特刊导言:全球故事

Q1 Arts and Humanities
M. Macdonald, H. Harvey
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引用次数: 0

摘要

在这个人口迁移和跨越国界的时代,许多学者和专业讲故事的人都把讲故事看作是扩大和深化我们在全球社区中的参与的一种方式。“全球讲故事”是一个术语,用来指那些通过讲故事来创造跨国界文化互动的个人和项目。跨越边界包括脆弱、信任、相互倾听、身体投入、尊重的道德要求,以及学习所有这些都是讲故事所固有的。在学术界,全球叙事研究帮助我们质疑权力在国际故事舞台上的作用,以及文化叙事的建构本质。它为我们提供了跨文化交往的道德模式,以及那些在边境跳跃中“越界”的人的警示故事。这种学术的精华既存在于战壕中,也存在于书页上,与他人建立关系,促进对话,激发、煽动并推动我们更好地理解文化是如何讲述自己的故事的,以及它们是如何讲述自己的地方、民间传说和家庭历史的。在电影节的世界里,讲述者和观众正以令人兴奋的方式在全球范围内联系在一起。2010年的马德里艺术节吸引了来自委内瑞拉、智利、古巴、美国和墨西哥的柜员。哥伦比亚、古巴、阿根廷和墨西哥的节日聚集了来自拉丁美洲各地的讲述者。2010年槟城儿童讲故事节吸引了来自印度、泰国、日本、印度尼西亚和美国的讲述者。威尔士的Beyond The Border音乐节每年都会吸引来自世界各地的史诗级表演者。2012年的音乐节有一位哈萨克史诗歌手和一群伊朗诗人和音乐家参加。部分由于美国的签证障碍,部分由于我们对英语听众的依赖,美国与世界上许多国家相比,较少参与这场国际讲述者运动。然而,北美的出纳员出国旅行的人数越来越多,国际出纳员也来访问美国和加拿大。国际网站Red international de cuentacuenttos (www.cuentacuentos.eu)在连接世界各地的故事讲述者方面发挥了带头作用。美国国家讲故事网络的《讲故事》杂志最近增加了“国际新闻”栏目。博客http://historiasparacambiarelmundo.blogspot.com正在推广一个国际讲故事日:改变世界的故事。2012年有来自澳大利亚、美国、西班牙、英国、巴西、瑞士和多米尼加的参与者
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Introduction to the Special Issue: Global Storytelling
In an age of transmigration and border-crossings, many academics and professional storytellers have looked to storytelling as a way to broaden and deepen our participation in a global community. "Global storytelling" has emerged as a term to identify individuals and projects that engage the act of storytelling to create culturally responsible interaction across borders. Border-crossing involves vulnerability, trust, mutual listening, bodily investment, an ethical imperative of respect, and a desire to learn all of which are inherent to storytelling. In the academic world, global storytelling scholarship helps us to question the role of power in international story arenas and the constructed nature of cultural storytelling. It provides us with ethical models for cross-cultural engagement, as well as cautionary tales of those who "crossed the line" in their border hopping. The best of this scholarship lives both in the trenches and on the page engaging in relationships with others and promoting dialogues that provoke, incite, and move us toward a greater understanding of how cultures story themselves and how they narrate their own locales, folklore, and family histories. In the festival world, tellers and audiences are connecting across the globe in exciting patterns. Madrid's festival in 2010 brought tellers from Venezuela, Chile, Cuba, the United States, and Mexico. Festivals in Columbia, Cuba, Argentina, and Mexico gather tellers from throughout Latin America. Penang's children's storytelling festival 2010 brought tellers from India, Thailand, Japan, Indonesia, and the United States. The Beyond the Border festival in Wales brings in epic performers from around the world each year. The festival in 2012 features a Kazakh epic singer and a group of Iranian poets and musicians. Partially because of U.S. visa barricades and partially because of our reliance on English language audiences, the United States is less involved in this international movement of tellers than much of the world. However, North American tellers are traveling abroad in ever-increasing numbers, and international tellers are coming to visit the United States and Canada. The international website Red International de Cuentacuentos (www.cuentacuentos.eu) is taking the lead in connecting storytellers worldwide. The National Storytelling Network's Storytelling Magazine has recently added the section "International News." The blog http:// historiasparacambiarelmundo.blogspot.com is promoting an international storytelling day: Historias para Cambiar el Mundo/ Stories to Change the World. In 2012 there were participants from Australia, the United States, Spain, United Kingdom, Brasil, Switzerland, the Dominican
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来源期刊
Storytelling, Self, Society
Storytelling, Self, Society Arts and Humanities-Literature and Literary Theory
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