The Cowl - v.55 - n.20 - Mar 20, 1991

The Cowl - student newspaper of Providence College. Volume 55 - Number 20 - March 20, 1991. 24 pages

Fay B. Kaigler Children\u27s Book Festival

The program for the fifty-forth annual Fay B. Kaigler Children\u27s Book Festival held online in 2022.https://aquila.usm.edu/kaiglergallery/1053/thumbnail.jp

Narrative art in the Ming Dynasty novel, with special reference to Shuihu Zhuan, Xiyou Ji and Jin Ping Mei.

The thesis is concerned with the structure and style of the three Ming dynasty novels, Shuihu zhuan, Xiyou ji and Jin Ping Mei. Clearly, these novels are not as simple as they seem - there are multiple levels of interpretation. By using the conventions of form and style the author/narrator manipulates the oral storytelling tradition in order that he may engage in a discourse with the reader. Chapter One looks briefly at the origins of and the influence of other forms on the Ming novel, particularly oral storytelling, drama and historiography. It also looks at the question of readership, concluding that Shuihu zhuan, Xiyou ji and Jin Ping Mei, while imitating popular forms, were written for educated readers. Chapter Two examines structure, first breaking down the novel into its constituent parts, then analysing the methods of composition. It shows that plot is of limited importance and that digression from the plot is the basic structural principle. The looseness of the structure enables structural patterns to be imposed on the narrative. These patterns are one of the ways by which the author/narrator communicates with the reader. Chapter Three analyses the use of language, looking in particular at the classical-vernacular mix; the attention paid to sentence rhythms in order to achieve subtlety and depth of expression: the function of verse and parallel prose; and the use of formulaic language. Chapter Four looks at how the details of the fictional world - setting, characters, and so forth - are presented. In doing so it shows that although realism was not an effect valued for its own sake there are realist passages in the novels. The author/narrator has total and obvious control over the narrative, and any such literary mode or device is simply taken up or abandoned according to the needs of the narratorial presence or the needs of the writer's communication with the reader. Chapter Five considers in detail the relationship between the writer, the narrator, and the reader. Frequent changes in point of view and variation of aesthetic distance produce irony, and as a result several levels of meaning can be discerned

Naqqāli and Ferdowsi: Creativity in the Iranian National Tradition

Abstract not availabl

Speaking about ghosts (cerita hantu melayu): Malay narratives-in-interaction.

This dissertation is divided into two parts. In Part One I discuss the literature associated with narrative to make a case for how narrative influences social reality. I find the monologic view of storytelling problematic as it tends to essentialize culture and regard reality as a fixed entity. My intention is to observe how social reality is exhibited in the intercises of performance, setting and interaction. The contribution of this study is to recognize the functional and organic associations between the monologic, interactive and performative spheres of storytelling. I also provide background information on the Malay world view along with accounts of Malaysian history and belief systems.My interest in Malay cerita hantu (ghost stories), for purposes of this dissertation, holds primarily to the way these narratives are used in everyday conversation by Malaysia's Malay community as a way to talk about their social reality. I choose to examine cerita hantu holistically---my exploration into ghost stories does not only attend to these stories' content or their semiotic, but also of the performative, interactive and contextual elements in the telling of the story.In Part Two, I discuss my research findings. My analysis is based on Goffman's dramaturgical metaphor (particularly his concept of the working consensus) and frame analysis. For my analysis, I use strips of talk from cerita hantu and talk about cerita hantu which I collected from interactions while in the field. I show how in interactive sequences, the interactants' working consensus (as situated in a particular interaction) and (in some cases keyed) primary frameworks operates both, as (1) a sense-making device for the interactants, and (2) an intervention for meanings as formulated in interaction. I found that items such as time and spatial arrangements; socio-cultural organizations such as age, locality and identity and belief systems; along with normative constructs around socialization; and, remnants of the colonial experience are all parts of the Malay world view that are constituted in talk. Such exhibitions of social order are made around and about (in many cases with extreme seriousness) the accounting for the presence of hantu in the Malay world

Life and career game Who You Are Matters!® among university students, The: a bricolage in postmodern career counseling

Includes bibliographical references.2020 Summer.Career counseling has been expanding from traditional trait and personality models to constructivist models that emphasize subjective experiences, holistic interventions, psychological resources, narratives, and context. This study examines the narrative life and career game Who You Are Matters!® to learn about player experience, stories, and actions gaining a deeper understanding of the processes of storytelling and storylistening in life and career exploration and goal setting. Participants in the study were female, first-year, second-year, and/or first-generation college students who ranged between 18-23 years of age. Experiences and stories are explored through multiple lenses including well-being, psychological capital, agency, and transformational learning. Gratitude and broaden-and-build are also briefly examined as contributing factors that amplify player benefits. The findings are presented loosely as a bricolage that shapes the construction and interpretation of meanings and patterns that inform career exploration in game play. Findings suggest that the structure and context of game play focuses and funnels intentional goal setting and action through six synergistic themes. The study demonstrates how the game Who You Are Matters!® is efficacious in promoting life and career exploration, engendering psychological capital, and cultivating well-being, answering the National Career Development Association's call for more creative and holistic interventions that equip and inspire action and agency

The story of Volund: a translation from the oral to the visual

The story of Volund from Norse poetry was the foundation of a large scaled installation in the spring of 2014 in the online virtual world of Second Life®. The installation was created in collaboration between a storyteller and a visual designer, who are also the authors of this text. This article will discuss how the principles of oral storytelling, agency and presence were woven together to bring about a ‘story-world’ in which visitors was able to become both protagonist and storyteller through various means and devices that were put at their disposal. This process – both the theoretical considerations that played a role during the formulation of the project, as well as the strategies employed during its building – will be examined through a literature review encompassing oral storytelling and its performative aspects, the extension of these into virtual environments, Joseph Campbell’s Hero with a Thousand Faces, and a discussion of the myth of Volund himself

A Narrative and Performative Methodology for Understanding Adolescent Cancer Stories

The field of health communication places considerable attention on coping with cancer, typically using social scientific approaches to investigate uncertainty, information, and/or social networks. Social scientific models of coping with adolescent cancer often measure how behaviors seek to manage cancer’s uncontrollability and/or uncertainty; however, how adolescents cope with cancer has been unclear. Short-term studies show adolescents typically and atypically cope. Long-term studies show a significant portion of survivors exhibit post-traumatic stress. The narrative and performative turns expose the role narratives and performatives play in shaping human subjects as meaning makers rather than merely information sharers. A narrative subject reframes cancer’s uncertainty and uncontrollability to be a matter of storytelling through which patients embark on a liminal journey of illness situated in socially shared narratives. The performative turn adds to a narrative perspective by foregrounding the contingency of the body and how bodily acts (re)produce subjective identities, and where performed actions (re)materialize sociocultural meanings. From this perspective, coping with a cancer identity is a matter of the performative, through which patient bodies negotiate liminal identities. I view coping as an act of embodied apperception: a series of acts by a narrative and performative subject. What the patient says and does while telling a cancer story exposes complex narrative and performative negotiations of coping with a cancer identity. To explore coping with an adolescent cancer identity, I apply critical self-reflexive (auto)ethnography through which I first tell my cancer story. By foregrounding the narrative and performative approach, I reveal: (1) a cancer diagnosis and its narrative as language in action; (2) the uncertain and uncontrollable narrative liminality of adolescent cancer patients; and (3) narratives and their discursive structures create performed actions, narratives, and narrative identities as much as they are created by performed actions, narratives, and narrative identities. Next, I apply a narrative and performative analytic as I critically and reflexively engage four videos of adolescents telling a “my cancer story.” The analysis of these videos maps a dramatic framework for these cancer stories through which adolescent patients embody liminality’s redress through reintegration as normative and/or embody schism through embracing a non-normal body