Storytelling, Self, Society最新文献

{"title":"Narrativity in an Institutionalized Storytelling Performance: A Contextualized Model","authors":"S. Lwin","doi":"10.13110/STORSELFSOCI.13.1.0054","DOIUrl":"https://doi.org/10.13110/STORSELFSOCI.13.1.0054","url":null,"abstract":"","PeriodicalId":39019,"journal":{"name":"Storytelling, Self, Society","volume":"13 1","pages":"54"},"PeriodicalIF":0.0,"publicationDate":"2017-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45122326","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Exploring an Archetypal Divide: Epics, Tricksters, Epic Tricksters","authors":"Gregory E. Rutledge","doi":"10.13110/STORSELFSOCI.13.1.0001","DOIUrl":"https://doi.org/10.13110/STORSELFSOCI.13.1.0001","url":null,"abstract":"","PeriodicalId":39019,"journal":{"name":"Storytelling, Self, Society","volume":"13 1","pages":"1"},"PeriodicalIF":0.0,"publicationDate":"2017-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47402899","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"How the Eukaryotic Replisome Achieves Rapid and Efficient DNA Replication.","authors":"Joseph T P Yeeles, Agnieska Janska, Anne Early, John F X Diffley","doi":"10.1016/j.molcel.2016.11.017","DOIUrl":"10.1016/j.molcel.2016.11.017","url":null,"abstract":"<p><p>The eukaryotic replisome is a molecular machine that coordinates the Cdc45-MCM-GINS (CMG) replicative DNA helicase with DNA polymerases α, δ, and ε and other proteins to copy the leading- and lagging-strand templates at rates between 1 and 2 kb min^-1. We have now reconstituted this sophisticated machine with purified proteins, beginning with regulated CMG assembly and activation. We show that replisome-associated factors Mrc1 and Csm3/Tof1 are crucial for in vivo rates of replisome progression. Additionally, maximal rates only occur when DNA polymerase ε catalyzes leading-strand synthesis together with its processivity factor PCNA. DNA polymerase δ can support leading-strand synthesis, but at slower rates. DNA polymerase δ is required for lagging-strand synthesis, but surprisingly also plays a role in establishing leading-strand synthesis, before DNA polymerase ε engagement. We propose that switching between these DNA polymerases also contributes to leading-strand synthesis under conditions of replicative stress.</p>","PeriodicalId":39019,"journal":{"name":"Storytelling, Self, Society","volume":"8 1","pages":"105-116"},"PeriodicalIF":16.0,"publicationDate":"2017-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC5222725/pdf/","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89035455","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Shape-Shifter in the Green: Performing Sir Gawain and the Green Knight","authors":"J. Gentile","doi":"10.13110/STORSELFSOCI.10.2.0220","DOIUrl":"https://doi.org/10.13110/STORSELFSOCI.10.2.0220","url":null,"abstract":"Who, namely, was that weird, imperious being, qualified to challenge, test, unmask, and pass sentence? The Green Knight who could tuck his head under his arm and appear with it in place again, whose wife was the fairest temptress in the world, and whose Green Chapel was a kind of eerie crypt, \"the cursedest kirk,\" as Gawain judged it, \"that e'er I came in!\"-who is he and what is his name?-Heinrich Zimmer, The King and the Corpse (76)Sir Gawain and the Green Knight is a courtly romance, the finest Arthurian romance in English,\" Albert C. Baugh wrote in A Literary History of England in 1948 (236). The critical reputation of the poem remains unquestioned today, and succeeding generations of literary critics continue to praise the poem in words nearly identical to those used by Baugh over half a century ago. \"Sir Gawain and the Green Knight is,\" wrote Vincent J. Scattergood five decades later, \"the finest Middle English Arthurian romance\" (419). The poem's brilliance shines through in its alliterative verse, its complex blending of Pagan and Christian mythologies, its weaving together of its two plots (the Beheading Game and the Temptation), and its masterful use of suspense.1 \"But there is no end of things to exclaim over,\" concludes Baugh, \"and we can only hint at the enjoyment to be had from reading and re-reading this fine romance\" (237).Given its literary reputation, its language, and its complexity, Sir Gawain and the Green Knight is a particularly challenging source text for storytelling performance. Yet I took up that challenge as if under its enchantment and chose Sir Gawain and the Green Knight for exactly that, and I have continued to perform it over many years at storytelling festivals, schools, academic conferences, and the International Congress on Medieval Studies.2 For me, the power of the poem has always been in its mythic resonances and, specifically, its enigmatic Green Knight. This essay considers the poem's critical heritage and the different ways literary critics have interpreted the mysterious character of the Green Knight-that green \"shape-shifter\"-whose appearance is no less remarkable today than it was long ago that Christmastime in Camelot. Additionally, I think, the essay serves as an exemplum of the kind of research required by oral interpretative storytellers who turn to canonical texts for performance.Joseph D. Sobol describes the oral interpretative storyteller:The teller begins with a written text, whether of her own or another's devising, and commits this text to memory. She then overlays paralinguistic, performative elements of facial, vocal, and kinesic expression and timing upon the preset verbal scaffolding, whether in the rehearsal process of in the heat of performance. (\"Innervision\" 72)Sobol's description is very helpful for articulating the artistic work of the oral interpretative storyteller.3 However, its purview does not include the background research this mode of performance requires. Too often my experi","PeriodicalId":39019,"journal":{"name":"Storytelling, Self, Society","volume":"10 1","pages":"220"},"PeriodicalIF":0.0,"publicationDate":"2014-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66769733","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Positive Parenting: An Ethnographic Study of Storytelling for Socialization of Children in Ethiopia","authors":"Tadesse Jaleta Jirata","doi":"10.13110/STORSELFSOCI.10.2.0156","DOIUrl":"https://doi.org/10.13110/STORSELFSOCI.10.2.0156","url":null,"abstract":"IntroductionStorytelling is a positive way of communication with children. My children listen to me when I tell them folktales, but they do not give their attention to my words when I speak to them in ordinary ways. I train them by saying, \"Give honor to cattle. Take the cattle to the grazing field in the morning and bring them to their shelter in the evening. Adorn your farm in the summer and your home in the winter. Do not stand in cattle's way, and avoid keeping cattle in others' way. Make peace, speak peace, and live in peace. Respect your elders, grandparents, and parents. Keep up with your equals. Grandparents and parents have wisdom to share with you, but you have energy to support them.\"This statement was delivered by Waqoo (male, age 70) one evening at his home during my fieldwork. He made it to explain the purpose of intergenerational storytelling among the Guji-Oromo. According to Waqoo, storytelling from adults to children facilitates intergenerational communication, knowledge transmission, and socialization.Among the Guji-Oromo, various forms of folklore such as storytelling, songs, riddles, and proverbs are performed as elements of everyday communication and knowledge transmission (Jirata, \"Children and Oral Tradition\"). The Guji-Oromo perform four main genres of verbal folklore: qexala (singing folksong), duriduri (storytelling), mammaksa (telling proverbs), jecha (proverbs), hibbo (riddling), and xapha (performing games). This classification system shares some similarities with what Bernth Lindfors termed \"genres of folklore in Africa.\" Of these genres, qexala, mammaksa, and jecha are performed by adults in rituals, ceremonies, neighborhood social events, and conversations among elders. These are considered to be adult genres of communication, and the social situations in which they are performed are not the prerogatives of children. Hibbo and xapha, in contrast, are performed by children in peer play interactions (see Jirata, \"Learning through Play\"). Duriduri (storytelling) crosses categories and fosters intergenerational interaction. In storytelling, children collaborate with adults as initiators, listeners, and inquirers, while adults act as tellers, entertainers, interpreters, and educators.The purpose of this article is to discuss how the storytelling process draws parents (the term \"parents\" in this article includes extended family members such as grandparents, uncles, aunts, and in-laws) and children together and serves as a site of intergenerational communication and socialization, transcending children's immediate experiences. I analyze the process of storytelling with an emphasis on how children initiate storytelling in a family social event, how parents tell folktales to children, how children listen to stories from parents, how parents interpret folktales for children, and how children react to those interpretations, as well as parent's and children's reflections on the tradition of intergenerational storytelling.I dr","PeriodicalId":39019,"journal":{"name":"Storytelling, Self, Society","volume":"10 1","pages":"156"},"PeriodicalIF":0.0,"publicationDate":"2014-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.13110/STORSELFSOCI.10.2.0156","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66769949","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"On Rossi’s Goddesses (Collected Works of Joseph Campbell)","authors":"D. Slattery","doi":"10.13110/storselfsoci.10.2.0252","DOIUrl":"https://doi.org/10.13110/storselfsoci.10.2.0252","url":null,"abstract":"On Rossi's Goddesses (Collected Works of Joseph Campbell) Goddesses: Mysteries of the Feminine Divine. In the Collected Works of Joseph Campbell, edited by Safron Elsabeth Rossi. Novato, CA: New World Library, 2013. 304 pp. ISBN: 1608681823. Cloth $24.05.The Eternal feminine is what draws us on.-GoetheOne of a number of critiques that continues to swirl around Joseph Campbell's massive library of books he has published (and now available on DVD) is that he appears to leave the feminine out of the Hero's Journey. Some of his readers have gone so far as to suggest that he leaves the feminine out of the mythic pantheon that he constructed over a lifetime of exploring world mythologies.In this new book, Goddesses: Mysteries of the Feminine Divine, much of such criticism might be muted or modulated or, at the very least, revisited and revised. The editor, Dr. Safron Rossi, a former mythological studies student at Pacifica Graduate Institute and now curator of the OPUS Archives and associate core faculty member at the institute, has performed a magnificent service in both idea and execution by gathering Campbell's lectures, essays, and informal talks into one volume. In its 300 pages, the volume celebrates Campbell's abiding and enduring interest in and fascination with the Goddess tradition, its mythohistorical legacy, and its voice in literary classics of the Middle Ages.The eight substantial and often beautifully illustrated chapters, with artworks that include ceramics, paintings, sculptures, reliefs, engravings, and sketches from around the globe, gather a range of feminine divine presences across time and space. For example, consider the following: \"Chapter 1. Myth and the Feminine Divine\"; \"Chapter 2. Goddess-Mother Creator: Neolithic and Early Bronze Age\"; \"Chapter 4. Sumerian and Egyptian Goddesses\"; \"Chapter 6. Iliad and Odyssey: Return to the Goddess\"; \"Chapter 8. Amor: The Feminine in European Romance.\" The brief appendix contains Campbell's foreword to Marija Gimbutas's Language of the Goddess as well as a list of \"Essential Reading\" on the Goddess's presence in a variety of disciplines.As many readers of Campbell's ample corpus know, he is a comparative mythologist who works best within what I would call the \"analogical imagination.\" He seeks similarities within forests of difference; words that I have found to describe his \"mythodology\" include \"in accord with,\" \" similar to,\" \"like,\" and \"corresponds to,\" to name a few. His method calls to mind C. G. Jung's provocative insight that \"analogy formation is a law which to a large extent governs the psyche\" (par. 414). Campbell generally adheres to this principle as a guide through the whirling motions of world mythologies over time. The other staple to his method is his understanding of myths as energy fields, even transport vehicles, that allow the individual and culture to move to a place where one or both may become transparent to transcendence. His move is always toward the invisible bu","PeriodicalId":39019,"journal":{"name":"Storytelling, Self, Society","volume":"10 1","pages":"252"},"PeriodicalIF":0.0,"publicationDate":"2014-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.13110/storselfsoci.10.2.0252","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66769932","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Can You Describe the Experience","authors":"P. Ryan, Donna Schatt","doi":"10.13110/STORSELFSOCI.10.2.0131","DOIUrl":"https://doi.org/10.13110/STORSELFSOCI.10.2.0131","url":null,"abstract":"Like Klonipin. [Laughing.] That's exactly what it would feel like. No really, it was just, it absolutely, it was the best.-Kate, physical therapistIt was definitely a whoa experience. The description would be one that I would liken to meditating or taking hallucinogens. When you came back to reality you're not sure if the other place you were in was the reality or this is.-Lawrence, playwrightI can remember the rug and then the voice and then coming to 20 minutes later with rug marks on my hands, my hands hurt and my feet were stiff. I remember thinking, \"Wait . . . was I asleep?\"-Colleen, nursery school teacher1What Does the Listener Experience While Hearing a Story?The above quotations came from adults, recalling a weekly story time in their school library. The story program and its effects are the focus of this article, a precis of our research thus far. This study came out of the desire to examine three things: the history of storytelling in education in the United States, the reasons storytelling seems to have been abandoned as a teaching tool by many, and finally, unique educational benefits that may occur when storytelling is used as part of a curriculum. We chose to do this by tracing the general history of storytelling in education and then examining closely the longest continuously running formal storytelling program in the United States.2 Comments by this program's current and former students, considered alongside the historical rationale for educational storytelling, provide insight into a distinctive role for storytelling in education.Storytelling as an educational tool has been mentioned at least as far back as Plato and Aristotle, who spoke of using story to convey moral values to young children. However, few historical studies have investigated the uses of storytelling in education or the impact that listening to stories has had on individuals as children or adults. In Storytelling: Art and Technique, Ellin Greene and Janice Del Negro write that stor ytelling fulfills a human impulse to communicate feelings and experiences (3). In The Cool Web, the philosopher Barbara Hardy (12) asserts that narrative is a primary act of the mind. Jonathan Gottschall (57-59) says that story is how we simulate life. Jerome Bruner, Jack Zipes, and other academics have described stories as being imbued with cultural meaning that helps people to remember and relate information (Bruner, Actual Minds, \"Culture, Mind, and Narrative\"; Hermansen; Zipes, The Irresistible Fairy Tale, Why Fairy Tales Stick). Yet educators and those training them in the United States have, for the most part, moved away from the use of oral story as a teaching tool.Historical BackgroundPrior to the Civil War, American educators extolled the use of storytelling in schools (Barnard, Papers of Froebel's Kindergarten 346, 248-49; Peabody), and by the late nineteenth century storytelling had become an essential part of education. Henry Barnard, a leading American educator in the mid","PeriodicalId":39019,"journal":{"name":"Storytelling, Self, Society","volume":"10 1","pages":"131"},"PeriodicalIF":0.0,"publicationDate":"2014-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.13110/STORSELFSOCI.10.2.0131","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66769881","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Testing a Digital Storytelling Intervention to Reduce Stress in Adolescent Females","authors":"Rhonda Goodman, D. Newman","doi":"10.13110/STORSELFSOCI.10.2.0177","DOIUrl":"https://doi.org/10.13110/STORSELFSOCI.10.2.0177","url":null,"abstract":"Jenny's StoryAfter three tumultuous years in middle school, Jenny finally began high school. Unfortunately, she found the same feelings surfaced that she had in middle school. She did not belong. She felt fat. In every class, she sat in the back corner, hoping not to be recognized or called upon. The homework was overwhelming. time was as she always sat alone, far from the supposedly happy happy students. At home, her parents were fighting, and her dad finally moved out to start a \"replacement\" family with his new girlfriend.Jenny was given the opportunity to talk about all the things that made her feel stressed. She wrote down her feelings in story form and recorded her story into a computer. At our request, Jenny brought in pictures that metaphorically represented her feelings and chose a background song to play during her story, which was now digitalized. She burned her story to a DVD and took it to her father. They sat together side by side and watched the five minute-long digital story. When it ended, her father looked at her with tears in his eyes, placed his hand on her arm, and said, \"I get it now.\" Jenny had never felt so validated, knowing that her father finally understood her feelings. Through this storytelling method, Jenny was able to tell her father a story in a third-person format, which she could not have told him in a face-to-face confrontation.Jenny's story is not an isolated example of adolescent angst; unfortunately, it is a common phenomenon among those who share her age and gender (Byrne and Mazanov, \"Sources\"). The purpose of our research was to determine the efficacy of different types of storytelling in combatting feelings of stress, anxiety, anger, and depression experienced by adolescent females. Of specific interest are the different effects of oral and digital storytelling on girls just entering high school and those on the verge of graduating. This study gave ninth- and grade females opportunity to tell their stories, either orally or digitally (on computers). We used several instruments pre- and post-intervention to measure their feelings of stress, anxiety, anger, and depression, and we studied and analyzed the differences between the effects of oral and digital storytelling, as well as the differences across grade levels.Adolescent StressorsStress is an inevitable reality of life. As a result, adolescents, who are typically exposed to high rates of stress, are prone to develop psychological challenges such as depression, anger, and anxiety (Grant et al.; Moksnes et al.; Murray, Byrne, and Rieger). Female adolescents experience and report greater stress than do their male counterparts, in part because they are greatly influenced by friends, social media, and societal expectations (Byrne and Mazanov, \"Sources\"; \"Sources\"; Zimmer-Gembeck and Skinner). Because many of these expectations are unrealistic, they cause high levels of stress for adolescent females (Pipher).A major concern for adolescents is suicide, which ","PeriodicalId":39019,"journal":{"name":"Storytelling, Self, Society","volume":"166 1","pages":"177"},"PeriodicalIF":0.0,"publicationDate":"2014-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.13110/STORSELFSOCI.10.2.0177","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66770126","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Beyond the Interview: A Historian's Journey into Community Storytelling","authors":"C. Parham","doi":"10.13110/STORSELFSOCI.10.2.0194","DOIUrl":"https://doi.org/10.13110/STORSELFSOCI.10.2.0194","url":null,"abstract":"On June 27, 1959, before 50,000 excited onlookers, 30 tons of dynamite blew two holes through the largest steel-celled coffer dam ever built. The structure had held back the raging current of the St. Lawrence River for the last five years. Its breach began the flooding of 38,000 acres of land to initiate power production and open navigation on the St. Lawrence Seaway. The explosion marked the end of a century-long struggle to construct the largest power and navigation project in the world-the St. Lawrence Seaway and Power Project-often referred to as the eighth wonder of the world.Even though a number of authors (e.g., Willoughby) documented the lengthy bi-national political debate regarding the merit and funding of the Seaway and power dam, the efforts of the men who completed the work have been ignored. My journey to gain recognition for, and preserve the experiences of, the construction workers behind the St. Lawrence Seaway and Power Project resulted in the publication of The St. Lawrence Seaway and Power Project: An Oral History of the Greatest Construction Show on Earth and thrust me into unknown territory.Throughout this process, I grappled with my role as a scholar and came to my own conclusions about successful interviewing techniques, sharing authority, and the differences between academia and the public sphere highlighted by the process of storytelling. Prior to this effort, like many academic historians, I concerned myself less with presenting quality narrative presentations for the public and more with publishing articles in scholarly journals. Instead of using oral history as a valuable source to find new interpretations of a well-known event, I combed through archival collections in search of innovative materials to support my thesis statement or put a new twist on a long-supported argument. Now I am committed to continuing to conduct research by collecting the often subjective interpretations from participants in historical events and making their voices heard by sharing my findings in public forums. As Michael Frisch notes, \"We must listen and we must share responsibility for historical explication and judgment. We must use our skills, our resources and our privileges to insure that others hear what is being said by those who are articulate, but not always attended to\" (Frisch 22).In this essay, I begin by explaining my choice of autoethnography as a methodology then tell my own story of how I became known as the \"Seaway Historian\" and the transformative impact this experience had on my future research projects and my life. I provide a brief description of the St. Lawrence Seaway and Power Project, share my motivation for documenting and memorializing the lives of the men involved, and conclude with the lessons I learned about becoming a professional listener and neophyte storyteller. As Alessandro Portelli states, \"Oral history is basically the process of creating relationships between narrators and narratees. The historian must","PeriodicalId":39019,"journal":{"name":"Storytelling, Self, Society","volume":"10 1","pages":"194"},"PeriodicalIF":0.0,"publicationDate":"2014-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.13110/STORSELFSOCI.10.2.0194","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66770148","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"On Telling Tales and The Art of Storytelling","authors":"Charles Parrott","doi":"10.13110/STORSELFSOCI.10.2.0258","DOIUrl":"https://doi.org/10.13110/STORSELFSOCI.10.2.0258","url":null,"abstract":"On Telling Tales and The Art of Storytelling Telling Tales, by Emily S. Chasse. New York: Neal-Shuman, 2009. 269 pp. ISBN: 15555706452. Paper $77.00.The Art of Storytelling: Telling Truths through Telling Stories, by Amy E. Spaulding. Lanham, MD: Scarecrow Press. 2011. 216 pp. ISBN: 0810877767. Cloth $49.95.It is worth reviewing Emily S. Chasse's Telling Tales and Amy E. Spaulding's Art of Storytelling together for a few reasons. First, Spaulding and Chasse share a sort of intellectual genealogy. They both came to storytelling through their work as librarians. They've since grown into tellers who identify with the kind of storytelling that was born out of the revival of the 1970s and 1980s. Second, both books provide a readable overview of the practice of contemporary storytelling. Third, and perhaps most important, they offer complimentary perspectives on writing about storytelling. Specifically, Spaulding offers a narrative voice without a directly academic tenor while Chasse leans toward the traditional voice of a textbook while avoiding a narrative tone. This distinction, between Spaulding's more embodied writing and Chasse's more distant academic writing, should be of interest to both academics and practitioners who read Storytelling, Self, Society. I would like to address the potential meaning of such a distinction in addition to articulating the unique values and relative shortcomings of each book.Spaulding's Art of Storytelling contains 16 short chapters divided into four sections. The first and fourth sections act as bookends that function as a sort of greeting and salutation that invite the reader in at the beginning and send them offat the end. This structure illustrates the conversational authorial tone that Spaulding takes throughout her book. Chapters 4-10 primarily address practical concerns such as selecting stories to tell, building a program of stories, interacting with audiences, and storytelling as a business venture.These chapters contain significant practical knowledge in the form of resource and reflection. Notably, she includes resources such as a lengthy \"Storiography\" and appendix of story collections, which together offer a wealth of resources for tellers of varied levels of experience. In addition, each chapter concludes with exercises that allow the readers to put what they have read in to action. These elements, along with the chapters on the business of storytelling and organizing a storytelling program, illustrate Spaulding's interest in the practical side of storytelling. However, more compelling to me is the way that Spaulding addresses more subtle concepts, such as a storyteller's responsibility to his or her audience. She addresses this responsibility in chapter 15, where she notes that \"one of the first and most important things about storytelling is that it is free form, like an amoeba. It can be used for any intent\" (124). She goes on to offer real-life examples of the moral conundrums storytellers face, fro","PeriodicalId":39019,"journal":{"name":"Storytelling, Self, Society","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2014-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66770188","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}