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Storytelling is also used as a means by which to precipitate psychological and social change in the practice of transformative arts. [13] [14] [15] Some people also make a case for different narrative forms being classified as storytelling in the contemporary world. For example, digital storytelling, online and dice-and-paper-based role-playing ...
Transformative arts is the use of artistic activities, such as story-telling, painting, sculpture and music-making, to precipitate constructive individual and social change. The individual changes effected through transformative arts are commonly cognitive and emotional .
Transmedia storytelling has yet to tackle learning and educating children, but there have been a few transmedia worlds that have begun to show up with education, mostly by Disney. [30] Transmedia storytelling is apparent in comics, films, print media, radio, and now social media. The story is told different depending on the medium.
The 9th-century fictional storyteller Scheherazade of One Thousand and One Nights, who saved herself from execution by telling tales, is one example illustrating the value placed on storytelling in the past. Centuries before Scheherazade, the power of storytelling was reflected by Vyasa at the beginning of the Indian epic Mahabharata.
Name Definition Example Setting as a form of symbolism or allegory: The setting is both the time and geographic location within a narrative or within a work of fiction; sometimes, storytellers use the setting as a way to represent deeper ideas, reflect characters' emotions, or encourage the audience to make certain connections that add complexity to how the story may be interpreted.
The two different views of transformative learning described here as well as examples of how it occurs in practice [34] suggest that no single model of transformative learning exists. When transformative learning is the goal of adult education , fostering a learning environment in which it can occur should consider the following:
The contrasting three, where only the third has positive value, for example, The Three Little Pigs, two of whose houses are blown down by the Big Bad Wolf. The final or dialectical form of three, where, as with Goldilocks and her bowls of porridge, the first is wrong in one way, the second in an opposite way, and the third is "just right".
Listeners also possess power over the process of storytelling, and therefore the outcome of narrative identity. For instance, listener attentiveness elicits from the narrator more coherent stories, punchy endings, dynamic arcs over the course of the story, and overall, more specific and engaging stories. [46]