Tellers from a variety of faiths will celebrate their traditions in story, song and dance in "United We Stand," an interfaith storytelling concert to benefit the Katheleen M. Stern and Milagros M. Argueta Endowment for Storytelling at ETSU. This endowment will provide scholarships and an endowed chair in storytelling with a focus on therapeutic, homiletic and community-building story. The storytelling concert will be held Saturday, Jan. 7, from 2-5 p.m. at the McKinney Center, 103 Franklin Ave., Jonesborough. Storytellers representing Christian, Jewish, Muslim and Native American faiths will participate in the program. Those slated to appear include Rev. Vincent Dial and Wendolin Elrod (Christian), Dr. Joseph Sobol (Jewish), Terry Shinn (Cherokee, following the Lakota spiritual tradition) and Taneem Aziz (Islam). Master of ceremonies will be Dr. Delanna Reed, interim coordinator of the ETSU Storytelling Program.

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JOHNSON CITY (March 31, 2017) – East Tennessee State University graduate students in storytelling will present “Ridin’ the Rails,” an evening of oral history stories and songs from the heyday of the railroad in America, on Friday, April 7, at 7:30 p.m. The event will be held in room 205 – the black box theater – of the university’s Campus Center Building. Admission is free, and donations toward ongoing oral history collection work will be accepted. Dr. Delanna Reed of the ETSU Storytelling Division and graduate students within that program interviewed dozens of individuals who rode, lived or worked on the Tweetsie and Clinchfield railroads. The oral histories gathered provide a glimpse of the two local railroads and the lives they affected from as early as 1915 through 1984. Established in 1882, the narrow gauge ETWNC (Tweetsie) Railroad serviced East Tennessee and Western North Carolina as a coal train and steam engine passenger train. Until highways were established and cars common, the Tweetsie was the only mechanical mode of transportation for folks in the mountains between Johnson City and Boone, North Carolina. Locals of the Tri-Cities area currently recognize the Tweetsie name for its newly established purpose as a multi-use recreation trail for biking, walking and running that follows the former tracks from Johnson City to Elizabethton. The Clinchfield Railroad, with its headquarters in Erwin, ran from the coal fields in Virginia, Kentucky and South Carolina. Known as a feat of engineering, the Clinchfield wound for 262 miles through the Blue Ridge Mountains and fostered inspirational characters that have been the center of many films and written works. “The oral histories the audience will hear during the production of ‘Ridin’ the Rails’ are sure to inspire the mind, body and soul,” said Reed, who is directing the current graduate students making up the cast of storytellers and musicians in the program. They include John Brooks, Paul Herrin, Charis Hickson, Betty Ann Polaha and Eutimio Talavera. These students in the ETSU Storytelling Division, which is a part of the Master of Professional Communication Program in the Department of Communication and Performance, selected stories to tell from transcripts of interviews with people from Johnson City and as far away as Roan Mountain. The original interviews were conducted from 2011 to 2014 as a collaborative project between ETSU’s George L. Carter Railroad Museum and Storytelling Program. The effort was led by Reed and Dr. Fred Alsop, director of the museum. Reed says the April 7 event is a one-time opportunity to see the concert in its entirety, although individual students plan to perform segments of the show soon in other area locations.

Astrid Lindgrens Värld (ALV) öppnade år 1981 upp sina portar för första gången iVimmerby och har sedan dess blivit en plats som hundratusentals människor besöker år efterår. Astrids sagor har gjort sig kända över hela världen och i takt med populariteten växte ävenparken och varumärket Astrid Lindgren. Aktörer i stora delar av staden använder sagornasom dragkraft för besökare, en metod kallat storytelling. I vår studie framgår att tack varestadens koppling till Astrid Lindgren har besöksnäringen och destinationen växt sig störreoch inneburit många möjligheter för Vimmerby. Från början pryddes parken av simplalekplatser och mindre teaterföreställningar. Idag finns stora avancerade kulisser medtillhörande produktioner och en park i ständig förändring. Astrids sagor utspelar en svunnentid där teknikens begränsning var ett faktum. Världen utanför parken stannar inte så somsagorna gjort i författarens böcker och samhället rör sig nu framåt i en takt där teknik ochdigitalisering är en självklarhet. Frågan är hur denna plats genomsyrad av den gamla tidenmöter utsidans utveckling och förväntningar? Kan en så nostalgisk plats följa med dentekniska utvecklingen utan att förstöra grundkonceptet från sagorna? För att finna svarenintervjuar vi personer verksamma inom och utanför parken som på något sätt har en kopplingtill staden Vimmerby och ALV. De gav oss svar på frågor kring parkens utveckling,användning av teknik samt ALVs påverkan på staden. Statistik på besökarantal ochutvecklingsstegen inom ALV ger oss även en bild av hur utvecklingen hänger ihop medbesökarna och deras behov. Som komplement till empirin använder vi tidigare forskning sombeskriver bland annat destinationsutveckling, storytelling och digitalisering. För ytterligareförståelse om ämnet kopplat till parkens huvudgäster, barnen, utgår vi även från en text omhur barns upplevelse påverkas av teknik. Vid analys kan vi endast anta att tekniken ses somett stort hjälpmedel inne i parken om det används på rätt sätt och inte tar över sagorna.Astrids grundkoncept ska lysa igenom parkens budskap och tekniken ska endast fungera somen förstärkelse för upplevelsen. / <p>Betyg: VG </p>

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This project involves the retelling of a historic New Zealand story using a system of multiple narrations. The research is presented in three parts:1. The practical component, Last Man Hanging: a book of pictures.2. A contextualising exegesis.3. 31 months (a documentation of my visual journey). The major component of this research is the creative text, Last Man Hanging. This is a book of pictures and type that retells the story of the trial and death of Walter James Bolton; the last man hanged in New Zealand. Its narrative discourse involves the orchestration of relationships through a compendium of characters, architecture, artifacts, environments and typography. The book integrates narrative voices that may be grouped into two often-conflicting positions; the story as it appeared in newspapers at the time, and the writer's personal consideration of an alternative series of events and emphases. Though an argument of tellings the book suggests a different verdict to that established by the courts in 1956.Finally, the exegesis contextualises both works. It considers specific theoretical issues pertaining to Last Man Hanging's narrative voice and imagery.

What is going on in a therapeutic setting when one person tells a story to another? Is it really as it appears to be, with the story being told in order to communicate some information, either affective or factual? Or is this way of thinking about the business of therapy limiting, both for the people concerned (therapist and patient) and for those who theorise about the therapeutic process? These are the questions around which this work is organised. The thesis itself takes the form of a story being told, the story of a therapist, his client, and his clinical supervisor.The story of these relationships is used to argue that stories are told more to create something (a relationship) and forge something (a more vital connection to an animating world) than to communicate something.The author draws on both a philosophical, and a psychoanalytical tradition to show what he suggest are more vital ways of thinking about human behaviour in general and the therapeutic encounter in particular. / Doctor of Philosophy (PhD)

Henry Black was born in Adelaide in 1858, but arrived in Japan in 1864 after his father became editor of the Japan Herald. In the late 1870s, Henry Black addressed meetings of members of the Freedom and People�s Rights Movement. His talks were inspired by nineteenth-century theories of natural rights. That experience led to his becoming a professional storyteller (rakugoka) affiliated with the San�y� school of storytelling (San�yuha). Black�s storytelling (rakugo) in the 1880s and 1890s was an attempt by the San�y�ha to modernise rakugo. By adapting European sensation fiction, Black blended European and Japanese elements to create hybridised landscapes and characters as blueprints for audiences negotiating changes synonymous with modernity during the Meiji period. The narrations also portrayed the negative impacts of change wrought through emulation of nineteenth-century Britain�s Industrial Revolution. His 1894 adaptation of Oliver Twist or his 1885 adaptation of Mary Braddon�s Flower and Weed, for example, were early warnings about the evils of child labour and the exploitation of women in unregulated textile factories. Black�s kabuki performances parallel politically and artistically inspired attempts to reform kabuki by elevating its status as an art suitable for imperial and foreign patronage. The printing of his narrations in stenographic books (sokkibon) ensured that his ideas reached a wide audience. Because he was not an officially hired foreigner (yatoi), and his narrations have not entered the rakugo canon, Black has largely been forgotten. A study of his role as a mediator of modernity during the 1880s and 1890s shows that he was an agent in the transfer to a mass audience of European ideas associated with modernity, frequently ahead of intellectuals and mainstream literature. An examination of Black�s career helps broaden our knowledge of the role of foreigners and rakugo in shaping modern Japan.

This screenplay is a fictional Coming of Age story of a young restless woman who, on an existentialist search for her inner self, investigates into the truth behind her famous grandmother's past, an anthropologist who conducted controversial research in the Samoa of the 1920s. In the turbulent streams of her consciousness, Kat drifts in between an urban reality in Berlin, daydreams about her grandmother's journey into the exotic unknown, fantasies about the enigmatic young Samoan single mom Penei, and memories of a once loving family. The encounter with Penei and the resulting friendship and frail romance of the two women proves to be an eye-opener for Kat who finally discovers that the objective truth proves to be the ultimate myth and that only the acknowledgement of her own, subjective vision will lead her on the path to her inner happiness. Although the character of Anna König is inspired by the historic figure of anthropologist Margaret Mead, the script has no intent to refer to actual facts of Mead's life. All the characters depicted are entirely fictional.

<p>Med dagens allt hårdare konkurrens inom den ”digitala marknaden” är det allt viktigare att kunna presentera sig eller sina alster på ett bra sätt. Olika reels har blivit ett allt vanligare sätt att marknadsföra sig genom I denna artikel tittar vi inledningsvis på vad en showreel är samt olika typer av reels som finns. Vidare definierar vi begreppet storytelling och tittar på hur begreppet storytelling används inom reels. Vi lyfter fram generella punkter på vad som bör tänkas på vid skapandet av en reel. Syftet med denna artikel är att i slutändan ha utvecklat en modell vilken underlättar skapandet av en produkt-showreel.</p>