Story

Philosophers of education have argued that in order for Environmental Education’s goals to succeed, students must form bonds and place attachments with nature. Some argue that immersive experiences in nature will be sufficient to form such attachments. However, this may not be enough, requiring other means of motivating them for environmental stewardship. Here, I explore the role the imagination could play for helping (re)enchant students’ perception of themselves-in-relationship-with nature which could support the work these educators are already doing. I explore philosophical, psychological, and pedagogical domains to begin developing a holistic vision of what imagination could contribute for human-environmental flourishing. Philosophically, I build from Martha Nussbaum’s work that stories imaginatively shape our understanding of ourselves and the world, arguing that story—namely, myth—may have a unique power to enchant student’s moral and ethical imaginations. I attempt to synthesise Michael Bonnett’s rich ‘primordial’ phenomenology with what some mythologists identify as ‘implicit myth’—both of which are drawing attention to the human-environmental interrelationship. Psychologically, I posit that if myth of this kind can develop a human-environmental imagination in students, it may serve to create conditions to motivate students to act for environmental stewardship. Pedagogically, I close by identifying authors who seem to embody this primordial and mythic way of being in the world, arguing that studying their writings may help educators and students cultivate this human-environmental imagination. I draw particular attention to Gerard Manley Hopkins’ poetry for exemplary inspiration and guidance.

L'opera è un compendio allegato alla carta dal medesimo titolo, che racconta le peculiarità ambientali più importanti dell'Isola di San Pietro. Nel libro vengono inoltre raccontati i tratti salienti, della vera storia dei Tabarkini e dei Carolini, abitanti dell'Isola di San Pietro, e per questo, la toponomastica viene descritta con il bilinguismo che contraddistingue secondo la legge, la minoranza Etnico-Linguistica del Popolo Tabarkino in Sardegna e nel Mondo.

EAN: 9788892681798
ISBN: 9788892681798

Nicola Borghero (Geologo e Cartografo)

Hanno fattivamente partecipato

Prof. Fiorenzo Toso UNISS
Nicolo Capriata (Geologo storico)
Andrea Luxoro ( Antropologo)
Salvatore Borghero (esperto archivista e catalogatore)
Srar Saba (Revisione testi)

La estética de lo fragmentario es la característica principal del relato “Caja Negra” (del
libro Antropofaguitas, 2013), de Gabriela Ponce Padilla. Se trata de un relato compuesto
de tres historias que narran la vida de tres mujeres ecuatorianas, en diferentes circunstancias históricas y sociales. El dispositivo de la caja negra es la imagen que une las tres historias que en términos formales replican los escritos, testimonios y diálogos que permiten reconstruir los últimos momentos de la vida de las protagonistas. La reflexión en torno a la ruina (de la mano del pensamiento de María Zambrano, Walter Benjamin y otros) nos permite entender las formas de resistencia desde donde se erigen los relatos de Ponce Padilla.

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The line of research that this submission of the budget that reality as such is merely a construct representations, so that poses a horizon of work around the narratives that constitute us as subjects through the project The Estate of Anonymous, a general plot development program focused on the study of art as artistic story. In it deployed its heterónymes make a series of interrelated (Anonymous, Polaroid Star or self Carlos Miranda) in a meta-artistic game of confusion of roles, functions and disciplines (author unproductive, critical-curator, the architect and translator images ...) that while it comes to making issue of the structure of production and social appearance of such artistic act itself and as we understand it today, especially speaks of a solution of being present at your nearest and fleeting everyday, and particularly in the fictional structures that constitute us as characters in the stories that constantly built to interpret and explain our vital events. Therefore, the research that develops the program serves the possibilities of narrative that can be established between the languages of the word and the visual image, exploring them by markedly multidisciplinary productions that seek concrete ways to fictionalize art itself, and finding in his narrative modes paratextual a fertile field of work that has resulted in subsequent chapters that has been specifying this research.

Abstrak Fotografi adalah proses melukis/menulis dengan menggunakan media cahaya. Sebagai istilah umum, fotografi berarti proses atau metode untuk menghasilkan gambar atau foto dari suatu objek dengan merekam pantulan cahaya yang mengenai objek tersebut pada media yang peka cahaya. Tidak hanya melukis cahaya saja dalam fotografi yang paling di perhatikan adalah narasi yang digaungkan oleh foto tersebut. Jurnalistik adalah aliran fotografi yang dimana foto yang dihsailkan mempunyai narasi tersendiri. Philips Blenkinskop merupakan fotografer kelahiran inggris, memiliki banyak pengalaman dalam biadn fotografi. Salah satu karya philip yang paling menakjubkan adalah ekspedisinya terhadap suku Hmong. Artikel ini akan membahas berbagai aspek dalam membentuk Photo Story. Mulai dari bentuk, struktur, elemen dan lain-lain. Sehingga membentuk susunan Photo Story yang mudah dipahami. Abstract Photography is the process of painting / writing using light media. As a general term, photography means the process or method to produce images or photographs of an object with reflected light on the object on light-sensitive media. Not only painting light in photography, the most important thing is the narration echoed by the photo. Journalism is a genre of photography in which the photos produced have a special narrative. Philips Blenkinskop is a British-born photography, has a lot of experience in photography. One of Philip's most surprising works is the expedition to the Hmong. This article will discuss various aspects of making a Photo Story. Starting from the form, structure, elements and others. Make a photo arrangement of Story Photos that are easy to understand.

By Robert Cancel -- It is surprisingly difficult to tell a good story about storytelling. It is harder still to make the storytellers themselves come alive, helping their in situ oral performances flourish in text on a printed page. Robert Cancel achieves both of these goals, and more still. Storytelling in Northern Zambia is a masterful book in which Cancel grapples with collection, representation and fieldwork ethics, and a work that showcases the agency of his interlocutors (from the Foreword).

The purpose of this study was to (1) examine the effects of a storyline on learners’ factual, conceptual and application knowledge with the use of a simulation for teaching introductory statistical skills and to (2) explore students’ subjective enjoyment of various learning activities often used in statistics education. In order to conduct the study, two versions of a simulation were developed that differed in the presence or absence of a storyline attribute. Sixty-four
graduate students were randomly assigned to one of the two intervention conditions. Both intervention groups demonstrated significantly higher learning gains after interacting with the simulation. Particularly, both simulation-based interventions had a positive significant effect
on the acquisition of application knowledge and skills. However, no significant differences between the intervention groups on any learning outcome explored in the study were found. Results also showed that students rated the simulation used in the study as a more enjoyable learning activity in comparison to reading a textbook, lecture or teamwork. Students from the simulation without a storyline intervention reported higher enjoyment than the other intervention
group. Implications of the findings for understanding the instructional benefits and shortcomings of embedding a storyline in digital learning content are discussed.

Estratto e traduzione a cura di E. Marino.

Nel suo The Voyage of Italy, pubblicato a Parigi nel 1670, il canonico inglese Richard Lassels propone la descrizione dei luoghi da lui personalmente visitati durante i suoi cinque viaggi in Italia, asserendo come ogni studente di architettura, di antichità e d’arte non potesse fare a meno di visitarne le città e i paesi. Lassels fu il primo ad adottare l’espressione Grand Tour, un neologismo che sarebbe stato poi universalmente accolto, e nel suo Voyage suggerisce a tutti i giovani lords di effettuare il Grand Tour per potersi fare una cultura, per conoscere e capire le varie realtà politiche, sociali ed economiche d’Europa e, in particolare, dell'Italia.

Tra i luoghi visitati e descritti da Lassels – gli stessi menzionati anche dagli altri, numerosi viaggiatori e scrittori che attraversarono l’Italia –, ritroviamo le immancabili ville rinascimentali della campagna romana, tra cui spiccavano quelle di Tivoli e Frascati, tradizionalmente messe a confronto dagli scrittori d'arte. Lassels scrive in successione delle due città e delle loro pregevoli ville, méta fissa di ogni viaggiatore, mantenendo così vivo il confronto tra le ville frascatane e la vicina Villa d’Este, destinata ad impoverirsi progressivamente di lì a poco ma della quale Lassels lascia una dettagliata descrizione in un passo del Voyage.

"Carter's music poses struggles of opposition, for instance in timbre (Double Concerto), space (String Quartet No. 3) or pulse (String Quartet No. 5). His preference for the all-interval tetrachords, 4–Z15 [0, 1, 4, 6] and 4–Z29 [0, 1, 3, 7], is also well known. From these facets of Carter's music, I develop a narrative interpretation of his Petrarch sonnet–inspired solo flute piece, Scrivo in Vento (1991). Specifically, I forge narrative pathways by imagining the two tetrachords as active agents opposed in competition. Previous Scrivo analyses (Capuzzo 2002; Childs 2006) stress continuity by revealing Q-transforms and common-note voice leading between the tetrachords. While acknowledging such features, my analysis emphasises oppositional struggle by tracing the tetrachords as separate entities which cooperate and conflict as they manoeuvre to outdo each other.

The analysis advances three theses: (1) it guides listening to and reading Scrivo in a way which resonates with Carter's concern for the aesthetics of oppositional struggle, his choice of a sonnet as inspiration and his affinity for all-interval tetrachords; (2) it shows that music-analytical detail can be organised into dramatic narratives by (a) projecting dramatic roles onto categories asserted by a formal theory and (b) treating the formal theory's relations metaphorically as actions performed by each role as the musical work unfolds; and (3) it shows how detailed pc-set analysis can support a Heraclitean view of music: a flux of opposing forces seeking and resisting unity."

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Family narratives and reminisces can be effectively used by parents as a tool to help children develop self-concept. Family narratives are the way through which children and adolescents connect across generations to create self-identity. By anchoring oneself in family history, one develops a sense of place and security that may facilitate self-confidence and self-competence. In the modern world where nuclear family is the norm, parents need to ensure that family narratives are used effectively in helping children navigate through challenges of life. Parents and grandparents have to pay careful attention to family history and narratives; and put in efforts in developing strong family narratives to be shared with children. Also, parents need to be careful while sharing those reminisces and narratives by avoiding individual comparison of their children with others in the past. Celebrating certain occasions as a day for showing gratitude towards grandparents and older generations can also generate curiosity and interest among children about family narratives. The current study looks into family narratives practices, challenges and how parents can develop strong family narratives to be shared with their children.

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Did the events we are going to tell you about really take place in history? It is hard to be sure. If they really did happen, then they have undoubtedly made their contribution to the collective formation of social culture and ethics. On the other side, if such facts did not take place in the past and these stories were only a side product of the historical process – just a fiction, then it would still be surely possible to find similar stories in the centuries-old social memory… The essence of things is always there, available for us, but it becomes truly ours in various forms only as our mind and spirit become ready for it…

Paulus ist vor allem als theologischer Denker bekannt. Nun behaupten gewichtige Stimmen aus dem englischsprachigen Raum, die Exegese seiner Briefe habe sich bisher viel zu sehr auf abstrakte Konzepte und Argumentationsfiguren konzentriert. Vielmehr sei die Erkenntnis von fundamentaler Bedeutung, dass die Texte durch und durch von Geschichten geprägt seien. Gemeint sind nicht explizite Erzählungen, sondern narrative Strukturen, die im Subtext oder in der Weltanschauung des Autors verortet werden. Heiligs Studie unterzieht diesen „narrative approach“ einer kritischen Prüfung: Kann im Fall von Briefen sinnvoll von Narrativen gesprochen werden? Ist die Priorisierung impliziter Erzählungen sinnvoll? Mit welchem methodischen Werkzeug könnte man die bisher angeblich übersehenen Erzählungen identifizieren? Heilig beantwortet diese und weitere grundsätzliche Fragen unter Bezugnahme auf die erzähltheoretische und textlinguistische Forschung und zeigt in der Analyse konkreter Texte auf, wie Paulus tatsächlich als „Erzähler“ auftritt. Dabei demonstriert er, wie eine initiale Konzentration auf explizite Erzählungen tatsächlich auf einen Weg zu einer neuen, narratologisch fundierten Betrachtungsweise der Schriften des Apostels führen kann.

Autora: Eliane Cristina Perry

A proposta desta dissertação é a leitura em cotejo de dois textos representativos das literaturas de Portugal e da Itália no século XX, respectivamente, Memorial do convento (1982), de José Saramago (1922-2010), e Il Gattopardo (1958), de Giuseppe Tomasi di Lampedusa (1896-1957). Após a análise dos textos, verificamos de que forma as histórias foram reconfiguradas na ficção e de que modo foram representadas a identidade portuguesa e a dos sículo-italianos para estabelecer um contraponto entre os textos, no que concerne à história e à identidade.

ISBN:
978-65-88285-87-9 (eBook)
978-65-88285-88-6 (brochura)

DOI: 10.31560/pimentacultural/2020.879

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A response to Alexandra Juhasz and Alisa Lebow's “Beyond Story: A Community-Based Manifesto,” this article provides a historical perspective on how the feminist assertion "the personal is political" shaped the valorization of "story" in radical documentary film practice in the 1970s and the subsequent development of neoliberal practices within the Non-Profit Industrial Complex that has served as the economic infrastructure for documentary film in the US for decades. This, I argue, is the context out of which documentary film begins to be dominated by the logic of the market that finds its chief expression in documentary films that focus on individuals and depict experience within "three-act" narrative structures. Conceptualizing documentary as a terrain of political and economic struggle -- the article supplements Juhasz and Lebow's aesthetic critique of "story" with an explicit call to connect the need to transform the infrastructures for film funding, production, and circulation with other calls and movements to dismantle and replace the structures of racial capitalism.

Elif Şafak‟ın Kem Gözlere Anadolu adıyla yayımlanan ilk kitabı 1994 tarihini taşımaktadır.
Bu kitapta yazarın öyküleri yer almaktadır. Doksan beş sayfadan oluşan söz konusu
kitapta on beş öykü bulunmaktadır. Bu öyküler, dış dünyayı, başkalarını yansıtmaktan
çok, öznenin iç dünyasına dönük anlatımlar olarak belirginlik kazanır. Gerçeküstücülük
ve büyülü gerçekçilikten izler taşıyan öykülerinde yazar, daha sonraki yazı hayatında,
romanlarında sürdüreceği yer yer sanatlı bir söyleme başvurur. Bir yazarın kalem
faaliyetinin başında ortaya koyduğu ürünler, onun daha sonraki dönemlerde yazacağı
eserlere ışık tutacak kimi özellikler taşır, sanatının ne ölçüde değiştiğini ve gelişme
gösterdiğini açıklamada katkı sağlar. Böyle bir düşünceden hareketle bu çalışmada Elif
Şafak‟ın Kem Gözlere Anadolu adlı kitabında yer alan öyküler, karakteristik özellikleri ve
teknik yapısı öne çıkarılarak incelenmeye çalışılacak, söylem çözümlemesine
başvurulacak, deyişbilim yönteminden yararlanılarak söz konusu öykülerin deyişbilimsel
özelliklerinin belirlenmesine gayret edilecektir.

The death of a loved one can create a tear in the fabric of meaning. Grieving involves remaking meaning. In therapy, events can be emplotted into stories, which can return some sense of coherence to the bereaved. In this paper, I present a way of narrating loss through a narrative therapy approach of retelling. This involved writing found poems, known as rescued speech poems, from the conversations of people who had lost a loved partner. The found poetry sought to bring an order to grieving and to polish the beauty of key moments following loss. For one participant, the found poetry amplified a narrative of the biography of the loved one. For another, the poems added beauty to a memory of her deceased partner. Thus, rescued speech poems-judiciously selected from speech, and sensitively arranged on the page-can provide another way to facilitate vibrant meaning-making of life after loss.

Comparison of ancient accounts of the myth of Actaeon shows that, while the nature of his offense differs markedly between sources, the form of his death is stable throughout antiquity. This chapter uses observations from Nick Lowe and Ada Neschke-Hentschke about the paradigmatic functioning of myths to consider how the inevitability of Actaeon’s end could be harnessed to lend specific narrative colouring to retellings. It uses Ovid’s account of Actaeon in the Metamorphoses to examine the broader ancient tradition, arguing that the identification of Actaeon by name functioned in a meta-poetic manner to hasten his death, and that the inevitability of this death brought with it implicit consideration of the workings of justice in the mythic story-world.

Dede Korkut Stories are examples of Oghuz epics coming from middle centuries. For
historians and folklorist this work is priceless and reach resource, heroic epic which reflects
daily life, style of life, world view, social relationship, folk beliefs and customs of Turkic
tribes. Dede Korkut Stories translated into German, Italian and Russian. A lot of scientific
studies were done in Russian.
The work was introduced to Russian scientific world by W.Barthold (1869-1930) who
was Russian scientist and orientalist. W. Barthold and his students (some of them from
Central Asia) contributed detailed analyzing this Oghuz epic by historical and folkloric
aspects. Even Germen and Italian scientist's research continued from the way opened by
W.Barthold. W. Barthold completed translation of work in 1922 but his study published
after his death by Azerbaijani Scientists H. Arasli and. Tahmasb in 1950.
In this Paper, the translation of Dede Korkut Stories which is a common heritage of
Oghuz's, analyze, importance of work, influence of study of Barthold on Russian scientific
world and publishing story of it were dwelled on and evaluated.

Despite growing academic interest in social entrepreneurship, a critical challenge facing social ventures has yet to receive attention: how do social entrepreneurs communicate with their diverse groups of stakeholders? This topic is examined using an exploratory, partially-inductive study consisting of semi-structured interviews, ethnographic observation, and a critical review of the practitioner literature. The result is a framework explaining the role played by narratives and emotion in social entrepreneurship communication. The findings contribute to work on organizational narrative theory, new venture communication strategies, stakeholder evaluations of firms, and the marketing and entrepreneurship interface. Moreover, the study produces several practical implications for social entrepreneurs.

Dzisiejszy świat bywa nazywany „kulturą atencjonalizmu”: wszyscy walczą o uwagę potencjalnych odbiorców. Kluczem do sukcesu jest emocjonująca opowieść. Dlatego wiedza na ten temat nabiera znaczenia.
Ideą książki jest wprowadzenie w obręb literaturoznawstwa storytellingu, który rozumiem jako wiedzę operacyjną koncentrującą się na sposobach angażowania uwagi odbiorców za pomocą narracji. Wychodzę z założenia, że snucie opowieści to projektowanie doświadczeń publiczności. Storytelling jest więc odmianą designu.
Chciałbym, aby literaturoznawstwo, mocno za­kotwiczone w rzeczywistości społecznej, stało się dziedziną atrakcyjną na rynku pracy. Nie widzę powodów, dla których literaturoznawcy nie mieliby oferować swojej unikatowej wiedzy światu zewnętrznemu, jednocześnie ją monetyzując.
To rzecz naukowa, ale i praktycy znajdą w niej dużo wskazówek.
Moją główną inspiracją był Edgar Allan Poe, nie tylko geniusz literatury popularnej, ale też teoretyk, który antycypował hollywoodzką filozofię opowieści.

Moral Message: Pay attention to everything that is important for a life filled with happiness. Take time to be with your children and spouse. Complete your work when you are in the office, not when you are gathering with family. Revenge for someone will not benefit you. Get your priorities now and distinguish between stones, gravel and sand.

Mục Lục

Đọc Là Nghe Hay Thấy? 07

1. Abdulrazak Gurnah. Nobel Prize 2021.
Người Dẫn Đường. Escort. Truyện Tanzania. 11
2. Dipita Kwa. Danh Dự Một Phụ Nữ. Honor of a Woman. Truyện Cameron. 24
3. Samira Azzam. Bánh Dâng Hiến. Bread of Sacrifice. Truyện Palestine. 32
4. Chinua Achebe. Lối Đi Của Người Chết. Dead Men’s Path. Truyện Nigeria. 47
5. Chinua Achebe. Quả Trứng Cúng Tế. The Sacrifie Egg. Truyện Nigeria. 53
6. Kate Chopin. Truyện Của Một Giờ. The Story of an Hour. Truyên Mỹ. 58
7. Franz Kafka. Người Nghệ Sĩ Nhịn Đói. A Hunger Artist. Truyện Đức. 63
8. Roy Jacobsen. Cuộc Gặp Gỡ. Encounter. Truyện Norway. 77
9. Junot Diaz. Ysrael. Truyện đảo Dominica. 82
10. O. Henry. Món Quà Ba Vua. The Gift of the Magi. Truyện Mỹ. 99
11. Mohammed Mrabet. Bãi Mía. The Canebrake. Truyên Morocco. 107
12. Shabnam Nadiya. Những Đứa con Của Ishwari. Ishwari’s Children. Truyên Bangladesh. 113






13. Jhumpa Lahiri. Lục Địa Thứ Ba Và Cuối Cùng. The Third and Final Continent. Truyện Mỹ-Ấn. 126
14. Milan Kundera. Người Chết Cũ Nhường Chỗ Cho Người Chết Mới. Let the Old Dead Make Room for the Young Dead. Truyện Tiệp Khắc. 151
15. Magaret Atwood. Bánh Mì. Bread. Truyên Gia Nã Đại 175
16. Edward P. Jones. Ngày Khai Trường. The First Day. Truyện Mỹ. 179
17. Kazuo Ishiguro. Bữa Ăn Tối Gia Đình. A Family Supper. Truyện Nhật. 186
18. Ernest Hemingway. Một Nơi Trong Lành Đầy Ánh Sáng. A Clean, Well Lighted Place. Truyện Mỹ. 200
19. Gabriel Garcia Marquez. Nonel Prize 1982. Một  Ngày Nào. One of these Days. Truyện Columbia. 208

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