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Unfortunately, I began reading stories very late i.e. in my graduation. Before that there was no access to story books at my home. Even I do not remember going in school library for borrowing books. Though my mother like reading, I do not remember her reading something during my childhood. Thus, there was no-one at home who used to tell me stories of prince, princes, jataka tales etc. It is very true that "the process of writing unfolds the truths which the mind then learns. Writing informs the mind, it is not the other way round". . Now, when I am telling you (writing) my story about the story, interesting thing from my childhood experience unfolded in front of me for the first time. At that time my brother wrote an interesting story of a little prince who fought with a devil whose life is entrenched in a pendant and saved his people. I read that story, obviously I read such story for the first time, and for so many years after, when I decide to write something, I was confined to that story written by my brother. As Chimamanda Adichie said in her talk "the single story creates stereotype", the unavailability of other stories of that sort made the story written by my brother as the 'only story' for me. Even though I haven't had access to written stories, I heard a lot of stories from the kitchen, corridors, from our maid, my friends, my cousins etc. Those were the narrative accounts of experiences of different people. One can say there is a difference between those stories and fictions; but for me, now with the enhanced understanding of stories, they are similar. And I believe that these heard stories were what that helped me to go through a long duration of my life without reading stories.
This essay is for a volume on aesthetics and the sciences of mind, edited by Gregory Currie, Matthew Kieran and Aaron Meskin, Oxford University Press. Please do not cite/quote without permission. §1. Overview
Methodologies of Mediation in Professional Learning, 2017
Story as 'The Telling of Experience' Perspectives: The Genre of Story Humans are not one story, but many stories…to be a person is to have a story. More than that, it is to be a story. (Kenyon & Randall, 1997, p. 1) Theoretical Groundings Humans are narrative beings, living in a world of stories which instruct and move us. The crafting of plots and characters through story, instruct us in unique ways that order, make sense, and connect human action, experiences, thoughts, and emotions (Bruner, 1990). Conceived as a landscape of action and consciousness (Bruner, 1986), stories are channels for accessing, reflecting and responding to real problems in creative ways (Wood, 2000), generating new possibilities that can enrich readers' daily lives and activities (Wood, 1992; Connelly & Clandinin, 1985). Conceptualizations of 'story' and 'narrative' are multiple and often elusive. They
Proceedings of the Annual Meeting of the Cognitive Science Society, 2007
Participants read and then retold narratives that were labeled either fiction or nonfiction. They showed a robust fiction superiority effect, recalling 20 to 50% more words and details when a narrative was labeled fiction. Fiction narratives also contained more of the language found in the original narrative. The fiction superiority effect held whether the retellings were oral or typed, and with and without an audience. This effect was found for recall but not recognition memory.
2013
This study represents the promised ‘half’ of elaboration over the fictionalization square, a common ground achievement, as early as the year 2000, stemmed from the common work, archival, theoretical and in the field, with Bogdan Neagota, whose own ‘half’ mirrors mine in the pages of this volume. I have developed it into the triangle of the narrative continuum of the tale of oral tradition, aligning what I had identified as the four degrees of memorata, and directing their extremes, i.e. the belief-tale in the first person and the description, into the fairytale, as the most complex narrative genre to be found within folkloric cultures like our own. The criterion I used is the temporal development of the narrated plot: the tense of the tale is elucidating, for all the folding and unfolding processes of the narrative nucleus during transmission. Traditional transmission of cultural facts is narrative as well as syntactic, so that the tales being told as folk-lore are, for their storytellers, vehicles and modes of enactment of communication requirements, both of their groups and of their own.
Journal of Advanced Nursing, 1998
Story telling has been used for centuries as a powerful vehicle for communication. If you explore the construction of a story in literary texts, you are likely to ®nd that it involves events, characters and what the characters say and do. A point of view signi®es the way the story gets told and the mode established by an author by means of which the reader is presented with the setting, characters, dialogue, actions and events which constitute the story. Although this description is useful I will suggest ways in which you may consider a story as a legitimate research product.
Storytelling, Self, Society, 2015
Anthropologist Dr Frances Harwood-a student of Margaret Mead ' s-once asked a Sioux elder why people tell stories. He answered: "In order to become human beings." She asked, "Aren ' t we human beings already?" He smiled. "Not everyone makes it." LAURA SIMMS 1
Journal of the Philosophy of History, 2024
In Adrian Currie and Daniel Swaim's "minimal realism", the stories we tell about the world can grasp better or worse certain patterns that exist independently of us in the world. Accordingly, from their perspective, disagreements about these stories could at least sometimes be solved by empirical means-by "looking at the world". In this paper, I offer some reasons why a Minkean narrativist would not be moved by Currie and Swaim's "minimal realism", at least when it comes to human history. In short, the Minkean narrativist sees no compelling reasons to assume that the beginnings, middles, and endings of the stories we tell about the world correspond to beginnings, middles, and endings that are inherent in the phenomena themselves. These are not properties of events, but parts of the narrative structure through which we understand certain entities or processes in the world.
International journal of social science and humanity, 2015
Being human inevitably means attaching meaning to essentially meaningless universe. Storytelling is the simplest way of attaching meaning and what differentiates human beings from other inhabitants of the world. In this context, our reality is determined by the stories. Like every work of literature, life of human beings is an intertext where different texts, styles and themes interact in a story-like order. In their novels Don Quixote and Never Let Me Go both Cervantes and Kazuoro Ishiguro are showing that stories can generalize and extract the truth by penetrating to the hearth of human condition. As such, these stories mature man's knowledge about himself and the world. Both writers assert that as times passes we experience different stories and our world is continuously altered by the new stories. Through stories we internalize our environment, our past and present. From this perspective, this paper aims to demonstrate our own position regarding to stories in life and common features of human beings referring to the tradition of storytelling.
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