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Marketers today are increasingly using storytelling to engage their audiences. However, the design of narrative visuals is often inspired by a text-centric understanding of narratives. Despite the fast increase in visual content and the distinct processing it induces, extant research on visual narrativity remains fragmented, lacking a comprehensive framework to explain how a single still image can convey a narrative. Our literature review addresses this gap through the lens of narrative transportation theory. Based on a systematic review of 64 articles from marketing and adjacent disciplines, the authors propose that an image must narrate, act, and resonate (NAR) to stimulate narrative processing and transport viewers into its narrative. They also identify specific visual features that can facilitate this process and explore how characteristics of the storyteller, story receiver, and story settings can influence the strength of visual narrative transportation (VNT). Finally, the authors highlight affective, cognitive, and behavioral responses of transported viewers. This research extends narrative transportation theory to the visual domain, offering practical design principles that can be easily applied by marketing professionals. It also outlines an actionable research agenda for marketing scholars to further explore visual narrativity. [ABSTRACT FROM AUTHOR]

This paper demonstrates that an overlooked personality ability – storytelling – plays a significant psychological role: individuals proficient in storytelling exhibit a stronger sense of meaning in life (MIL) and endorsement of high-level goals (EHG) compared to their less adept counterparts. We employ two distinct methods to assess the storytelling ability: we developed a self-report scale for storytellers and also gathered assessments from listeners. The listeners comprise three categories: (a) close friends, (b) strangers who listen to the storyteller’s narratives, and (c) trained coders who observe videos of these stories. The relationship between storytelling and both the sense of meaning-in-life and endorsement of high-level goals is consistent across all measures. Additionally, this relationship persists whether the narrative concerns a personality trait or is constructed from three random words. Furthermore, the results are consistent across two different cultures (US and Middle Eastern). Finally, these relationships are most pronounced among introverts and least evident among extraverts. [ABSTRACT FROM AUTHOR]

The author reflects on the upcoming premiere of "Moby Dick" at Düsseldorfer Schauspielhaus, emphasizing the dual portrayal of Ishmael by Kilian Ponert, who embodies both a young man and an old storyteller. Topics include the collaborative music composition by Anna Calvi, the visual staging approach that prioritizes imagery over text, and the character dynamics explored through scenes such as the camaraderie among the crew and the haunting themes of obsession and loneliness.

Copyright of Al-Adab / Al-ādāb is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Aesopic tradition has been highly adaptive (Lefkowitz 2006) as manifested in multicultural versions of fables. The study explores shifts in Aesop's fable The Lion and the Mouse to highlight shifts in the representation of characters, in agreement with pragmatic tendencies across cultures, as — for instance — in the power distance between the lion and the mouse. It examines two Modern Greek (2003 and 2012), an English (1996), a Russian (2012) and a Ukrainian (1990) version of the fable to trace local perceptions of it. Analysis shows that translators (as storytellers) transform aspects of the fable in pragmatically meaningful ways: they add up to the adaptation process conforming to locally appreciated values. The significance of research lies in that translation is seen as another layer of adaptation which a source fable may undergo intra- and inter-culturally. [ABSTRACT FROM AUTHOR]

In an age where the worlds of art and science continuously collide, scholars and storytellers alike are increasingly using Artificial Intelligence (AI) to analyze and represent their internal worlds. As AI becomes further enmeshed in the everyday experience of humans and other sentiences across the planet, questions begin to arise concerning ethical representation of the self and other, technological anthropomorphism, and artistic expression. Our dialogue contains several modalities: text, poetry, artistic thought experiments, speculative compositions and images. Our aim is not to provide answers to these ever-accelerating questions about AI, but to open up and expose the grooves of various narratives surrounding AI by engaging with experimentation, dialogue, and speculation as modes of discovery. Each section of the text begins with a poetic provocation by S. J. Abiodun, and continues on with an exchange between the two authors, fluidly leaping between our individual and collective knowledge as researchers, artists, and interdisciplinarians. [ABSTRACT FROM AUTHOR]

Prabhash Ranjan's article in the Manchester Journal of International Economic Law examines India's engagement with international investment law and investor-state dispute settlement (ISDS), analyzing cases through the lens of competing narratives. The text emphasizes the complexities of ISDS cases, highlighting the need for transparency and engagement in reform processes. By discussing specific disputes like Philip Morris v. Uruguay and Bernhard van Pezold v. Zimbabwe, the author offers valuable insights into the dynamics between foreign investors and host states, contributing to a deeper understanding of international legal issues. [Extracted from the article]

In the last decade, storytelling has been popularised as a method for societal sustainability transformations. With this growing popularity, there has also been a rapid increase in those identifying as storytellers. Perhaps because storytelling for sustainability has an innocent ring to it, it has not yet been studied from a power perspective. However, as it is fast-spreading and has explicit change purposes, it is important to clarify assumptions about knowledge, power and change. This article offers a first step towards understanding and evaluating the wide variety of applications behind the label of storytelling for sustainability. We perform a frame analysis of how storytellers describe their storytelling for sustainability. Our findings demonstrate that the label of storytelling for sustainability encompasses fundamentally different ideas about whose knowledge counts. The article raises critical questions that can help assess the legitimacy and appropriateness of different applications of storytelling for sustainability. [ABSTRACT FROM AUTHOR]

Lakshminandan Borah is undoubtedly one of the best storytellers of the Ramdhenu era. Through his stories 'bhawana' and 'Sampatti', published in ramdhenu, he has made significant contribution to assamese literature. The collection of lakshminandan borah's stories are: 'Drishtirupa', 'Gaurirupak',' Kachiolir Kuwali', 'Man Mati Megh', 'Hei Sure Utola', 'Aai Roop Aai Chanda', 'Erabarir Leseri', etc. Most of the plot of the Lakshminandan Borah's stories are Assamese rural life. Borah is a prolific writer in drawing the real image of rural life and also his fluency of the language and the narrative style of story and artistic method is fascinating. Borah's story also entertains the readers for the qualities that can instill subtle feelings in the minds of the people. Lakshminandan Borah's short story has a special value to be acknowledge in terms pf short story gestures, art techniques, simplicity of thoughts, simplicity of narrative, etc. Many have discussed his story in many ways till date but there is still a wide range of discussions in this field. In this study paper, will try to discuss about Lakshminandan Borah's short stories. [ABSTRACT FROM AUTHOR]

This essay examines how the concept of "reforesting" ("reflorestar" Núñez 2021, Krenak 2022) frames the textual/visual/mediatic works by Gustavo Caboco Wapichana,. By foregrounding a phytographic (Vieira 2017) approach to stories/storytelling, these Indigenous artists and authors reforest thought and imagination, creating a fertile terrain from which to rethink and challenge (neo) colonialism and its attendant modes of extractivist monocultures, from the appropriation of "erva mate" by white settlers to the extraction and resistance of Phyto and Indigenous knowledges by and against colonial archives. Via phytographic germinations, Caboco Wapichana's creations present a multiplicity of expressivities, subjectivities, knowledges, and creative interventions that invite us to consider different chronologies, geographies, and modes of being and feeling rooted in and/or that converse with other than human existences, thereby effecting a contra-colonial gesture. By affecting this contracolonial reforestation, these artistic endeavors also offer a way of thinking against the grain of anthropogenic environmental crisis. Instead, these works suggest exercises in planting/reforesting possible (creative) futurities in the midst/contra anthropogenic/colonial and extractive exhaustion, sowing "ideas to postpone the end of the world" (Krenak 2019). [ABSTRACT FROM AUTHOR]

A commonality among so many of Conrad's narrators is their reluctance to reveal important information regarding the stories they tell. These narrators delay, obscure, or withhold, sometimes partly and sometimes entirely, crucial components to the tales they tell. This essay investigates why these narrators behave as they do. In some instances (as in Falk), the narrator looks to recreate in his listeners (and the reader) his bewilderment as to Falk's refusal to tow his ship and later to Falk's "misfortune," as Falk terms it. In other instances, such as Typhoon and Suspense, the narrator requires the reader to supply the missing information. On the other hand, in Nostromo, for example, the third-person narrator, despite knowing so very much, regularly relies on legend, hearsay, and other similar sources in narrating the novel, thereby questioning the idea of absolute knowledge, positing instead a contingent knowledge. [ABSTRACT FROM AUTHOR]

The article reviews a book titled "A World Scientific Encyclopedia of Business Storytelling, Set 1 Volume 2," edited by Mills, A.J. and Deal, N. The book explores various ways of telling stories about business, focusing on corporate and business strategies within the context of history. It features 11 chapters that showcase different storytelling paradigms for business historians, including narratives about processing history, history as method, and narratives of business opportunity. The book offers a comprehensive look at business storytelling, making it valuable for scholars in organizational behavior, organizational theory, and business history. [Extracted from the article]

Aaji, an aging, lower-caste storyteller, singer, spirit medium, and rice farmer from a village in northern India, uses her distinctive voice and vocal traditions to engage with the spirit of the seven Devis (goddesses). The careful cultivation of human, more-than-human, and ethnographic relationships over time reveals what multimodal anthropology might entail when collaborating with more-than-human spirits. [ABSTRACT FROM AUTHOR]

The modern valuation profession faces a significant challenge in providing high-quality narrative reports that are both effective and customisable. Clear communication of the valuation story is essential, yet there is a recognised gap in understanding how to implement storytelling successfully within narrative valuation reports. This study aims to bridge this gap using semi-structured, in-depth interviews with 19 New Zealand valuers to explore the essential principles of crafting effective narrative valuation reports. This study identifies six critical components of valuation storytelling that are necessary for a high-quality narrative report: accuracy, balance, clarity, data-driven, efficiency in using multimodal tools, and reporting flawlessness. The establishment of strong relationships and robust processes within valuation practices is emphasised to reinforce these principles. This study also proposes a conceptual framework for valuation storytelling and suggests incorporating this framework into professional guidelines to equip emerging valuers with compelling narrative valuation reports. [ABSTRACT FROM AUTHOR]

Time is a concept to describe the sequence of occurrence of events and incidents. In literature, time is also considered as a type of content and an artistic intention of the artist. For each genre, time also has its own characteristics and features. In Vietnamese folk jokes, narrative time is clearly shown through the speed of the story teller. It is expressed quite richly and flexibly: sometimes fast, sometimes slow and sometimes alternating between fast and slow, depending on the content and sometimes depending on the storyteller's talent and experience. Regarding the time of telling stories, the folk storytellers choose the nighttime for the characters to carry out their intentions, thereby criticizing and attacking certain wrong actions. The narrative time's unique characteristics are also clearly shown through the timeline of the events, telling about a short period of time (a moment, or at most a month or two). Thus, narrative time in folk jokes has its own distinctive characteristics. [ABSTRACT FROM AUTHOR]

The paper aims to investigate a series of narratives concerning the Russo-Ukrainian war by the perspective of Lyotard and Turner (1979; 1982) - who emphasize the narrator/performer as an integral part of the narratives - and according to the approach of Benjamin (1936) - who recognizes the aura of the narrator as a key factor in audience engagement. The goals are twofold: first, to proceed with the definition and operationalization of the concept of fabulation (cf. Jedlowski, 2022), testing it as a new detection tool (Früh 2007; Neuendorf, 2002) in order to examine a phenomenon increasingly evident from the observation of online war narratives; second, to extract valuable data for subsequent investigations. The research focuses on analyzing a series of posts published on Telegram by several Italian channels during March-April 2022 regarding the destruction of the hospital and theatre in Mariupol. To test the tool and manage the subjectivity of interpretations (Faggiano, 2022), a content analysis was carried out through the collaborative efforts of three coders. The objective is to assess the extent to which narratives - particularly war narratives spread on social media by professional, institutional, and non-expert storytellers - may evoke instances of engagement and affection, surpassing the empirical objectivity of the conveyed information. Consequently, this could improve our understanding of the mechanisms through which war narratives can influence the emotional impact on the reader/user and, thus, contribute to the formation of public opinion. [ABSTRACT FROM AUTHOR]

This paper examines Atay's "Railroad Storytellers - A Dream" in terms of Atay's modernist experimentation in his depiction of space and spatiality, emphasising his contribution to Turkish literature as a pioneer modernist author. Oğuz Atay's distinctive and innovative style, which forms his affinities with the early Western modernists such as James Joyce and Virginia Woolf, establishes his significant place as a pioneer modernist author in Turkish literature in the 1970s. The concept of 'house/ home' by Gaston Bachelard in The Poetics of Space (1957, 2014) is instrumental for me as it pertains to the predicament of three storytellers as artists in the nameless and remote railroad station. The narrator of the story and his fellow storytellers gradually sink into disconnection, confusion, misery and poverty in an environment that represents the cold and unwelcoming face of technological modernisation symbolised by the space of the train station. The narrator's quest for finding a 'home' to connect him to his readers and where he could exist as an artist comes to life in his attempt to write a letter to his readers, telling them he is still 'here' and asking them where they are. No matter how blighted that effort is since the narrator has no address to send the letters to, the endings for Atay's story imply a need for connection with his readers expressed in the impossible meeting of the 'here' with the 'where' in spite or because of the estrangement and alienation of the artist/author in the modern world. Hence, the possibility of space as a 'home' for the author/narrator dwindles in the not forthcoming answer to the letter that will never reach its destination. [ABSTRACT FROM AUTHOR]

Traditional qualitative inquiry research methods exhort us to look for the 'good' story tellers who use metaphors to describe their experiences, emotions, and events. This privileges abled-bodied individuals, meaning that without full individual accessibility for people with disability is not achieved. The objective of this paper is to present a case study on inclusion of research participants who live with deafblindness. This case study posits where qualitative story telling spaces currently are; whose voices occupy these narratives; what is said and how it is said: and the performative aspects of the qualitative inquiry currently. Research including people with disability is reflected in the evidence base, however the question that if qualitative methods don't seek to explore and understand these differences, epistemic injustices will be perpetrated. The case study reflects on a research project whose methodology sought to solicit hospital experiences for those living with deafblindness. The Australian study of 18 deafblind participants with wide ranging communication needs, shared in-depth narrative inquiry stories told in: 'snapshots' of moments of disempowerment; through sign and vibrotactile communication; usage of the strong verb with metaphor rarely present except to exclusively describe instances of dehumanisation. Narrative inquiry method when used with people who are deafblind is predominately chaotic with some tense instability for non-signing participants. Emphasis is via repetition, altered pitch and expletives. Touch centricity is fundamental. Dissonance is evident between words used and stories told. The thematic analysis identified a need to reflect epistemically across the creation of any qualitative project from beginning to end, focussing on what is being said and how it is being said or signed or felt. The conclusion of the paper provides a roadmap for future projects to ensure improvements in the enhancing of awareness of different ways of being, doing and telling in qualitative research methods. [ABSTRACT FROM AUTHOR]

The bhāṇaka s were the main textual practitioners of early Buddhism. Although scholarship has been naturally critical of traditional accounts regarding the shaping of the canon, scholars have accepted many of their underlying assumptions, including a ubiquitous reference to bhāṇaka s as "reciters," without questioning the category. However, bhāṇaka s were no less performers, storytellers, poets, expounders of the teaching and preachers. This article reconsiders their figure by showing that discourses were not preexisting entities that were placed in collections according to length and topic, but were generated through the particular methods of each Nikāya. Here, I focus on the Saṃyutta-nikāya , showing many of its unique formulas and narrative designs, including central definitions of the doctrine of selflessness and structured narrative frames. The Saṃyutta , we discover, even has its own ideological and philosophical emphases, and its own theory of liberation. This means that a Saṃyutta- text is the product of the Saṃyutta- methods and views. This understanding brings to light important aspects in the performative arts of the bhāṇaka s. [ABSTRACT FROM AUTHOR]

Spousal immunity, a husband's exemption from the legal consequences of rape, was an English legal import that was comprehensively protected in the patriarchal colonial context of New Zealand. Spousal immunity was ended in New Zealand through the Rape Law Reform Bill No.2 (1985). Spousal immunity had existed for nearly 100 years within the legal system without challenge by legal professionals or politicians. During the reform process the vast majority of public submissions, political speeches and media coverage positioned the criminalisation of marital rape as the sensible and just thing to do. The relatively smooth passage of this significant legal reform seems incongruous with the clause's one-hundred-year history as a husband's protected and entrenched immunity. Spousal immunity provides a key example of legal and social change led by feminist action and knowledge. Feminists led change and politicians responded. This article explores how feminist legal change happens, by examining the conditions and tactics which led to the criminalisation of marital rape in 1980s New Zealand. [ABSTRACT FROM AUTHOR]

Long before twentieth-century scholars developed the language to describe 'settler colonialism', nineteenth-century Māori writers, composers, and storytellers critiqued British imperialism and theorized colonial violence. In mōteatea, letters, and kōrero heke iho (narratives passed down), tūpuna Māori asked what British colonial settlement would mean for te ao Māori, the Māori world. As they reflected on the changes wrought by imperialism, tūpuna offered guidance for future uri (descendants). This is an article about the ways that one wahine Māori critiqued colonization and imagined Māori futures in the context of mid-nineteenth-century colonial invasion. More specifically, it is an article about how Rihi Puhiwahine, a renowned composer, guided her descendants through a world disfigured by British imperialism. [ABSTRACT FROM AUTHOR]

Copyright of Nesir: Journal of Literary Studies / Edebiyat Araştırmaları Dergisi is the property of Nesir: Journal of Literary Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In light of the ongoing practice of non-Indigenous researchers conducting studies on Indigenous lands, new opportunities are needed for creative alternatives to fieldwork, along with an honest conversation about ethics, intent, and practices of place-based collaborative methods in Indigenous studies. In this paper, I explore the notion of story-listening as a creative methodological alternative to extractive methods for settler scholars in Indigenous communities. Through personal reflection, I argue that decolonizing research strategies should involve practices which minimize settler presence in, and demands on, Indigenous communities. A storied approach to research points to academic expectations of knowledge-production, which contribute to silencing Indigenous voices, while paradoxically setting Settler researchers as a privileged audience of Indigenous stories. Looking for told-but-unheard stories, I argue, is one way to find answers and guidance in research while respecting storytellers' agency and challenging colonial origin stories. Methodological ideas for unheard stories are explored in three phases: hearing, listening, and sharing. All stages of story-listening involve care and respect for the storyteller. [ABSTRACT FROM AUTHOR]

The article examines three stories published by Peruvian writer Pilar Dughi (1956-2006) throughout her career as a storyteller: “Conciliación”, “Futuro prometido” and “Los guiños del destino”. The analysis and the interpretation address the representation of their female protagonists from a gender perspective, taking into account the roles, identities and positions that the patriarchal order assigns to them, both in the private and public spheres. The central thesis of the article is that the protagonists, through acceptance or negotiation in their relationships with the opposite sex —whether within or outside of marriage —, represent the complexity of “being a woman” in a society in which diverse and contradictory discourses on female gender identity coexist. [ABSTRACT FROM AUTHOR]

An Interviewer interviews "many characters," initiating a conversation concerning characters in fiction, a concept introduced by Walt Whitman in Song of Myself of containing multitudes, the concept of self-identity. "Many Characters" is the name of one of those being interviewed, a character claiming to be many characters. We encounter characters from other works of fiction, such as Alice and the hookah-smoking Caterpillar from Alice in Wonderland. This leads us to encountering Lewis Carroll. We also encounter ancient writers, specifically Aeschylus, Euripides, and Sophocles, who themselves created many characters, and a character named Hineni, a Hebrew word meaning "Here I am," who links the name Hineni to the 17 times the word hineni appears in the Torah, and to Leonard Cohen's use of the word in his song, "You Want it Darker." We also encounter Psychoanalyst and Forbidding Superego. Eventually, we meet an incarnation of William Shakespeare called "Willie the Shake." How do characters exist? Storytellers channel them. [ABSTRACT FROM AUTHOR]

This article is concerned with the stories of Selahattin Demirtaş, with the preposition "of" indicating Demirtaş as both the storyteller and subject of stories. For many, if not most of us, he is known as both, with the stories about him circumscribing, and often overshadowing the stories he tells. Focusing on the stories told about him and that he tells in judicial proceedings about his political speeches, as well as those he tells in his first book of short stories, Seher, it considers how those stories pose a challenge to the account about the relationship between storytelling, speech, action, and politics predominate in political philosophy since Aristotle, giving particular attention to Hannah Arendt's critique of that account. At the crux of the stories of Selahattin Demirtaş is a fundamental contestation about the relationship between ethnicity and the nation state, whether the demand for the political and territorial integrity of the nation necessitates foreclosing on the plurality of democratic dissensus. [ABSTRACT FROM AUTHOR]

"Stories, Storytellers, and Storytelling" edited by Tom Vine and Sarah Richards explores the intricate relationships between stories, storytelling, and storytellers. The book consists of an introduction by the editors and twelve interdisciplinary chapters by scholars and practitioners in various fields. The first four chapters focus on the role of storytellers, while the subsequent four chapters emphasize the power and importance of storytelling. The last four chapters concentrate on stories themselves. The book examines how storytelling shapes our understanding of the world and our place in it, and it explores storytelling and narrative analysis as distinct methodological approaches. While the book has strengths in providing new insights and perspectives, its unclear structure and uneven chapter lengths detract from its impact. Overall, it is a valuable resource for scholars and practitioners in the field of narrative studies. [Extracted from the article]

Copyright of Philological Review (00151807) is the property of University of Belgrade, Faculty of Philology and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Acta Universitatis Lodziensis: Folia Litteraria Romanica is the property of Wydawnictwo Uniwersytetu Lodzkiego and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article examines the role of narratives in consumer behavior and marketing. It explains how consumers naturally think and communicate in the form of narratives, which helps them organize their experiences and make evaluations. The article discusses both external narratives, such as advertisements and product reviews, and internal narratives generated by consumers themselves. It also explores how narratives enhance comprehension, create connections between people and brands, and empower consumers. The article concludes by suggesting future research directions in the field of narrative-related consumer behavior, including the need for more research on the processes underlying narrative influence, the role of emotion in narrative persuasion, and cultural differences in narrative processing. [Extracted from the article]

Books on the South African Border War have flooded the popular market in the last two decades. Historians, journalists, and particularly ex-soldiers – often amateur writers – have tapped into the market. The genres of books include, but are not limited to, personal accounts, autobiographies, regimental histories, journalist accounts, and academic books. Jan Breytenbach was one of the first South African Defence Force officers to write about the Border War. He published seven books, and paved the way for many writers to follow in his footsteps. Most of his books focus on the history of 32 Battalion. Against this background, the study on which this article is based, aimed to analyse Breytenbach’s writing using a conceptual framework put forward by military historians. [ABSTRACT FROM AUTHOR]

Copyright of Folklore Studies / Tautosakos Darbai is the property of Institute of Lithuanian Literature & Folklore and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)