Pub Date : 2017-04-01DOI: 10.13110/STORSELFSOCI.13.1.0054
S. Lwin
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Pub Date : 2017-01-05Epub Date: 2016-12-15DOI: 10.1016/j.molcel.2016.11.017
Joseph T P Yeeles, Agnieska Janska, Anne Early, John F X Diffley
The eukaryotic replisome is a molecular machine that coordinates the Cdc45-MCM-GINS (CMG) replicative DNA helicase with DNA polymerases α, δ, and ε and other proteins to copy the leading- and lagging-strand templates at rates between 1 and 2 kb min-1. We have now reconstituted this sophisticated machine with purified proteins, beginning with regulated CMG assembly and activation. We show that replisome-associated factors Mrc1 and Csm3/Tof1 are crucial for in vivo rates of replisome progression. Additionally, maximal rates only occur when DNA polymerase ε catalyzes leading-strand synthesis together with its processivity factor PCNA. DNA polymerase δ can support leading-strand synthesis, but at slower rates. DNA polymerase δ is required for lagging-strand synthesis, but surprisingly also plays a role in establishing leading-strand synthesis, before DNA polymerase ε engagement. We propose that switching between these DNA polymerases also contributes to leading-strand synthesis under conditions of replicative stress.
{"title":"How the Eukaryotic Replisome Achieves Rapid and Efficient DNA Replication.","authors":"Joseph T P Yeeles, Agnieska Janska, Anne Early, John F X Diffley","doi":"10.1016/j.molcel.2016.11.017","DOIUrl":"10.1016/j.molcel.2016.11.017","url":null,"abstract":"<p><p>The eukaryotic replisome is a molecular machine that coordinates the Cdc45-MCM-GINS (CMG) replicative DNA helicase with DNA polymerases α, δ, and ε and other proteins to copy the leading- and lagging-strand templates at rates between 1 and 2 kb min<sup>-1</sup>. We have now reconstituted this sophisticated machine with purified proteins, beginning with regulated CMG assembly and activation. We show that replisome-associated factors Mrc1 and Csm3/Tof1 are crucial for in vivo rates of replisome progression. Additionally, maximal rates only occur when DNA polymerase ε catalyzes leading-strand synthesis together with its processivity factor PCNA. DNA polymerase δ can support leading-strand synthesis, but at slower rates. DNA polymerase δ is required for lagging-strand synthesis, but surprisingly also plays a role in establishing leading-strand synthesis, before DNA polymerase ε engagement. We propose that switching between these DNA polymerases also contributes to leading-strand synthesis under conditions of replicative stress.</p>","PeriodicalId":39019,"journal":{"name":"Storytelling, Self, Society","volume":"8 1","pages":"105-116"},"PeriodicalIF":16.0,"publicationDate":"2017-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC5222725/pdf/","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89035455","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2014-10-01DOI: 10.13110/STORSELFSOCI.10.2.0220
J. Gentile
Who, namely, was that weird, imperious being, qualified to challenge, test, unmask, and pass sentence? The Green Knight who could tuck his head under his arm and appear with it in place again, whose wife was the fairest temptress in the world, and whose Green Chapel was a kind of eerie crypt, "the cursedest kirk," as Gawain judged it, "that e'er I came in!"-who is he and what is his name?-Heinrich Zimmer, The King and the Corpse (76)Sir Gawain and the Green Knight is a courtly romance, the finest Arthurian romance in English," Albert C. Baugh wrote in A Literary History of England in 1948 (236). The critical reputation of the poem remains unquestioned today, and succeeding generations of literary critics continue to praise the poem in words nearly identical to those used by Baugh over half a century ago. "Sir Gawain and the Green Knight is," wrote Vincent J. Scattergood five decades later, "the finest Middle English Arthurian romance" (419). The poem's brilliance shines through in its alliterative verse, its complex blending of Pagan and Christian mythologies, its weaving together of its two plots (the Beheading Game and the Temptation), and its masterful use of suspense.1 "But there is no end of things to exclaim over," concludes Baugh, "and we can only hint at the enjoyment to be had from reading and re-reading this fine romance" (237).Given its literary reputation, its language, and its complexity, Sir Gawain and the Green Knight is a particularly challenging source text for storytelling performance. Yet I took up that challenge as if under its enchantment and chose Sir Gawain and the Green Knight for exactly that, and I have continued to perform it over many years at storytelling festivals, schools, academic conferences, and the International Congress on Medieval Studies.2 For me, the power of the poem has always been in its mythic resonances and, specifically, its enigmatic Green Knight. This essay considers the poem's critical heritage and the different ways literary critics have interpreted the mysterious character of the Green Knight-that green "shape-shifter"-whose appearance is no less remarkable today than it was long ago that Christmastime in Camelot. Additionally, I think, the essay serves as an exemplum of the kind of research required by oral interpretative storytellers who turn to canonical texts for performance.Joseph D. Sobol describes the oral interpretative storyteller:The teller begins with a written text, whether of her own or another's devising, and commits this text to memory. She then overlays paralinguistic, performative elements of facial, vocal, and kinesic expression and timing upon the preset verbal scaffolding, whether in the rehearsal process of in the heat of performance. ("Innervision" 72)Sobol's description is very helpful for articulating the artistic work of the oral interpretative storyteller.3 However, its purview does not include the background research this mode of performance requires. Too often my experi
也就是说，那个古怪的、专横的人是谁，有资格去挑战、考验、揭下面具和宣判呢?绿衣骑士可以把脑袋夹在腋下，然后又戴着头出现，他的妻子是世界上最美丽的女人，他的绿色教堂是一种令人毛骨悚然的地下室，“最受诅咒的教堂，”高文评价道，“当我进来的时候!”他是谁?他叫什么名字?——海里希·齐默，《国王与尸体》(1976)《高文爵士与绿衣骑士》是一部宫廷传奇，是英国最好的亚瑟王传奇，”阿尔伯特·c·鲍夫在1948年出版的《英国文学史》(236)中写道。时至今日，这首诗在评论界的声誉仍然不容置疑，后世的文学评论家继续用几乎与鲍格半个多世纪前所使用的相同的措辞来赞美这首诗。五十年后，文森特·j·斯卡特古德写道:“《高文爵士与绿衣骑士》是中古英格兰亚瑟王时期最好的浪漫小说。”这首诗的辉煌体现在它的头韵诗，它复杂地融合了异教和基督教的神话，它将两个情节(斩首游戏和诱惑)编织在一起，以及它对悬念的娴熟运用。鲍格总结道:“但值得赞叹的事情是无穷无尽的，我们只能暗示从阅读和重读这部优秀的浪漫小说中获得的乐趣。”考虑到《高文爵士与绿衣骑士》在文学上的声誉、它的语言和它的复杂性，它是一个特别具有挑战性的故事表演源文本。然而，我接受了这个挑战，就像被它迷住了一样，我选择了高文爵士和绿衣骑士。多年来，我一直在讲故事节、学校、学术会议和中世纪研究国际大会上表演这首诗。2对我来说，这首诗的力量一直在于它的神话共鸣，特别是它神秘的绿衣骑士。这篇文章考虑了这首诗的批评遗产，以及文学评论家对绿骑士这个神秘人物的不同解读——这个绿色的“变形者”——他的出现在今天和很久以前在卡梅洛特的圣诞节一样引人注目。此外，我认为，这篇文章是口头解释性故事讲述者转向经典文本进行表演所需要的那种研究的一个范例。约瑟夫·d·索博尔(Joseph D. Sobol)这样描述口述式说书人:说书人从一篇书面文本开始，不管这篇文本是她自己写的还是别人写的，然后把它记在脑子里。然后，无论是在排练过程中还是在表演的高潮中，她都将面部、声音和肢体表达的副语言、表演元素和时间叠加在预设的语言脚手架上。Sobol的描述对阐明口述性故事讲述者的艺术作品很有帮助然而，它的范围并不包括这种绩效模式所需要的背景研究。我的经验是，听众和那些刚开始讲故事的人常常认为，口头解释式讲故事的人的工作只是简化和记忆一段选定的文本，这相当于在表面上表演一段文本。这是件冒险的事情，尤其是当讲故事的人是为文学学者表演的时候!我认为，研究是无价之宝，而且对于讲故事的艺术家来说，研究是必要的，因为他们要处理复杂的文学文本，才能产生共鸣和扎实的表现。研究揭示了无数的艺术选择，其中包括(但不限于)故事的基调，讲述者对故事人物的态度，个人特征，以及对故事使用象征主义的理解。这篇文章，然后，带着它的读者在幕后与口头解释的故事讲述者到图书馆了解背后的研究复杂的，多价值的杰作的表现。…
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Pub Date : 2014-10-01DOI: 10.13110/STORSELFSOCI.10.2.0156
Tadesse Jaleta Jirata
IntroductionStorytelling is a positive way of communication with children. My children listen to me when I tell them folktales, but they do not give their attention to my words when I speak to them in ordinary ways. I train them by saying, "Give honor to cattle. Take the cattle to the grazing field in the morning and bring them to their shelter in the evening. Adorn your farm in the summer and your home in the winter. Do not stand in cattle's way, and avoid keeping cattle in others' way. Make peace, speak peace, and live in peace. Respect your elders, grandparents, and parents. Keep up with your equals. Grandparents and parents have wisdom to share with you, but you have energy to support them."This statement was delivered by Waqoo (male, age 70) one evening at his home during my fieldwork. He made it to explain the purpose of intergenerational storytelling among the Guji-Oromo. According to Waqoo, storytelling from adults to children facilitates intergenerational communication, knowledge transmission, and socialization.Among the Guji-Oromo, various forms of folklore such as storytelling, songs, riddles, and proverbs are performed as elements of everyday communication and knowledge transmission (Jirata, "Children and Oral Tradition"). The Guji-Oromo perform four main genres of verbal folklore: qexala (singing folksong), duriduri (storytelling), mammaksa (telling proverbs), jecha (proverbs), hibbo (riddling), and xapha (performing games). This classification system shares some similarities with what Bernth Lindfors termed "genres of folklore in Africa." Of these genres, qexala, mammaksa, and jecha are performed by adults in rituals, ceremonies, neighborhood social events, and conversations among elders. These are considered to be adult genres of communication, and the social situations in which they are performed are not the prerogatives of children. Hibbo and xapha, in contrast, are performed by children in peer play interactions (see Jirata, "Learning through Play"). Duriduri (storytelling) crosses categories and fosters intergenerational interaction. In storytelling, children collaborate with adults as initiators, listeners, and inquirers, while adults act as tellers, entertainers, interpreters, and educators.The purpose of this article is to discuss how the storytelling process draws parents (the term "parents" in this article includes extended family members such as grandparents, uncles, aunts, and in-laws) and children together and serves as a site of intergenerational communication and socialization, transcending children's immediate experiences. I analyze the process of storytelling with an emphasis on how children initiate storytelling in a family social event, how parents tell folktales to children, how children listen to stories from parents, how parents interpret folktales for children, and how children react to those interpretations, as well as parent's and children's reflections on the tradition of intergenerational storytelling.I dr
讲故事是与孩子沟通的一种积极的方式。当我给孩子们讲民间故事时，他们会认真听，但当我用普通的方式和他们说话时，他们却不注意我的话。我训练他们说:“要尊重牲畜。早晨把牛牵到草场，晚上把它们牵到自己的棚里。夏天装饰你的农场，冬天装饰你的家。不要挡牛的路，也不要让牛挡别人的路。要讲和，要讲和，要和平生活。尊敬长辈、祖父母和父母。跟上同龄人的步伐。祖父母和父母有智慧与你分享，但你有精力去支持他们。这句话是一天晚上在我实地考察期间，Waqoo(男性，70岁)在他家里说的。他制作这部电影是为了解释古吉-奥罗莫人世代相传故事的目的。根据Waqoo的说法，从成人到儿童讲故事有助于代际交流、知识传播和社会化。在古吉奥罗莫人中，各种形式的民间传说，如讲故事、歌曲、谜语和谚语，作为日常交流和知识传播的元素(Jirata，“儿童和口头传统”)。古吉-奥罗莫人表演四种主要的口头民间传说:qexala(唱民歌)、duriduri(讲故事)、mammaksa(讲谚语)、jecha(谚语)、hibbo(猜谜)和xapha(表演游戏)。这种分类系统与伯恩斯·林德福斯所说的“非洲民间传说的流派”有一些相似之处。在这些流派中，qexala、mammaksa和jecha是由成年人在仪式、仪式、邻里社交活动和长辈之间的谈话中表演的。这些都被认为是成人的交流方式，而表演这些语言的社会环境并不是儿童的特权。相比之下，Hibbo和xapha是由儿童在同伴游戏互动中表演的(参见Jirata，“通过游戏学习”)。Duriduri(讲故事)跨越类别，促进代际互动。在讲故事时，儿童与成人合作，作为发起者、倾听者和询问者，而成人则作为讲述者、表演者、口译员和教育者。本文的目的是讨论讲故事的过程是如何吸引父母(本文中的“父母”一词包括祖父母，叔叔，阿姨和姻亲等大家庭成员)和孩子在一起，并作为代际交流和社会化的场所，超越了孩子的直接经验。我分析了讲故事的过程，重点是孩子如何在家庭社交活动中开始讲故事，父母如何给孩子讲民间故事，孩子如何听父母讲的故事，父母如何为孩子解释民间故事，孩子如何对这些解释做出反应，以及父母和孩子对代际讲故事传统的反思。我在古吉-奥罗莫的代际等级习俗和父母与孩子的关系之间建立了联系，并讨论了成年人如何通过民间故事的互动解释向孩子介绍公共价值观，从而使孩子们既娱乐又沉浸在当地习俗中。我还观察了讲故事是如何进行的，以及民间故事是如何被解释为代际关系网络的一部分的。遵循民间故事在表演背景下产生的概念，并通过解释与文化和社会联系在一起(Jirata和Benti;Kuyvenhoven)，我分析了儿童如何通过这些相互关联的过程与社会的价值观和规范联系在一起。非洲讲故事作为非洲口述传统的重要组成部分，自20世纪初以来，对讲故事的研究一直是民俗学家和人类学家关注的焦点。其中，Pauline Davis, Donna Eder, Ruth Finnegan和Ageliki Nicolopoulou已经提高了我们对民间故事如何被表演，解释和作为民间知识被重视的理解。…
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Pub Date : 2014-10-01DOI: 10.13110/storselfsoci.10.2.0252
D. Slattery
On Rossi's Goddesses (Collected Works of Joseph Campbell) Goddesses: Mysteries of the Feminine Divine. In the Collected Works of Joseph Campbell, edited by Safron Elsabeth Rossi. Novato, CA: New World Library, 2013. 304 pp. ISBN: 1608681823. Cloth $24.05.The Eternal feminine is what draws us on.-GoetheOne of a number of critiques that continues to swirl around Joseph Campbell's massive library of books he has published (and now available on DVD) is that he appears to leave the feminine out of the Hero's Journey. Some of his readers have gone so far as to suggest that he leaves the feminine out of the mythic pantheon that he constructed over a lifetime of exploring world mythologies.In this new book, Goddesses: Mysteries of the Feminine Divine, much of such criticism might be muted or modulated or, at the very least, revisited and revised. The editor, Dr. Safron Rossi, a former mythological studies student at Pacifica Graduate Institute and now curator of the OPUS Archives and associate core faculty member at the institute, has performed a magnificent service in both idea and execution by gathering Campbell's lectures, essays, and informal talks into one volume. In its 300 pages, the volume celebrates Campbell's abiding and enduring interest in and fascination with the Goddess tradition, its mythohistorical legacy, and its voice in literary classics of the Middle Ages.The eight substantial and often beautifully illustrated chapters, with artworks that include ceramics, paintings, sculptures, reliefs, engravings, and sketches from around the globe, gather a range of feminine divine presences across time and space. For example, consider the following: "Chapter 1. Myth and the Feminine Divine"; "Chapter 2. Goddess-Mother Creator: Neolithic and Early Bronze Age"; "Chapter 4. Sumerian and Egyptian Goddesses"; "Chapter 6. Iliad and Odyssey: Return to the Goddess"; "Chapter 8. Amor: The Feminine in European Romance." The brief appendix contains Campbell's foreword to Marija Gimbutas's Language of the Goddess as well as a list of "Essential Reading" on the Goddess's presence in a variety of disciplines.As many readers of Campbell's ample corpus know, he is a comparative mythologist who works best within what I would call the "analogical imagination." He seeks similarities within forests of difference; words that I have found to describe his "mythodology" include "in accord with," " similar to," "like," and "corresponds to," to name a few. His method calls to mind C. G. Jung's provocative insight that "analogy formation is a law which to a large extent governs the psyche" (par. 414). Campbell generally adheres to this principle as a guide through the whirling motions of world mythologies over time. The other staple to his method is his understanding of myths as energy fields, even transport vehicles, that allow the individual and culture to move to a place where one or both may become transparent to transcendence. His move is always toward the invisible bu
{"title":"On Rossi’s Goddesses (Collected Works of Joseph Campbell)","authors":"D. Slattery","doi":"10.13110/storselfsoci.10.2.0252","DOIUrl":"https://doi.org/10.13110/storselfsoci.10.2.0252","url":null,"abstract":"On Rossi's Goddesses (Collected Works of Joseph Campbell) Goddesses: Mysteries of the Feminine Divine. In the Collected Works of Joseph Campbell, edited by Safron Elsabeth Rossi. Novato, CA: New World Library, 2013. 304 pp. ISBN: 1608681823. Cloth $24.05.The Eternal feminine is what draws us on.-GoetheOne of a number of critiques that continues to swirl around Joseph Campbell's massive library of books he has published (and now available on DVD) is that he appears to leave the feminine out of the Hero's Journey. Some of his readers have gone so far as to suggest that he leaves the feminine out of the mythic pantheon that he constructed over a lifetime of exploring world mythologies.In this new book, Goddesses: Mysteries of the Feminine Divine, much of such criticism might be muted or modulated or, at the very least, revisited and revised. The editor, Dr. Safron Rossi, a former mythological studies student at Pacifica Graduate Institute and now curator of the OPUS Archives and associate core faculty member at the institute, has performed a magnificent service in both idea and execution by gathering Campbell's lectures, essays, and informal talks into one volume. In its 300 pages, the volume celebrates Campbell's abiding and enduring interest in and fascination with the Goddess tradition, its mythohistorical legacy, and its voice in literary classics of the Middle Ages.The eight substantial and often beautifully illustrated chapters, with artworks that include ceramics, paintings, sculptures, reliefs, engravings, and sketches from around the globe, gather a range of feminine divine presences across time and space. For example, consider the following: \"Chapter 1. Myth and the Feminine Divine\"; \"Chapter 2. Goddess-Mother Creator: Neolithic and Early Bronze Age\"; \"Chapter 4. Sumerian and Egyptian Goddesses\"; \"Chapter 6. Iliad and Odyssey: Return to the Goddess\"; \"Chapter 8. Amor: The Feminine in European Romance.\" The brief appendix contains Campbell's foreword to Marija Gimbutas's Language of the Goddess as well as a list of \"Essential Reading\" on the Goddess's presence in a variety of disciplines.As many readers of Campbell's ample corpus know, he is a comparative mythologist who works best within what I would call the \"analogical imagination.\" He seeks similarities within forests of difference; words that I have found to describe his \"mythodology\" include \"in accord with,\" \" similar to,\" \"like,\" and \"corresponds to,\" to name a few. His method calls to mind C. G. Jung's provocative insight that \"analogy formation is a law which to a large extent governs the psyche\" (par. 414). Campbell generally adheres to this principle as a guide through the whirling motions of world mythologies over time. The other staple to his method is his understanding of myths as energy fields, even transport vehicles, that allow the individual and culture to move to a place where one or both may become transparent to transcendence. His move is always toward the invisible bu","PeriodicalId":39019,"journal":{"name":"Storytelling, Self, Society","volume":"10 1","pages":"252"},"PeriodicalIF":0.0,"publicationDate":"2014-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.13110/storselfsoci.10.2.0252","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66769932","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2014-10-01DOI: 10.13110/STORSELFSOCI.10.2.0131
P. Ryan, Donna Schatt
Like Klonipin. [Laughing.] That's exactly what it would feel like. No really, it was just, it absolutely, it was the best.-Kate, physical therapistIt was definitely a whoa experience. The description would be one that I would liken to meditating or taking hallucinogens. When you came back to reality you're not sure if the other place you were in was the reality or this is.-Lawrence, playwrightI can remember the rug and then the voice and then coming to 20 minutes later with rug marks on my hands, my hands hurt and my feet were stiff. I remember thinking, "Wait . . . was I asleep?"-Colleen, nursery school teacher1What Does the Listener Experience While Hearing a Story?The above quotations came from adults, recalling a weekly story time in their school library. The story program and its effects are the focus of this article, a precis of our research thus far. This study came out of the desire to examine three things: the history of storytelling in education in the United States, the reasons storytelling seems to have been abandoned as a teaching tool by many, and finally, unique educational benefits that may occur when storytelling is used as part of a curriculum. We chose to do this by tracing the general history of storytelling in education and then examining closely the longest continuously running formal storytelling program in the United States.2 Comments by this program's current and former students, considered alongside the historical rationale for educational storytelling, provide insight into a distinctive role for storytelling in education.Storytelling as an educational tool has been mentioned at least as far back as Plato and Aristotle, who spoke of using story to convey moral values to young children. However, few historical studies have investigated the uses of storytelling in education or the impact that listening to stories has had on individuals as children or adults. In Storytelling: Art and Technique, Ellin Greene and Janice Del Negro write that stor ytelling fulfills a human impulse to communicate feelings and experiences (3). In The Cool Web, the philosopher Barbara Hardy (12) asserts that narrative is a primary act of the mind. Jonathan Gottschall (57-59) says that story is how we simulate life. Jerome Bruner, Jack Zipes, and other academics have described stories as being imbued with cultural meaning that helps people to remember and relate information (Bruner, Actual Minds, "Culture, Mind, and Narrative"; Hermansen; Zipes, The Irresistible Fairy Tale, Why Fairy Tales Stick). Yet educators and those training them in the United States have, for the most part, moved away from the use of oral story as a teaching tool.Historical BackgroundPrior to the Civil War, American educators extolled the use of storytelling in schools (Barnard, Papers of Froebel's Kindergarten 346, 248-49; Peabody), and by the late nineteenth century storytelling had become an essential part of education. Henry Barnard, a leading American educator in the mid
喜欢吃片药。(笑了。这就是它的真实感觉。不，真的，这绝对是最棒的。-凯特，理疗师这绝对是一次奇妙的经历。我把这种描述比作冥想或服用致幻剂。当你回到现实时，你不确定你所在的另一个地方是现实还是这里。我还记得地毯，然后是那个声音，20分钟后我回来时手上有地毯印，我的手很痛，脚也僵了。我记得我当时在想，“等等……我睡着了吗?——科琳(幼儿园老师)听者在听故事时会有什么感受?以上这些话来自于成年人，他们回忆起每周在学校图书馆的故事时间。故事节目及其效果是本文研究的重点，是我们迄今为止研究的一个精确化。这项研究源于对三件事的研究:讲故事在美国教育中的历史，讲故事似乎被许多人放弃作为教学工具的原因，最后，当讲故事被用作课程的一部分时，可能会产生独特的教育效益。我们选择通过追溯教育中讲故事的一般历史，然后仔细研究美国持续时间最长的正式讲故事项目来做到这一点。2该项目现任和前任学生的评论，与教育讲故事的历史基础一起考虑，为讲故事在教育中的独特作用提供了见解。讲故事作为一种教育工具至少早在柏拉图和亚里士多德时期就被提到过，他们谈到用故事向年幼的孩子传达道德价值观。然而，很少有历史研究调查了讲故事在教育中的应用，或者听故事对儿童或成人的影响。在《讲故事:艺术与技术》一书中，埃林·格林和珍妮丝·德尔·内格罗写道，讲故事满足了人类交流情感和经历的冲动(3)。在《酷网》一书中，哲学家芭芭拉·哈代断言，叙事是一种主要的思维行为。乔纳森·戈特沙尔(Jonathan Gottschall, 57-59岁)说，故事是我们模拟生活的方式。Jerome Bruner, Jack Zipes和其他学者将故事描述为充满文化意义，帮助人们记住和联系信息(Bruner, Actual Minds，“文化，思想和叙事”;赫曼森;齐普斯，《不可抗拒的童话》，《为什么童话会坚持下去》)。然而，美国的教育工作者和培训他们的人，在很大程度上，已经不再使用口述故事作为教学工具。在南北战争之前，美国教育工作者赞扬在学校中使用讲故事(Barnard, Papers of Froebel's Kindergarten 346, 248-49;到19世纪末，讲故事已经成为教育的重要组成部分。亨利·巴纳德，一位19世纪中期美国著名的教育家说，应该有一些停顿，专门用于无拘束的口交……用故事来填满最合适不过了。一个小故事往往胜过一篇长篇说教。但是讲好故事是很困难的，这门艺术需要练习。更困难的是材料的选择，必须适应孩子们的观点。玛莎·格雷戈尔(Martha Gregor)在对美国讲故事的历史研究中指出，在19世纪90年代，迫切需要在社会和教育中广泛使用讲故事的方法。这导致了从19世纪90年代到20世纪20年代出版的关于讲故事的艺术和应用的书籍数量的大量增加(Alvey;格雷戈尔;海伍德;Sobol，“新千年中的Oracy”，“故事讲述者的旅程”)。这一时期的记录表明，听故事和讲故事对小学生来说是司空见惯的经历，这表明教育工作者认为在课堂上使用讲故事有教学价值。…
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Pub Date : 2014-10-01DOI: 10.13110/STORSELFSOCI.10.2.0177
Rhonda Goodman, D. Newman
Jenny's StoryAfter three tumultuous years in middle school, Jenny finally began high school. Unfortunately, she found the same feelings surfaced that she had in middle school. She did not belong. She felt fat. In every class, she sat in the back corner, hoping not to be recognized or called upon. The homework was overwhelming. time was as she always sat alone, far from the supposedly happy happy students. At home, her parents were fighting, and her dad finally moved out to start a "replacement" family with his new girlfriend.Jenny was given the opportunity to talk about all the things that made her feel stressed. She wrote down her feelings in story form and recorded her story into a computer. At our request, Jenny brought in pictures that metaphorically represented her feelings and chose a background song to play during her story, which was now digitalized. She burned her story to a DVD and took it to her father. They sat together side by side and watched the five minute-long digital story. When it ended, her father looked at her with tears in his eyes, placed his hand on her arm, and said, "I get it now." Jenny had never felt so validated, knowing that her father finally understood her feelings. Through this storytelling method, Jenny was able to tell her father a story in a third-person format, which she could not have told him in a face-to-face confrontation.Jenny's story is not an isolated example of adolescent angst; unfortunately, it is a common phenomenon among those who share her age and gender (Byrne and Mazanov, "Sources"). The purpose of our research was to determine the efficacy of different types of storytelling in combatting feelings of stress, anxiety, anger, and depression experienced by adolescent females. Of specific interest are the different effects of oral and digital storytelling on girls just entering high school and those on the verge of graduating. This study gave ninth- and grade females opportunity to tell their stories, either orally or digitally (on computers). We used several instruments pre- and post-intervention to measure their feelings of stress, anxiety, anger, and depression, and we studied and analyzed the differences between the effects of oral and digital storytelling, as well as the differences across grade levels.Adolescent StressorsStress is an inevitable reality of life. As a result, adolescents, who are typically exposed to high rates of stress, are prone to develop psychological challenges such as depression, anger, and anxiety (Grant et al.; Moksnes et al.; Murray, Byrne, and Rieger). Female adolescents experience and report greater stress than do their male counterparts, in part because they are greatly influenced by friends, social media, and societal expectations (Byrne and Mazanov, "Sources"; "Sources"; Zimmer-Gembeck and Skinner). Because many of these expectations are unrealistic, they cause high levels of stress for adolescent females (Pipher).A major concern for adolescents is suicide, which
珍妮的故事在经历了三年动荡的中学生活后，珍妮终于开始上高中了。不幸的是，她发现和中学时一样的感觉又出现了。她不属于这里。她觉得自己很胖。每节课，她都坐在后面的角落里，希望不被认出来或被叫到。作业太多了。时间是她总是独自坐着，远离那些本应快乐快乐的学生。在家里，她的父母吵架了，她的父亲终于搬出去和他的新女友建立了一个“替代”家庭。珍妮有机会谈论所有让她感到压力的事情。她把自己的感受以故事的形式写下来，并记录在电脑里。在我们的要求下，珍妮带来了隐喻地代表她的感受的照片，并选择了一首背景歌来播放她的故事，现在这首歌已经数字化了。她把自己的故事刻录成DVD，拿给父亲看。他们并排坐在一起，观看了这个五分钟长的数字故事。当它结束时，她的父亲看着她，眼里含着泪水，把手放在她的胳膊上，说:“我现在明白了。”珍妮知道父亲终于理解了她的感受，她从来没有感到如此被认可过。通过这种讲故事的方法，珍妮能够以第三人称的形式给父亲讲一个故事，这是她无法在面对面的对抗中告诉他的。珍妮的故事并不是青少年焦虑的孤立例子;不幸的是，在那些和她年龄和性别相同的人中，这是一种普遍现象(Byrne和Mazanov，“来源”)。我们研究的目的是确定不同类型的讲故事在对抗青春期女性所经历的压力、焦虑、愤怒和抑郁情绪方面的功效。特别有趣的是，口头和数字叙事对刚进入高中和即将毕业的女孩的不同影响。这项研究让九年级和一年级的女生有机会讲述她们的故事，可以是口头的，也可以是数字的(在电脑上)。我们在干预前后使用了几种工具来测量他们的压力、焦虑、愤怒和抑郁情绪，并研究和分析了口头讲故事和数字讲故事的效果之间的差异，以及不同年级之间的差异。青少年压力压力是生活中不可避免的现实。因此，通常暴露在高压力下的青少年容易产生心理挑战，如抑郁、愤怒和焦虑(Grant等人;Moksnes等人;Murray, Byrne和Rieger)。与男性相比，女性青少年经历和报告的压力更大，部分原因是她们受到朋友、社交媒体和社会期望的极大影响(Byrne和Mazanov，“来源”;“源”;齐默尔-格贝克和斯金纳)。因为许多这样的期望是不现实的，它们给青春期的女性带来了很高的压力(piphher)。青少年的一个主要问题是自杀，这是美国青少年死亡的第三大原因，随着儿童年龄的增长，发病率每年都在增加(pirucello)。抑郁症会增加青少年自杀的风险，而且女性比男性更容易患抑郁症(Bhasin, Sharma和Saini)。男性自杀的频率更高，而青春期女性自杀的频率更高(Parker等人)，这增加了自残的可能性。青少年女性自残的频率也高于男性(Conterio和Lader;玛吉等人;惠特洛克、埃肯罗德和西尔弗曼;Wilkinson and Goodyer)。如果能在减少青少年压力方面取得进展，就有可能减少青少年女性的自残甚至自杀企图。因为古德曼有很多处理青少年女性自残的经验，所以我们把这个特殊的研究限制在青少年女性身上。青少年可能面临的家庭压力源包括贫穷、虐待和疾病，以及父母之间、父母和孩子之间以及兄弟姐妹之间的不和(Parker et al. ...)
{"title":"Testing a Digital Storytelling Intervention to Reduce Stress in Adolescent Females","authors":"Rhonda Goodman, D. Newman","doi":"10.13110/STORSELFSOCI.10.2.0177","DOIUrl":"https://doi.org/10.13110/STORSELFSOCI.10.2.0177","url":null,"abstract":"Jenny's StoryAfter three tumultuous years in middle school, Jenny finally began high school. Unfortunately, she found the same feelings surfaced that she had in middle school. She did not belong. She felt fat. In every class, she sat in the back corner, hoping not to be recognized or called upon. The homework was overwhelming. time was as she always sat alone, far from the supposedly happy happy students. At home, her parents were fighting, and her dad finally moved out to start a \"replacement\" family with his new girlfriend.Jenny was given the opportunity to talk about all the things that made her feel stressed. She wrote down her feelings in story form and recorded her story into a computer. At our request, Jenny brought in pictures that metaphorically represented her feelings and chose a background song to play during her story, which was now digitalized. She burned her story to a DVD and took it to her father. They sat together side by side and watched the five minute-long digital story. When it ended, her father looked at her with tears in his eyes, placed his hand on her arm, and said, \"I get it now.\" Jenny had never felt so validated, knowing that her father finally understood her feelings. Through this storytelling method, Jenny was able to tell her father a story in a third-person format, which she could not have told him in a face-to-face confrontation.Jenny's story is not an isolated example of adolescent angst; unfortunately, it is a common phenomenon among those who share her age and gender (Byrne and Mazanov, \"Sources\"). The purpose of our research was to determine the efficacy of different types of storytelling in combatting feelings of stress, anxiety, anger, and depression experienced by adolescent females. Of specific interest are the different effects of oral and digital storytelling on girls just entering high school and those on the verge of graduating. This study gave ninth- and grade females opportunity to tell their stories, either orally or digitally (on computers). We used several instruments pre- and post-intervention to measure their feelings of stress, anxiety, anger, and depression, and we studied and analyzed the differences between the effects of oral and digital storytelling, as well as the differences across grade levels.Adolescent StressorsStress is an inevitable reality of life. As a result, adolescents, who are typically exposed to high rates of stress, are prone to develop psychological challenges such as depression, anger, and anxiety (Grant et al.; Moksnes et al.; Murray, Byrne, and Rieger). Female adolescents experience and report greater stress than do their male counterparts, in part because they are greatly influenced by friends, social media, and societal expectations (Byrne and Mazanov, \"Sources\"; \"Sources\"; Zimmer-Gembeck and Skinner). Because many of these expectations are unrealistic, they cause high levels of stress for adolescent females (Pipher).A major concern for adolescents is suicide, which ","PeriodicalId":39019,"journal":{"name":"Storytelling, Self, Society","volume":"166 1","pages":"177"},"PeriodicalIF":0.0,"publicationDate":"2014-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.13110/STORSELFSOCI.10.2.0177","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66770126","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2014-10-01DOI: 10.13110/STORSELFSOCI.10.2.0194
C. Parham
On June 27, 1959, before 50,000 excited onlookers, 30 tons of dynamite blew two holes through the largest steel-celled coffer dam ever built. The structure had held back the raging current of the St. Lawrence River for the last five years. Its breach began the flooding of 38,000 acres of land to initiate power production and open navigation on the St. Lawrence Seaway. The explosion marked the end of a century-long struggle to construct the largest power and navigation project in the world-the St. Lawrence Seaway and Power Project-often referred to as the eighth wonder of the world.Even though a number of authors (e.g., Willoughby) documented the lengthy bi-national political debate regarding the merit and funding of the Seaway and power dam, the efforts of the men who completed the work have been ignored. My journey to gain recognition for, and preserve the experiences of, the construction workers behind the St. Lawrence Seaway and Power Project resulted in the publication of The St. Lawrence Seaway and Power Project: An Oral History of the Greatest Construction Show on Earth and thrust me into unknown territory.Throughout this process, I grappled with my role as a scholar and came to my own conclusions about successful interviewing techniques, sharing authority, and the differences between academia and the public sphere highlighted by the process of storytelling. Prior to this effort, like many academic historians, I concerned myself less with presenting quality narrative presentations for the public and more with publishing articles in scholarly journals. Instead of using oral history as a valuable source to find new interpretations of a well-known event, I combed through archival collections in search of innovative materials to support my thesis statement or put a new twist on a long-supported argument. Now I am committed to continuing to conduct research by collecting the often subjective interpretations from participants in historical events and making their voices heard by sharing my findings in public forums. As Michael Frisch notes, "We must listen and we must share responsibility for historical explication and judgment. We must use our skills, our resources and our privileges to insure that others hear what is being said by those who are articulate, but not always attended to" (Frisch 22).In this essay, I begin by explaining my choice of autoethnography as a methodology then tell my own story of how I became known as the "Seaway Historian" and the transformative impact this experience had on my future research projects and my life. I provide a brief description of the St. Lawrence Seaway and Power Project, share my motivation for documenting and memorializing the lives of the men involved, and conclude with the lessons I learned about becoming a professional listener and neophyte storyteller. As Alessandro Portelli states, "Oral history is basically the process of creating relationships between narrators and narratees. The historian must
1959年6月27日，在5万名激动的旁观者面前，30吨炸药将有史以来最大的钢格子围堰炸开了两个洞。在过去的五年里，这座建筑阻挡了圣劳伦斯河湍急的水流。它的决口导致3.8万英亩的土地被淹没，以启动电力生产和圣劳伦斯海道的开放航行。这次爆炸标志着长达一个世纪的世界上最大的电力和航运工程——圣劳伦斯海道和电力工程——的建设斗争的结束。圣劳伦斯海道和电力工程通常被称为世界第八大奇迹。尽管许多作者(如威洛比)记录了关于海道和水坝的优点和资金的漫长的两国政治辩论，但完成这项工作的人的努力却被忽视了。我为圣劳伦斯海道和电力项目背后的建筑工人获得认可和保存经验的旅程，导致了《圣劳伦斯海道和电力项目:地球上最伟大的建筑表演的口述历史》的出版，并将我推向了未知的领域。在整个过程中，我努力解决我作为一个学者的角色，并得出了我自己的结论，包括成功的采访技巧，分享权威，以及通过讲故事的过程突出的学术界和公共领域之间的差异。在此之前，像许多学术历史学家一样，我不太关心为公众提供高质量的叙事报告，而是更多地关注在学术期刊上发表文章。我没有把口述历史作为一个有价值的来源来为一个众所周知的事件寻找新的解释，而是梳理档案收藏，寻找创新的材料来支持我的论点，或者对一个长期支持的论点进行新的扭曲。现在，我致力于通过收集历史事件参与者的主观解释，并通过在公共论坛上分享我的发现，让他们的声音被听到，从而继续进行研究。正如迈克尔·弗里施所指出的，“我们必须倾听，我们必须分担解释和判断历史的责任。我们必须运用我们的技能、我们的资源和我们的特权，以确保别人听到那些口齿伶俐、但并不总是得到关注的人所说的话”(弗里希22)。在这篇文章中，我首先解释了我选择将自己的民族志作为一种方法，然后讲述了我自己的故事，讲述了我是如何成为“海道历史学家”的，以及这一经历对我未来的研究项目和生活产生的变革性影响。我简要介绍了圣劳伦斯航道和电力项目，分享了我记录和纪念参与其中的人的生活的动机，并总结了我在成为专业倾听者和新手讲故事方面学到的经验教训。正如亚历山德罗·波特利所说，“口述历史基本上是叙述者和被叙述者之间建立关系的过程。历史学家必须在事实和叙述两个层面上工作，并对讲述他们的故事负责”(Portelli, Order 15)。发现自我民族志卡罗尔·埃利斯、托尼·e·亚当斯和阿瑟·p·博奇纳将自我民族志描述为自传(作者写自己的生活)和民族志(研究共同经历以帮助他人理解文化)的结合。“当研究人员写人种志时，”他们写道，“他们试图对个人和人际经历进行美学和令人回味的厚实描述，并描述访谈本身的互动性如何产生意义和情感动态”(Ellis, Adams, and Bochner 12)。因此，就口述历史而言，方法论是一种研究和写作的方法，要求口述历史学家在进行研究时探索他们的个人经历。我从Ellis等人对反身性二元访谈的概述中获得了本文的方法和组织。…
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Pub Date : 2014-09-01DOI: 10.13110/STORSELFSOCI.10.2.0258
Charles Parrott
On Telling Tales and The Art of Storytelling Telling Tales, by Emily S. Chasse. New York: Neal-Shuman, 2009. 269 pp. ISBN: 15555706452. Paper $77.00.The Art of Storytelling: Telling Truths through Telling Stories, by Amy E. Spaulding. Lanham, MD: Scarecrow Press. 2011. 216 pp. ISBN: 0810877767. Cloth $49.95.It is worth reviewing Emily S. Chasse's Telling Tales and Amy E. Spaulding's Art of Storytelling together for a few reasons. First, Spaulding and Chasse share a sort of intellectual genealogy. They both came to storytelling through their work as librarians. They've since grown into tellers who identify with the kind of storytelling that was born out of the revival of the 1970s and 1980s. Second, both books provide a readable overview of the practice of contemporary storytelling. Third, and perhaps most important, they offer complimentary perspectives on writing about storytelling. Specifically, Spaulding offers a narrative voice without a directly academic tenor while Chasse leans toward the traditional voice of a textbook while avoiding a narrative tone. This distinction, between Spaulding's more embodied writing and Chasse's more distant academic writing, should be of interest to both academics and practitioners who read Storytelling, Self, Society. I would like to address the potential meaning of such a distinction in addition to articulating the unique values and relative shortcomings of each book.Spaulding's Art of Storytelling contains 16 short chapters divided into four sections. The first and fourth sections act as bookends that function as a sort of greeting and salutation that invite the reader in at the beginning and send them offat the end. This structure illustrates the conversational authorial tone that Spaulding takes throughout her book. Chapters 4-10 primarily address practical concerns such as selecting stories to tell, building a program of stories, interacting with audiences, and storytelling as a business venture.These chapters contain significant practical knowledge in the form of resource and reflection. Notably, she includes resources such as a lengthy "Storiography" and appendix of story collections, which together offer a wealth of resources for tellers of varied levels of experience. In addition, each chapter concludes with exercises that allow the readers to put what they have read in to action. These elements, along with the chapters on the business of storytelling and organizing a storytelling program, illustrate Spaulding's interest in the practical side of storytelling. However, more compelling to me is the way that Spaulding addresses more subtle concepts, such as a storyteller's responsibility to his or her audience. She addresses this responsibility in chapter 15, where she notes that "one of the first and most important things about storytelling is that it is free form, like an amoeba. It can be used for any intent" (124). She goes on to offer real-life examples of the moral conundrums storytellers face, fro
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