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Home / Which of the Following Best Describes What Rhetoric Is? The Art of Telling Stories

Which of the Following Best Describes What Rhetoric Is? The Art of Telling Stories

Social and cultural sharing of stories

Storytelling is the social and cultural activity of sharing stories, sometimes with improvisation, theatrics or embellishment. Every culture has its own stories or narratives, which are shared as a means of entertainment, pedagogy, cultural preservation or instilling moral values.[ane] Crucial elements of stories and storytelling include plot, characters and narrative point of view. The term "storytelling" can refer specifically to oral storytelling only besides broadly to techniques used in other media to unfold or disembalm the narrative of a story.

Historical perspective [edit]

A very fine par dated 1938 A.D. The epic of Pabuji is an oral ballsy in the Rajasthani language that tells of the deeds of the folk hero-deity Pabuji, who lived in the 14th century.

Storytelling, intertwined with the evolution of mythologies,[2] predates writing. The primeval forms of storytelling were normally oral, combined with gestures and expressions.[ citation needed ] Some archaeologists[ which? ] believe that rock art, in add-on to a role in religious rituals, may have served as a course of storytelling for many[ quantify ] aboriginal cultures.[three] The Australian aboriginal people painted symbols which also appear in stories on cave walls equally a means of helping the storyteller remember the story. The story was then told using a combination of oral narrative, music, rock art and trip the light fantastic, which bring agreement and meaning to human existence through the remembrance and enactment of stories.[4] [ page needed ] People take used the carved trunks of living copse and ephemeral media (such as sand and leaves) to record folktales in pictures or with writing.[ citation needed ] Complex forms of tattooing may too represent stories, with information about genealogy, affiliation and social condition.[five]

Folktales oft share mutual motifs and themes, suggesting possible bones psychological similarities beyond various human cultures. Other stories, notably fairy tales, appear to have spread from identify to identify, implying memetic entreatment and popularity.

Groups of originally oral tales can coagulate over time into story cycles (like the Arabian Nights), cluster around mythic heroes (similar King Arthur), and develop into the narratives of the deeds of the gods and saints of various religions.[six] The results tin exist episodic (like the stories about Anansi), epic (every bit with Homeric tales), inspirational (note the tradition of vitae) and/or instructive (equally in many Buddhist or Christian scriptures).

With the advent of writing and the utilize of stable, portable media, storytellers recorded, transcribed and connected to share stories over broad regions of the world. Stories take been carved, scratched, painted, printed or inked onto woods or bamboo, ivory and other bones, pottery, clay tablets, stone, palm-leaf books, skins (parchment), bark textile, paper, silk, canvas and other textiles, recorded on motion-picture show and stored electronically in digital form. Oral stories continue to be created, improvisationally by impromptu and professional storytellers, too as committed to retentivity and passed from generation to generation, despite the increasing popularity of written and televised media in much of the globe.

Gimmicky storytelling [edit]

Modern storytelling has a broad preview. In addition to its traditional forms (fairytales, folktales, mythology, legends, fables etc.), information technology has extended itself to representing history, personal narrative, political commentary and evolving cultural norms. Contemporary storytelling is also widely used to address educational objectives.[vii] New forms of media are creating new ways for people to tape, express and consume stories.[viii] Tools for asynchronous group communication can provide an environment for individuals to reframe or recast individual stories into group stories.[9] Games and other digital platforms, such every bit those used in interactive fiction or interactive storytelling, may be used to position the user as a grapheme within a bigger globe. Documentaries, including interactive web documentaries, employ storytelling narrative techniques to communicate information about their topic.[x] Cocky-revelatory stories, created for their cathartic and therapeutic consequence, are growing in their use and application, as in Psychodrama, Drama Therapy and Playback Theatre.[11] Storytelling is also used equally a means by which to precipitate psychological and social change in the practice of transformative arts.[12] [13] [fourteen]

Some people too brand a case for different narrative forms being classified as storytelling in the gimmicky world. For example, digital storytelling, online and dice-and-paper-based role-playing games. In traditional role-playing games, storytelling is washed past the person who controls the environment and the non-playing fictional characters, and moves the story elements along for the players equally they interact with the storyteller. The game is advanced past mainly verbal interactions, with dice curl determining random events in the fictional universe, where the players collaborate with each other and the storyteller. This type of game has many genres, such equally sci-fi and fantasy, likewise as alternate-reality worlds based on the current reality, but with different setting and beings such as werewolves, aliens, daemons, or hidden societies. These oral-based function-playing games were very popular in the 1990s among circles of youth in many countries before figurer and panel-based online MMORPG's took their place. Despite the prevalence of calculator-based MMORPGs, the dice-and-paper RPG still has a dedicated following.

Oral traditions [edit]

Oral traditions of storytelling are found in several civilizations; they predate the printed and online press. Storytelling was used to explicate natural phenomena, bards told stories of cosmos and adult a pantheon of gods and myths. Oral stories passed from one generation to the next and storytellers were regarded as healers, leaders, spiritual guides, teachers, cultural secrets keepers and entertainers. Oral storytelling came in diverse forms including songs, poetry, chants and dance.[xv]

Albert Bates Lord examined oral narratives from field transcripts of Yugoslav oral bards nerveless past Milman Parry in the 1930s, and the texts of epics such equally the Odyssey.[xvi] Lord plant that a large part of the stories consisted of text which was improvised during the telling process.

Lord identified two types of story vocabulary. The first he called "formulas": "Rosy-fingered Dawn", "the wine-dark sea" and other specific set phrases had long been known of in Homer and other oral epics. Lord, however, discovered that beyond many story traditions, fully 90% of an oral ballsy is assembled from lines which are repeated verbatim or which use one-for-one give-and-take substitutions. In other words, oral stories are built out of set phrases which have been stockpiled from a lifetime of hearing and telling stories.

The other type of story vocabulary is theme, a set sequence of story deportment that construction a tale. Just as the teller of tales gain line-by-line using formulas, so he gain from consequence-to-event using themes. One virtually-universal theme is repetition, as evidenced in Western folklore with the "rule of three": Three brothers prepare out, three attempts are fabricated, three riddles are asked. A theme can be as elementary every bit a specific prepare sequence describing the arming of a hero, starting with shirt and trousers and ending with headdress and weapons. A theme can be big enough to exist a plot component. For instance: a hero proposes a journey to a dangerous place / he disguises himself / his disguise fools everybody / except for a mutual person of little account (a crone, a tavern maid or a woodcutter) / who immediately recognizes him / the commoner becomes the hero's ally, showing unexpected resources of skill or initiative. A theme does non vest to a specific story, but may be establish with small variation in many unlike stories.

The story was described by Reynolds Price, when he wrote:

A need to tell and hear stories is essential to the species Homo sapiens – second in necessity plainly subsequently nourishment and before honey and shelter. Millions survive without honey or home, almost none in silence; the contrary of silence leads apace to narrative, and the sound of story is the dominant sound of our lives, from the small accounts of our day's events to the vast incommunicable constructs of psychopaths.[17]

In contemporary life, people will seek to make full "story vacuums" with oral and written stories. "In the absenteeism of a narrative, peculiarly in an ambiguous and/or urgent situation, people volition seek out and consume plausible stories like water in the desert. It is our innate nature to connect the dots. Once an explanatory narrative is adopted, information technology'south extremely hard to undo," whether or not it is true.[eighteen]

Märchen and Sagen [edit]

Illustration from Silesian Folk Tales (The Book of Rubezahl)

Folklorists sometimes divide oral tales into two principal groups: Märchen and Sagen.[xix] These are German terms for which there are no exact English language equivalents, however nosotros have approximations:

Märchen, loosely translated as "fairy tale(south)" or little stories, have place in a kind of carve up "once-upon-a-time" world of nowhere-in-particular, at an indeterminate time in the past. They are clearly not intended to be understood equally truthful. The stories are full of clearly defined incidents, and peopled by rather flat characters with piffling or no interior life. When the supernatural occurs, information technology is presented thing-of-factly, without surprise. Indeed, there is very little effect, generally; appalling events may take place, only with piddling call for emotional response from the listener.[ citation needed ]

Sagen, translated as "legends", are supposed to have actually happened, very often at a particular time and place, and they describe much of their power from this fact. When the supernatural intrudes (as it often does), it does so in an emotionally fraught manner. Ghost and Lovers' Leap stories vest in this category, as do many UFO stories and stories of supernatural beings and events.[ citation needed ]

Another of import examination of orality in human life is Walter J. Ong's Orality and Literacy: The Technologizing of the Word (1982). Ong studies the distinguishing characteristics of oral traditions, how oral and written cultures interact and condition one another, and how they ultimately influence man epistemology.

Storytelling and learning [edit]

Storytelling is a ways for sharing and interpreting experiences. Peter L. Berger says human life is narratively rooted, humans construct their lives and shape their earth into homes in terms of these groundings and memories. Stories are universal in that they can bridge cultural, linguistic and age-related divides. Storytelling can be adaptive for all ages, leaving out the notion of age segregation.[ citation needed ] Storytelling can be used as a method to teach ideals, values and cultural norms and differences.[twenty] Learning is most effective when it takes place in social environments that provide authentic social cues almost how cognition is to be applied.[21] Stories function as a tool to pass on knowledge in a social context. Then, every story has 3 parts. First, The setup (The Hero's globe before the adventure starts). Second, The Confrontation (The hero'south world turned upside down). 3rd, The Resolution (Hero conquers villain, but it's non enough for Hero to survive. The Hero or Earth must exist transformed). Any story can be framed in such format.

Homo knowledge is based on stories and the human brain consists of cognitive machinery necessary to understand, recollect and tell stories.[22] Humans are storytelling organisms that both individually and socially, lead storied lives.[23] Stories mirror human idea equally humans think in narrative structures and most often remember facts in story grade. Facts can be understood as smaller versions of a larger story, thus storytelling can supplement analytical thinking. Because storytelling requires auditory and visual senses from listeners, one can learn to organize their mental representation of a story, recognize structure of linguistic communication and limited his or her thoughts.[24]

Stories tend to be based on experiential learning, but learning from an experience is not automated. Often a person needs to endeavor to tell the story of that experience earlier realizing its value. In this case, it is non only the listener who learns, but the teller who also becomes aware of his or her ain unique experiences and background.[25] This procedure of storytelling is empowering equally the teller finer conveys ideas and, with practice, is able to demonstrate the potential of human achievement. Storytelling taps into existing knowledge and creates bridges both culturally and motivationally toward a solution.

Stories are constructive educational tools because listeners go engaged and therefore think. Storytelling can exist seen as a foundation for learning and pedagogy. While the storylistener is engaged, they are able to imagine new perspectives, inviting a transformative and compassionate feel.[26] This involves allowing the individual to actively appoint in the story every bit well as observe, listen and participate with minimal guidance.[27] Listening to a storyteller can create lasting personal connections, promote innovative problem solving and foster a shared understanding regarding hereafter ambitions.[28] The listener can then activate knowledge and imagine new possibilities. Together a storyteller and listener can seek all-time practices and invent new solutions. Considering stories oft take multiple layers of meanings, listeners accept to heed closely to place the underlying knowledge in the story. Storytelling is used as a tool to teach children the importance of respect through the practice of listening.[29] As well as connecting children with their environs, through the theme of the stories, and requite them more autonomy past using repetitive statements, which ameliorate their learning to acquire competence.[thirty] It is besides used to teach children to have respect for all life, value inter-connectedness and e'er piece of work to overcome adversity. To teach this a Kinesthetic learning style would be used, involving the listeners through music, dream interpretation, or dance.[31]

Storytelling in ethnic cultures [edit]

The Historian – An Indian creative person is painting in sign language, on buckskin, the story of a battle with American soldiers.

For indigenous cultures of the Americas, storytelling is used every bit an oral form of language associated with practices and values essential to developing ane's identity. This is considering everyone in the community can add their own affect and perspective to the narrative collaboratively – both individual and culturally shared perspectives have a place in the co-creation of the story. Oral storytelling in indigenous communities differs from other forms of stories because they are told non merely for entertainment, but for teaching values.[32] For example, the Sto:lo community in Canada focuses on reinforcing children's identity by telling stories about the land to explain their roles.[32]

Furthermore, Storytelling is a mode to teach younger members of ethnic communities about their culture and their identities. In Donna Eder's study, Navajos were interviewed about storytelling practices that they take had in the past and what changes they want to see in the future. They notice that storytelling makes an impact on the lives of the children of the Navajos. According to some of the Navajos that were interviewed, storytelling is one of many chief practices that teaches children the important principles to live a skillful life.[33] In ethnic communities, stories are a way to pass knowledge on from generation to generation.

For some indigenous people, experience has no separation between the physical world and the spiritual earth. Thus, some indigenous people communicate to their children through ritual, storytelling, or dialogue. Community values, learned through storytelling, help to guide future generations and aid in identity formation.[34]

In the Quechua customs of Highland Peru, there is no separation between adults and children. This allows for children to learn storytelling through their own interpretations of the given story. Therefore, children in the Quechua community are encouraged to listen to the story that is being told in order to learn about their identity and culture. Sometimes, children are expected to sit quietly and listen actively. This enables them to appoint in activities as contained learners.[35]

This instruction practice of storytelling immune children to formulate ideas based on their ain experiences and perspectives. In Navajo communities, for children and adults, storytelling is i of the many effective means to educate both the immature and old about their cultures, identities and history. Storytelling help the Navajos know who they are, where they come up from and where they belong.[33]

Storytelling in indigenous cultures is sometimes passed on past oral means in a tranquility and relaxing environment, which usually coincides with family or tribal community gatherings and official events such every bit family unit occasions, rituals, or ceremonial practices.[36] During the telling of the story, children may act as participants past asking questions, acting out the story, or telling smaller parts of the story.[37] Furthermore, stories are not often told in the same way twice, resulting in many variations of a single myth. This is because narrators may choose to insert new elements into old stories dependent upon the relationship between the storyteller and the audience, making the story correspond to each unique situation.[38]

Indigenous cultures also use instructional ribbing— a playful form of correcting children's undesirable behavior— in their stories. For example, the Ojibwe (or Chippewa) tribe uses the tale of an owl snatching away misbehaving children. The caregiver will ofttimes say, "The owl volition come and stick you in his ears if you don't terminate crying!" Thus, this grade of teasing serves equally a tool to correct inappropriate beliefs and promote cooperation.[39]

Types of storytelling in indigenous peoples [edit]

In that location are diverse types of stories among many indigenous communities. Communication in Indigenous American communities is rich with stories, myths, philosophies and narratives that serve as a means to exchange information.[40] These stories may be used for coming of age themes, cadre values, morality, literacy and history. Very ofttimes, the stories are used to instruct and teach children about cultural values and lessons.[38] The meaning within the stories is non always explicit, and children are expected to make their own meaning of the stories. In the Lakota Tribe of North America, for example, young girls are often told the story of the White Buffalo Calf Adult female, who is a spiritual figure that protects immature girls from the whims of men. In the Odawa Tribe, young boys are often told the story of a young homo who never took care of his body, and every bit a result, his feet fail to run when he tries to escape predators. This story serves as an indirect means of encouraging the young boys to have care of their bodies.[41]

Narratives tin be shared to express the values or morals amongst family, relatives, or people who are considered part of the close-knit community. Many stories in indigenous American communities all have a "surface" story, that entails knowing sure information and clues to unlocking the metaphors in the story. The underlying message of the story existence told, tin be understood and interpreted with clues that hint to a certain interpretation.[42] In order to make meaning from these stories, elders in the Sto:lo community for instance, emphasize the importance in learning how to mind, since it requires the senses to bring one's centre and mind together.[42] For case, a way in which children larn about the metaphors meaning for the society they alive in, is by listening to their elders and participating in rituals where they respect i another.[43]

Passing on of Values in indigenous cultures [edit]

Stories in indigenous cultures encompass a variety of values. These values include an emphasis on individual responsibleness, business for the environment and communal welfare.[44]

Stories are based on values passed down by older generations to shape the foundation of the community.[45] Storytelling is used as a bridge for knowledge and agreement allowing the values of "cocky" and "community" to connect and be learned as a whole. Storytelling in the Navajo community for example allows for customs values to be learned at different times and places for dissimilar learners. Stories are told from the perspective of other people, animals, or the natural elements of the earth.[46] In this way, children learn to value their place in the globe every bit a person in relation to others. Typically, stories are used as an breezy learning tool in Ethnic American communities, and can act as an alternative method for reprimanding children'south bad beliefs. In this style, stories are not-confrontational, which allows the child to discover for themselves what they did wrong and what they can do to adjust the behavior.[47]

Parents in the Arizona Tewa customs, for example, teach morals to their children through traditional narratives.[48] Lessons focus on several topics including historical or "sacred" stories or more domestic disputes. Through storytelling, the Tewa customs emphasizes the traditional wisdom of the ancestors and the importance of collective equally well as individual identities. Indigenous communities teach children valuable skills and morals through the actions of good or mischievous stock characters while also assuasive room for children to make pregnant for themselves. By not being given every chemical element of the story, children rely on their own experiences and non formal educational activity from adults to fill in the gaps.[49]

When children listen to stories, they periodically vocalize their ongoing attending and accept the extended plough of the storyteller. The accent on attentiveness to surrounding events and the importance of oral tradition in indigenous communities teaches children the skill of keen attending. For example, Children of the Tohono O'odham American Indian community who engaged in more cultural practices were able to recall the events in a verbally presented story amend than those who did not engage in cultural practices.[50] Torso movements and gestures help to communicate values and keep stories live for hereafter generations.[51] Elders, parents and grandparents are typically involved in pedagogy the children the cultural means, forth with history, community values and teachings of the land.[52]

Children in indigenous communities tin also acquire from the underlying message of a story. For example, in a nahuatl community near United mexican states City, stories about ahuaques or hostile water dwelling spirits that baby-sit over the bodies of water, contain morals nigh respecting the environment. If the protagonist of a story, who has accidentally broken something that belongs to the ahuaque, does non replace it or give back in some manner to the ahuaque, the protagonist dies.[53] In this way, storytelling serves equally a way to teach what the customs values, such as valuing the environment.

Storytelling besides serves to deliver a detail message during spiritual and ceremonial functions. In the ceremonial use of storytelling, the unity building theme of the message becomes more of import than the fourth dimension, place and characters of the message. Once the message is delivered, the story is finished. As cycles of the tale are told and retold, story units tin recombine, showing various outcomes for a person'southward actions.[54]

Storytelling enquiry [edit]

Storytelling has been assessed for disquisitional literacy skills and the learning of theatre-related terms by the nationally recognized storytelling and creative drama organization, Neighborhood Bridges, in Minneapolis.[55] Another storyteller researcher in the UK proposes that the social space created preceding oral storytelling in schools may trigger sharing (Parfitt, 2014).[56]

Storytelling has also been studied equally a style to investigate and archive cultural knowledge and values inside indigenous American communities. Iseke's study (2013)[57] on the part of storytelling in the Metis community, showed promise in furthering research nigh the Metis and their shared communal temper during storytelling events. Iseke focused on the idea of witnessing a storyteller as a vital manner to share and partake in the Metis community, every bit members of the community would stop everything else they were doing in society to listen or "witness" the storyteller and allow the story to become a "formalism landscape," or shared reference, for anybody present. This was a powerful tool for the community to engage and teach new learner shared references for the values and ideologies of the Metis. Through storytelling, the Metis cemented the shared reference of personal or popular stories and folklore, which members of the community tin can employ to share ideologies. In the hereafter, Iseke noted that Metis elders wished for the stories beingness told to be used for farther research into their culture, as stories were a traditional mode to laissez passer down vital knowledge to younger generations.

For the stories nosotros read, the "neuro-semantic encoding of narratives happens at levels higher than individual semantic units and that this encoding is systematic across both individuals and languages." This encoding seems to appear most prominently in the default mode network.[58]

Serious Storytelling [edit]

Storytelling in serious awarding contexts, as due east.g. therapeutics, business, serious games, medicine, didactics, or organized religion can be referred to as serious storytelling. Serious storytelling applies storytelling "outside the context of entertainment, where the narration progresses as a sequence of patterns impressive in quality ... and is role of a thoughtful progress".[59]

Storytelling as a political praxis [edit]

Some approaches treat narratives as politically motivated stories, stories empowering certain groups and stories giving people agency. Instead of just searching for the principal point of the narrative, the political function is demanded through asking, "Whose involvement does a personal narrative serve"?[60] This approach mainly looks at the power, authority, knowledge, ideology and identity; "whether information technology legitimates and dominates or resists and empowers".[lx] All personal narratives are seen as ideological because they evolve from a structure of ability relations and simultaneously produce, maintain and reproduce that power construction".[61]

Political theorist, Hannah Arendt argues that storytelling transforms private meaning to public meaning.[62] Regardless of the gender of the narrator and what story they are sharing, the performance of the narrative and the audition listening to it is where the power lies.

Therapeutic storytelling [edit]

Therapeutic storytelling is the act of telling 1's story in an attempt to improve understand oneself or one's situation. Oftentimes, these stories affect the audition in a therapeutic sense besides, helping them to view situations similar to their ain through a different lens.[63] Noted author and sociology scholar, Elaine Lawless states, "...this process provides new avenues for understanding and identity formation. Language is utilised to testify to their lives".[64] Sometimes a narrator will simply skip over certain details without realizing, only to include it in their stories during a after telling. In this way, that telling and retelling of the narrative serves to "reattach portions of the narrative".[65] These gaps may occur due to a repression of the trauma or even merely a desire to keep the nigh gruesome details private. Regardless, these silences are not as empty as they appear, and it is only this act of storytelling that can enable the teller to fill up them dorsum in.

Psychodrama uses re-enactment of a personal, traumatic event in the life of a psychodrama group participant equally a therapeutic methodology, get-go developed by psychiatrist, J.50. Moreno, Thousand.D. This therapeutic use of storytelling was incorporated into Drama Therapy, known in the field as "Self Revelatory Theater." in 1975] Jonathan Fox and Jo Salas developed a therapeutic, improvisational storytelling form they chosen Playback Theatre. Therapeutic storytelling is also used to promote healing through transformative arts, where a facilitator helps a participant write and ofttimes present their personal story to an audience.[66]

Storytelling as art form [edit]

Aesthetics [edit]

The art of narrative is, by definition, an aesthetic enterprise, and in that location are a number of artistic elements that typically interact in well-developed stories. Such elements include the essential idea of narrative structure with identifiable ancestry, middles, and endings, or exposition-development-climax-resolution-denouement, normally constructed into coherent plot lines; a strong focus on temporality, which includes retention of the past, attention to present action and protention/futurity anticipation; a substantial focus on characters and characterization which is "arguably the about important single component of the novel";[67] a given heterogloss of dissimilar voices dialogically at play – "the sound of the human voice, or many voices, speaking in a diverseness of accents, rhythms and registers";[68] possesses a narrator or narrator-like vocalism, which by definition "addresses" and "interacts with" reading audiences (see Reader Response theory); communicates with a Wayne Berth-esque rhetorical thrust, a dialectic procedure of interpretation, which is at times beneath the surface, workout a plotted narrative, and at other times much more than visible, "arguing" for and confronting various positions; relies substantially on now-standard aesthetic figuration, particularly including the use of metaphor, metonymy, synecdoche and irony (run across Hayden White, Metahistory for expansion of this idea); is ofttimes enmeshed in intertextuality, with copious connections, references, allusions, similarities, parallels, etc. to other literatures; and usually demonstrates an effort toward bildungsroman, a description of identity evolution with an effort to evince becoming in character and community.

Festivals [edit]

Storytelling festivals typically feature the work of several storytellers and may include workshops for tellers and others who are interested in the art form or other targeted applications of storytelling. Elements of the oral storytelling fine art class oft include the tellers encouragement to have participants co-create an experience by connecting to relatable elements of the story and using techniques of visualization (the seeing of images in the mind'south eye), and use vocal and actual gestures to support agreement. In many ways, the art of storytelling draws upon other art forms such as acting, oral interpretation and Performance Studies.

In 1903, Richard Wyche, a professor of literature at the University of Tennessee created the showtime organized storytellers league of its kind.[ citation needed ] It was chosen The National Story League. Wyche served every bit its president for 16 years, facilitated storytelling classes, and spurred an interest in the fine art.

Several other storytelling organizations started in the U.S. during the 1970s. One such organization was the National Association for the Perpetuation and Preservation of Storytelling (NAPPS), at present the National Storytelling Network (NSN) and the International Storytelling Center (ISC). NSN is a professional organisation that helps to organize resources for tellers and festival planners. The ISC runs the National Storytelling Festival in Jonesborough, TN.[69] Commonwealth of australia followed their American counterparts with the establishment of storytelling guilds in the belatedly 1970s.[ commendation needed ] Australian storytelling today has individuals and groups across the state who meet to share their stories. The UK'southward Lodge for Storytelling was founded in 1993, bringing together tellers and listeners, and each year since 2000 has run a National Storytelling Week the first week of February.[ commendation needed ]

Currently, there are dozens of storytelling festivals and hundreds of professional storytellers effectually the world,[lxx] [71] and an international celebration of the art occurs on Earth Storytelling Day.

Emancipation of the story [edit]

In oral traditions, stories are kept alive by being told over again and again. The material of any given story naturally undergoes several changes and adaptations during this procedure. When and where oral tradition was superseded past print media, the literary idea of the writer equally originator of a story's administrative version changed people's perception of stories themselves. In centuries following, stories tended to exist seen as the work of individuals rather than a collective effort. But recently when a significant number of influential authors began questioning their ain roles, the value of stories as such – independent of authorship – was once again recognized. Literary critics such every bit Roland Barthes even proclaimed the Death of the Author.

In business [edit]

People take been telling stories at piece of work since ancient times, when stories might inspire "courage and empowerment during the hunt for a potentially dangerous animal," or simply instill the value of listening.[72] Storytelling in business organization has become a field in its own correct as industries have grown, equally storytelling becomes a more popular fine art class in general through live storytelling events like The Moth.

Recruiting [edit]

Storytelling has come to have a prominent role in recruiting. The modern recruiting industry started in the 1940s as employers competed for bachelor labor during Globe War 2. Prior to that, employers normally placed newspaper ads telling a story virtually the kind of person they wanted, including their character and, in many cases, their ethnicity.[73]

Public Relations [edit]

Public influence has been part of human civilization since ancient times, just the modern public relations industry traces its roots to a Boston-based PR business firm chosen The Publicity Bureau that opened in 1900.[74] Although a PR business firm may not place its function as storytelling, the firm's task is to command the public narrative about the organization they correspond.

Networking [edit]

Networking has been around since the industrial revolution when businesses recognized the need—and the do good—of collaborating and trusting a wider range of people.[75] Today, networking is the subject for more than 100,000 books, seminars and online conversations.[75]

Storytelling helps networkers showcase their expertise. "Using examples and stories to teach contacts near expertise, experience, talents, and interests" is one of 8 networking competencies the Association for Talent Evolution has identified, proverb that networkers should "be able to answer the question, 'What do you do?' to brand expertise visible and memorable."[76] Business storytelling begins past considering the needs of the audience the networker wishes to reach, asking, "What is it about what I do that my audition is most interested in?" and "What would intrigue them the most?"[18]

Within the workplace [edit]

Case of the utilize of storytelling in education.

In the workplace, communicating by using storytelling techniques can be a more compelling and effective route of delivering information than that of using but dry facts.[77] [78] Uses include:

Using narrative to manage conflicts [edit]

For managers storytelling is an of import manner of resolving conflicts, addressing issues and facing challenges. Managers may use narrative discourse to bargain with conflicts when directly action is inadvisable or impossible.[79] [ citation needed ]

Using narrative to interpret the by and shape the future [edit]

In a group discussion a procedure of commonage narration tin can help to influence others and unify the grouping by linking the past to the future. In such discussions, managers transform bug, requests and issues into stories.[ commendation needed ] Jameson calls this commonage grouping construction storybuilding.

Using narrative in the reasoning process [edit]

Storytelling plays an of import part in reasoning processes and in convincing others. In business organisation meetings, managers and business officials preferred stories to abstract arguments or statistical measures. When situations are complex or dense, narrative soapbox helps to resolve conflicts, influences corporate decisions and stabilizes the group.[eighty]

In marketing [edit]

Storytelling is increasingly being used in advertizement in social club to build customer loyalty.[81] [82] According to Giles Lury, this marketing trend echoes the deeply rooted homo need to exist entertained.[83] Stories are illustrative, hands memorable and allow companies to create stronger emotional bonds with customers.[83]

A Nielsen study shows consumers want a more personal connexion in the style they gather data since human brains are more engaged by storytelling than past the presentation of facts alone. When reading pure data, only the linguistic communication parts of the encephalon work to decode the pregnant. But when reading a story, both the language parts and those parts of the brain that would exist engaged if the events of the story were actually experienced are activated. As a result, it easier to remember stories than facts.[84]

Marketing developments incorporating storytelling include the utilize of the trans-media techniques that originated in the picture show industry intended to "build a earth in which your story tin can evolve".[85] Examples include the "Happiness Mill" of Coca-Cola.[86]

Meet likewise [edit]

  • Dramatic structure
  • Story arc
  • Storyboard
  • Storytelling festival
  • Storytelling game
  • Earth Storytelling Day

References [edit]

  1. ^ "Narratives and Story-Telling | Beyond Intractability". www.beyondintractability.org. 2016-07-06. Archived from the original on 2017-07-xi. Retrieved 2017-07-08 .
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  3. ^ "Why did Native Americans brand rock art?". Stone Art in Arkansas. Archived from the original on two October 2015. Retrieved 9 May 2016. [...] rock fine art might accept played an important part in story-telling, with combined value for pedagogy, entertainment, and group solidarity. This narrative function of rock art imagery is one of the current trends in estimation.
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Further reading [edit]

  • Beyer, Jürgen (1997). "Prolegomena to a history of story-telling around the Baltic Sea, c. 1550–1800". Electronic Periodical of Sociology. four: 43–60. doi:10.7592/fejf1997.04.balti.
  • Bruner, Jerome South. Bodily Minds, Possible Worlds. Cambridge, Massachusetts: Harvard University Press. 1986. ISBN 978-0-674-00365-1
  • Bruner, Jerome S. Making Stories: Constabulary, Literature, Life. New York: Farrar, Straus and Giroux. 2002. ISBN 978-0-374-20024-4
  • Gargiulo, Terrence L. The Strategic Apply of Stories in Organizational Communication and Learning. Armonk: K.E. Sharpe. 2005. ISBN 978-0-7656-1413-1
  • Greiner-Burkert, Barbara The magical art of telling fairy tales: A applied guide to enchantment. Munich, Germany: tausendschlau Verlag. 2012. ISBN 978-3-943328-64-6
  • Leitch, Thomas Thou. What Stories Are: Narrative Theory and Interpretation. University Park, Pennsylvania: Pennsylvania State University Press. 1986. ISBN 978-0-271-00431-0
  • Club, David. The Art of Fiction, New York: Viking, 1992.
  • McKee, Robert. Story: Substance, Construction, Style, and the Principles of Screenwriting. New York: ReganBooks. 1997. ISBN 978-0-06-039168-iii

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Source: https://en.wikipedia.org/wiki/Storytelling