collective unconscious, and on the traditions of Ladino speakers, including belief in the evil eye, the preservation of food customs and language, and faith in the power of words for good or evil. The fieldwork consisted in collecting the anecdotes from one storyteller, a Ladino speaker whose grandmother is
particular attention to how ‘storytelling’ relates to the introduction of new kinds of media.
Story, storytelling, and storyteller
Google’s Books corpus is a data set that can be used to examine the frequency of a word, showing periods when a word gained common currency and times when it may have
Arts: Storytellers and Raconteurs: Afghanistan Arts: Storytellers and Raconteurs: Arab States Arts: Storytellers and Raconteurs: Central Asia Arts: Storytellers and Raconteurs: East Africa Arts: Storytellers and Raconteurs: Iran Arts: Storytellers and Raconteurs: Turkey Arts: Storytellers and
Mahasweta Devi’s well-known short story, ‘Pterodactyl, Puran Sahay, and Pirtha,’ within the collection, Imaginary Maps, is a careful meditation on the implications, both personal and political, of representing another’s cultural history. The story examines notions of misunderstanding, authenticity, and truth, as well as the interconnectedness of narrative and history. Analysing the story in terms of narratology, I consider the author herself, the English translator, Gayatri Spivak, and the characters of the pterodactyl, Bikhia, and Puran, as different kinds of storytellers with unique perspectives on, connections with, and responsibilities to the fictional village of Pirtha and the conditions of life there. Reading these figures through both the textual and paratextual material reveals an interesting, multilayered narrative matrix. Each storyteller is an interpreter with a different discursive understanding and set of tools with which to represent/re-present a narrative. Together they comprise a similarly multilayered political project that explores those difficult questions that occur again and again within wider postcolonial literary contexts: What does it mean to enter, and therefore forever alter the trajectory of someone else’s story? Is it possible to recount someone else’s history, to translate another’s past while avoiding presumption and consumption? What is true in history? What is true history? Devi’s celebrated work explores these questions in relation to indigenous Indian tribal people, calling attention to the issues they face in the current neoliberal climate of decolonised India, such as famine, drought, discrimination, and exploitation.
Storyteller Me I am a storyteller too. The Daddies love my stories as much as I love telling them. I am lounging on the bed in my leopard print panties and bra while Daddy fixes my computer. I am practicing the dance I will do for Daddy’s birthday wearing the schoolgirl outfit she likes so well. In
The Theatre Group as a Multi Headed Storyteller The storyteller who inspired Peter Brook in his carpet show-like interpretation of the “Mahabharata” not only played on his musical instrument, but also used it as a unique scenic device to suggest a bowl, a sword, a mace, a river, an army or a monkey
This chapter will examine some aspects the Alevi-Bektashis, a heterodox sect of Islam within Sunni-dominated Turkey, and their culture and cosmology, by looking at their story-telling processes. Particular attention will be paid to how the social memory of the members of this sect is produced and transmitted through their narrative processes by the employment of commemorative discourse. There are two remarkable aspects of Alevi-Bektashi culture: first, the social history of the Alevi-Bektashis can be seen as a history of tragic events – massacres, exiles, discriminations and the denial of social and individual freedoms, including their religion; second, the fact that, up until the present day, the Alevi-Bektashi philosophy and religion generally have been conveyed and maintained by poetic and prose narratives through their oral performances. This chapter will focus on the stories of an Alevi-Bektashi storyteller in a performance context and his life story (which was full of traumatic experiences); we will show the relationship between commemorations and healing, particularly how he could overcome all these events by employing commemorative discourse. Our study is based upon a phenomenological approach and sociological research; in particular, the concept of intersubjectivity will be applied.
In the 1940s, Lawrence Elwell-Sutton collected and transcribed the stories of Mashdī Galīn Khānum, a storyteller who had memorized “an inexhaustible fund of folktales to suit every mood and occasion” (Mashdī Galīn Khānum 1950, Elwell-Sutton 1982, 102). Impressive feats of memory have traditionally
of the events. 40
Alongside the anomalies discussed so far, which are to be ascribed to Odysseus’ ways as a storyteller, two final points suggest the concern of the text to indicate that the rendering of the current scene is contingent upon the hero’s account of the events on Thrinacia. First, it
Fredric . “ The Vanishing Mediator; or, Max Weber as Storyteller .” In The Ideologies of Theory: Essays, 1971–1986. Volume Two: Syntax of History . Minneapolis : Minnesota University Press , 1988 . Katō Shūichi . “ Sensō to chishikijin .” In Kindai Nihon shisōshi kōza 4: Chishikijin no seisei to