"La narratologie comme science de la production-analyse-diffusion du récit, touche tous les secteurs de la vie (toute discipline dont l'objet est sous forme de récit) : narratologie littéraire, médiatique, journalistique, catéchétique, éducative, psychologique, analyse et publicité narrative
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s. Cependant, avec l'essor des Histoires ou des Stories à l'ère du numérique, tout internaute peut inventer un récit. Il faut une initiation à la pratique de la narratologie comme art de faire passer efficacement une information à travers la narration d'une histoire. Dieudonné Tebangasa Apala distingue la pensée narrative de celle positiviste et montre l'évolution de la narratologie littéraire à celle médiatique. Après avoir défini le récit à partir d'Histoire et Narration, il indique les conditions de sa production, ses typologies, les méthodes d'analyse, les fonctions du personnage dans l'organisation narrative. L'auteur rappelle l'évolution de l'analyse narrative : de l'analyse structurale à celle du contenu, en passant par Paul Ricour. Il détermine le concept Storytelling (Story), son rôle, son but et son utilisation." (Description de la maison d'édition)
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"As the dominant narrative forms in the age of media convergence, films and games call for a transmedial perspective in narratology. Games allow a participatory reception of the story, bringing the transgression of the ontological boundary between the narrated world and the world of the recipient in
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to focus. These diverse transgressions - medial and ontological - are the subject of this transdisciplinary compendium, which covers the subject in an interdisciplinary way from various perspectives: game studies and media studies, but also sociology and psychology, to take into account the great influence of storytelling on social discourses and human behavior." (Publisher description)
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"There is a profoundly troubling history of research being done on Indigenous peoples without regard for their priorities and accompanying calls to decolonize health research. Storytelling methods can privilege Indigenous voices in research. Indigenous people’s knowledge systems have existed for m
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illennium, where knowledge is produced and shared through stories. Our collaborative team of Indigenous and non-Indigenous researchers, and Indigenous Elders, patients, healthcare providers, and administrators, conducted a participatory, scoping review to examine how storytelling has been used as a method in Indigenous health research on Turtle Island (North America), Australia, and Aotearoa (New Zealand). We searched key databases and online sources for qualitative and mixed-methods studies that involved Indigenous participants and used storytelling as a method in health research. Reviewers screened abstracts/full texts to confirm eligibility. Narrative data were extracted and synthesized. An intensive collaboration was woven throughout and included gatherings incorporating Indigenous protocol, Elders’ teachings on storytelling, and sharing circles. We included 178 articles and found a diverse array of storytelling approaches and adaptations, along with exemplary practices and problematic omissions. Researchers honoured Indigenous ways of knowing, being, and doing through careful preparation and community engagement to do storywork, inclusion of Indigenous languages and protocols, and Indigenous initiation and governance. Storytelling centered Indigenous voices, was a culturally relevant and respectful method, involved a healing process, and reclaimed Indigenous stories. But it could result in several challenges when researchers did not meaningfully engage with Indigenous peoples. These findings can guide respectful storytelling research that bridges divergent Indigenous and Western knowledge systems, to decolonize health research." (Abstract)
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"This project demonstrates that there is another way of gathering and sharing the stories of people living in poverty around the world. Until now, there has been much positive and enthusiastic discussion amongst INGO communications and fundraising professionals about how to change the way we tell st
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ories, but no one has ever put their money on the line to test whether participant-led fundraising is possible [...] Conclusions: Participant led fundraising appeals can be as, or more effective at raising funds than charity led appeals [...] Stories produced by people from the communities in which the programmes are happening can create a stronger emotional bond with donors [...] Participant led stories feel more authentic to donors [...] It is not necessary to outline to a supporter their role when communicating an issue [...] Participant-led storytelling challenged some of the saviourist narratives INGOs are accused of perpetuating, with both participants and donors recognising this and reacting positively." (Conclusions, page 24-25)
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"This study looks into the safety and security needs, resources and environment of visual storytellers and journalists, with a focus on independent documentary filmmakers. The study was commissioned by the International Resource for Impact and Study (IRIS) and the Ford Foundation out of a concern th
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at while there are significant threats to the safety of visual storytellers and journalists, few safety and protection resources are available to them particularly in emergency situations." (Summary)
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"Digital storytelling has been in use since the early 1990s, yet remains a little-known and underutilized method, particularly in social work field education by field educators and students, both in the classroom and field placement settings. As a practice resource, this Digital Storytelling Guidebo
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ok can assist educators and students in the creation of their own digital stories. The introduction of the Digital Storytelling Guidebook in social work field education will expose educators and students to intentionally use the platform as an integral component in articulating and achieving learning outcomes." (Conclusion, page 18)
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"Sharing our story with others is not always easy. In fact, getting to grips with our own story can be a challenging and uncomfortable process. Getting to know someone’s story can feel intimidating and awkward – where do we start, what do we ask? We believe that there’s a simple way to help us
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share in each other’s stories. It’s a framework called Ask. Listen. Tell. By asking, listening and telling our stories, we can embark on a process of deepening our relationships. When our relationships display understanding, acceptance, empathy, respect and love, they become a powerful treasure, for us and our wider communities." (Page 4)
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"Storytelling is the most powerful way for donor and non-governmental organisations to convey their work because stories allow audiences to connect on both intellectual and emotional levels. However, much of the storytelling about development work in Africa is unethical and perpetuates harmful and s
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tereotypical narratives about the continent. Stories that reinforce stereotypes about Africa often arise from the power dynamics between those who are telling the stories and those about whom stories are being told. This practical guide aims to address some of these issues by providing practical, ethical guidelines for storytellers to share their work on the continent [...] This handbook considers the challenges of ethical storytelling and provides practical examples of how difficulties might be overcome. It looks at all the stages of the storytelling process: conceptualising a project, planning, gathering material, producing a draft, gathering feedback on it, and producing a final version before disseminating it. As part of the process of developing this handbook, we reviewed 36 academic papers and books chapters covering the subject. We also interviewed eight African storytellers, including filmmakers, photographers, radio producers and writers who were researching and producing material about Africa for an international audience or for donor agencies." (About this handbook, page 1)
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"Aufmerksamkeit ist die Leitwährung im Journalismus. Journalisten müssen den Leuten Lebenszeit stehlen, damit sie sich für ihre Botschaft interessieren. Wie lenken Sie die Aufmerksamkeit des Publikums auf Ihre Botschaft? Mit Storytelling. Storytelling heißt, eine Sprache zu finden, die Hirn und
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Herz gleichzeitig anspricht. Lernen Sie die Grammatik der Gefühle und des Gehirns. Darin besteht die Herausforderung. Der Verstand ist berechenbar logisch. Emotionen haben ihre eigenen Rhythmen. Meister der Erzählung beherrschen diese Kunst." (Einleitung)
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"Each chapter starts with a brief recap of the key lessons that are covered in storytelling with data. This is followed by: 'practice with Cole': exercises based on real-world examples posed for you to consider and solve, accompanied by detailed step-by-step illustration and explanation; 'practice o
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n your own': more exercises and thought-provoking questions for you to work through individually without prescribed solutions; 'practice at work': thoughtful guidance and hands-on exercises for applying the lessons learned on the job, including practical instruction on when and how to solicit useful feedback and iterate to refine your work from good to great Much of the content you’ll encounter here is inspired by our storytelling with data workshops. Because these sessions span many industries, so do the examples upon which I’ll draw. We’ll navigate between different topics—from digital marketing to pet adoption to sales training—giving you a rich and varied set of situations to learn from as you hone your data storytelling skills." (Introducion, page xii)
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"The book has covered a wide range of topics within a specific area of mobile journalism. It presents the case studies and first-hand experiences from different parts of the country. As the chapters are written by the academicians, proessionals and practitioners, it has an appropriate blend of theor
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etical and practical aspects of mobile jornalism. It is a pioneering work in the are of mobile journalism and mobile film making." (Foreword, page 6)
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"This open access book considers the stories of adolescents and young adults from different regions of the world who use digital media as instruments and stages for storytelling, or who make themselves the subject of storytelling. These narratives discuss interconnectedness, self-staging, and managi
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ng boundaries. From the perspective of media and cultural research, they can be read as responses to the challenges of contemporary society. Providing empirical evidence and thought-provoking explanations, this book will be useful to students and scholars who wish to uncover how ongoing processes of cultural transformation are reflected in the thoughts and feelings of the internet generation." (Publisher description)
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"In the formative evaluation, church data from the retrospective baseline showed that after being exposed to the “What’s Your Story?” methodology by Heartlines, 42% of respondents had engaged in further intentional storytelling with others. In comparison to this, in the summative evaluation, a
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full 80% of respondents reported that they had engaged in further storytelling processes with others. This increased likelihood of someone adopting the WYS approach amongst respondents that were introduced to WYS in the period after the formative evaluation can, in part, be explained by the issue of ‘dosage.’ That is, the level of exposure that the respondent had to WYS at the point of being introduced to it. In the formative evaluation, 56% of respondents had medium to high dosage. In the summative evaluation, however, this had increased to 84%. These findings provide evidence that the greater the exposure to WYS when it is introduced to participants, the greater the likelihood that it will be taken up as a methodology that participants then introduce to others. This finding also suggests that Heartlines took on board the recommendation in the formative report to support higher dosage options. Workplace data were only collected once, during the formative evaluation of WYS in churches. Of these workplace respondents, 48,5% reported that they had gone on to adopt the WYS approach and the issue of ‘dosage’ was also an important factor in determining who chose to adopt the WYS methodology. Once individuals have adopted the WYS methodology, the evidence suggests that the vast majority repeat the methodology more than once and that those who are exposed to it cascade it even further into their homes, neighbourhoods, workplaces and communities. The findings also give strong evidence for positive changes as a result of being exposed to WYS. These are found at the level of the individual, within churches, workplaces or other organisations, and beyond these organisations into the wider community." (Executive summary)
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"'El Radioteatro. Olvido, renacimiento y su consumo en otras plataformas' nos ofrece las claves del pasado, presente y futuro de un género, de un formato radiofónico que se sustancia en una explosión de creatividad que acaricia nuestros sentidos y nos abre a un mundo de posibilidades en una perfe
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cta conjunción de palabra, efectos especiales y música. El Radioteato es la expresión por excelencia del guion radiofónico ―el más completo de los géneros, el que más pasión y entrega exige de sus actores, guionistas y realizadores; y sin embargo un género que permaneció olvidado durante demasiado tiempo. Pero la esperanza perdida se convierte en realidad cuando renace como ave Fénix con el reto de conquistar a los nativos digitales que empiezan a admirar su riqueza en multipantallas, a la carta, en un medio de transporte o en altavoces inteligentes. Los textos que integran este volumen son la culminación del trabajo realizado en el I Congreso Internacional de Radioteatro celebrado en la Universidad de Málaga en marzo de 2019." (Descripción de la casa editorial)
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"The Panguna Listening Project (PLP) is an initiative of the Catholic Diocese of Bougainville (DOB), led by Bishop Bernard Unabali seeking to make the voices of the people heard and making the people safe in the Panguna mine-affected areas. It is a neutral project and does not take a position on the
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future of mining in Bougainville [...] Developing from the Bishop’s interest in supporting communities in the mine-affected communities, community consultations were held to engage further input. An initial 2-day scoping meeting was held at Tunuru Mission Station in 2017 and key stakeholders and local members were invited to discuss the potential of PLP. Based on the positive feedback funding support was sought by the Diocese of Bougainville from Misereor e V. from Germany. To launch PLP, a Stakeholder meeting was held at Manetai Mission Station in May 2018, led by Bishop Bernard Unabali and Project Manager Bonaventure Kenulei, bringing together stakeholders and community members to provide project information as well as to engage in collaborative planning. This book outlines the responses and comments from community members in the first two stages of PLP. It documents the main themes from the community data and meaningful comments from the Listening team from their experiences of listening to conversations in the mine-affected communities. It also includes individual stories and photos from the Panguna mine-affected communities which were collected through community "storytelling sessions." (Introduction, page 6)
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"A personal relationship with God is central to Evangelical belief. It unfolds as believers interpret internal sensations as coming from outside—from God. How does the formulaic design of testimonies present the audience with a personal relationship with God as a pursuit that is both feasible and
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deeply desirable? Analyzing the discursive rules structuring the appearance of emotion in the most popular testimonies on the online platform of 'Christianity Today' reveals that such texts expertly present a microcosm in which the experience of reading mirrors the trajectory toward belief writers describe. To read a testimony from start to finish, readers must choose to tolerate the unfamiliar: that is, feel emotions that specifically belong in an Evangelical frame. Online written testimony relies on compelling storytelling to move readers, making them practise what it feels like to hand over part of one’s own story to God." (Abstract)
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