume.
Due to the dearth of formal research on deaf people, Deaf community historians drove the preservation of the stories in this collection. Their diversity is remarkable: Melissa Anderson and Breda Carty describe the Cosmopolitan Correspondence Club, a group of Deaf individuals who corresponded in the early 20th century from Australia to Western Europe to the United States; Ulla-Bell Thorin recounts first-hand growing up deaf in Sweden and her process in authoring six memoirs; Harry Lang reflects on writing biographies of numerous Deaf Americans in the arts and science; Akio Suemori profiles the first Deaf president of a Japanese school for the Deaf; Tatiana Davidenko writes about her Deaf family’s experience during the World War II siege of Leningrad; Theara Yim and Julie Chateauvert look at the evolution of ASL poetry by analyzing works of prominent ASL poets Clayton Valli, Peter Cook, and Kenny Lerner. These and the other contributions here enshrine Deaf people in collective memory by virtue of disseminating and preserving their stories.
Narratives are fundamental to our lives: we dream, plan, complain, endorse, entertain, teach, learn, and reminisce through telling stories. They provide hopes, enhance or mitigate disappointments, challenge or support moral order and test out theories of the world at both personal and communal levels. It is because of this deep embedding of narrative in everyday life that its study has become a wide research field including disciplines as diverse as linguistics, literary theory, folklore, clinical psychology, cognitive and developmental psychology, anthropology, sociology, and history.
In Telling Stories leading scholars illustrate how narratives build bridges among language, identity, interaction, society, and culture; and they investigate various settings such as therapeutic and medical encounters, educational environments, politics, media, marketing, and public relations. They analyze a variety of topics from the narrative construction of self and identity to the telling of stories in different media and the roles that small and big life stories play in everyday social interactions and institutions. These new reflections on the theory and analysis of narrative offer the latest tools to researchers in the fields of discourse analysis and sociolinguistics.
Among the Kiowa, storytelling takes place under familiar circumstances. A small group of relatives and close friends gather. Tales are informative as well as entertaining. Joking and teasing are key components. Group participation is expected. And outsiders are seldom involved.
This book explores the traditional art of storytelling still practiced by Kiowas today as Gus Palmer shares conversations held with storytellers. Combining narrative, personal experience, and ethnography in an original and artful way, Palmer—an anthropologist raised in a traditional Kiowa family—shows not only that storytelling remains an integral part of Kiowa culture but also that narratives embedded in everyday conversation are the means by which Kiowa cultural beliefs and values are maintained.
Palmer's study features contemporary oral storytelling and other discourses, assembled over two and a half years of fieldwork, that demonstrate how Kiowa storytellers practice their art. Focusing on stories and their meaning within a narrative and ethnographic context, he draws on a range of material, including dream stories, stories about the coming of Táimê (the spirit of the Sun Dance) to the Kiowas, and stories of tricksters and tribal heroes. He shows how storytellers employ the narrative devices of actively participating in oral narratives, leaving stories wide open, or telling stories within stories. And he demonstrates how stories can reflect a wide range of sensibilities, from magical realism to gossip.
Firmly rooted in current linguistic anthropological thought, Telling Stories the Kiowa Way is a work of analysis and interpretation that helps us understand story within its larger cultural contexts. It combines the author's unique literary talent with his people's equally unique perspective on anthropological questions in a text that can be enjoyed on multiple levels by scholars and general readers alike.
In the years between the Sharpeville Massacre of 1960 and the Soweto Uprising of 1976—a period that was both the height of the apartheid system in South Africa and, in retrospect, the beginning of its end—Harold Scheub went to Africa to collect stories.
With tape-recorder and camera in hand, Scheub registered the testaments of Swati, Xhosa, Ndebele, and Zulu storytellers, farming people who lived in the remote reaches of rural South Africa. While young people fought in the streets of Soweto and South African writers made the world aware of apartheid’s evils, the rural storytellers resisted apartheid in their own way, using myth and metaphor to preserve their traditions and confront their oppressors. For more than 20 years, Scheub kept the promise he made to the storytellers to publish his translations of their stories only when freedom came to South Africa. The Tongue Is Fire presents these voices of South African oral tradition—the historians, the poets, the epic-performers, the myth-makers—documenting their enduring faith in the power of the word to sustain tradition in the face of determined efforts to distort or eliminate it. These texts are a tribute to the storytellers who have always, in periods of crisis, exercised their art to inspire their own people.
First runner-up for the 2019 John Leo and Dana Heller Award from the Popular Culture Association
Surprisingly, Hollywood is still clumsily grappling with its representation of sexual minorities, and LGBTQ filmmakers struggle to find a place in the mainstream movie industry. However, organizations outside the mainstream are making a difference, helping to produce and distribute authentic stories that are both by and for LGBTQ people.
Turning the Page introduces readers to three nonprofit organizations that, in very different ways, have each positively transformed the queer media landscape. David R. Coon takes readers inside In the Life Media, whose groundbreaking documentaries on the LGBTQ experience aired for over twenty years on public television stations nationwide. Coon reveals the successes of POWER UP, a nonprofit production company dedicated to mentoring filmmakers who can turn queer stories into fully realized features and short films. Finally, he turns to Three Dollar Bill Cinema, an organization whose film festivals help queer media find an audience and whose filmmaking camps for LGBTQ youth are nurturing the next generation of queer cinema.
Combining a close analysis of specific films and video programs with extensive interviews of industry professionals, Turning the Page demonstrates how queer storytelling in visual media has the potential to empower individuals, strengthen communities, and motivate social justice activism.
The oral and written traditions of the Africans of South Africa have provided an understanding of their past and the way the past relates to the present. These traditions continue to shape the past by the present, and vice versa. From the time colonial forces first came to the region in 1487, oral and written traditions have been a bulwark against what became 350 years of colonial rule, characterized by the racist policies of apartheid. The Uncoiling Python: South African Storytellers and Resistance is the first in-depth study of how Africans used oral traditions as a means of survival against European domination.
Africans resisted colonial rule from the beginning. They participated in open insurrections and other subversive activities in order to withstand the daily humiliations of colonial rule. Perhaps the most effective and least apparent expression of subversion was through indigenous storytelling and poetic traditions. Harold Scheub has collected the stories and poetry of the Xhosa, Zulu, Swati, and Ndebele peoples to present a fascinating analysis of how the apparently harmless tellers of tales and creators of poetry acted as front-line soldiers.
What Is Your Quest? examines the future of electronic literature in a world where tablets and e-readers are becoming as common as printed books and where fans are blurring the distinction between reader and author. The construction of new ways of storytelling is already underway: it is happening on the edges of the mainstream gaming industry and in the spaces between media, on the foundations set by classic games. Along these margins, convergent storytelling allows for playful reading and reading becomes a strategy of play.
One of the earliest models for this new way of telling stories was the adventure game, the kind of game centered on quests in which the characters must overcome obstacles and puzzles. After they fell out of fashion in the 1990s, fans made strenuous efforts to keep them alive and to create new games in the genre. Such activities highlight both the convergence of game and story and the collapsing distinction between reader and author. Continually defying the forces of obsolescence, fans return abandoned games to a playable state and treat stories as ever-evolving narratives. Similarly, players of massive multiplayer games become co-creators of the game experience, building characters and creating social networks that recombine a reading and gaming community.
The interactions between storytellers and readers, between programmers and creators, and among fans turned world-builders are essential to the development of innovative ways of telling stories. And at the same time that fan activities foster the convergence of digital gaming and storytelling, new and increasingly accessible tools and models for interactive narrative empower a broadening range of storytellers. It is precisely this interactivity among a range of users surrounding these new platforms that is radically reshaping both e-books and games and those who read and play with them.
What's Nature Worth
Terre Satterfield University of Utah Press, 2004 Library of Congress PS163.W46 2004 | Dewey Decimal 810.936
Based on either written or oral interviews with a dozen prominent environmental writers, What’s Nature Worth? explores how the art of storytelling might bring new perspectives and insights to economic and policy discussions regarding the "value" of nature and the environment. The diverse points of view explored, and the writers’ insistence on careful interpretation, demonstrate that environmental values are complex, rich, and deeply felt—far more so than mainstream economic methodology would have us believe. There is general consensus among the contributors that the narrative form allows for an exploration of the richness of what it means to "value" nature without being preachy or didactic. Following interviews with the twelve authors, examples of their work demonstrate how indirect expressions of value, in the words of Allison Hawthorne Deming, have an "emotional hue" that can replenish the energy depleted by the coldness of cost-benefit arguments.
A useful guide for pastors, group leaders, coaches, & storytellers, Ruth Stotter’s little guide will boost your confidence if you are new to public speaking, and it will remind experienced speakers of the basics that insure success in front of large audiences and small. The author’s experience as a college instructor and as a professional storyteller gives her the unique perspective to coach beginning and seasoned speakers. Arranged in an “info-bit” format, this is the kind of guide that can be read and re-read during short breaks from other work. This book is a useful guide for pastors, group leaders, coaches, and storytellers.