Storytelling. (i) SELECTION -- No contestant may use exactly the same literary work(s) that s/he used in previous competitive years. No contestant may enter the same selection in two qualifying events. A single published, printed story, anecdote, tale, myth, or legend must be retold without notes from memory. An introduction must be included.
(ii) PUBLICATION -- All contestants must use published materials. "Published" as used in these rules means materials commercially printed, published, readily available, and nationally distributed. Only the original printed source or a photocopy of the original printed source shall be considered adequate proof of publication. Unpublished material used for introductions and transitions of interpretations shall be the original work of the contestant.
Storytelling. Getting messages across through telling a story (traditional teachings and personal stories) is very common and sometimes in contrast with the “get to the point” frame of mind in non-AI/AN society. Cultural Customs Specific cultural customs among AI/AN groups may vary significantly, even within a single community. Customs are influenced by ethnicity, origin, language, religious/ spiritual beliefs, socioeconomic status, sexual orientation, age, marital status, ancestry, history, gender identity, and geography. Cultural customs are often seen explicitly such as food, dress, dance, ceremony, drumming, song, stories, symbols, and other visible manifestations. Such outward cultural customs are a reflection of a much more ingrained and implicit culture that is not easily seen or verbalized. AI/AN worldviews tend to be relationship- and place-based, as opposed to the Western focus on individuality and time. Deeply held values, general world view, patterns of communication, and interaction are often the differences that affect relationships. A common practice of a group or individual that represents thoughts, core values, and beliefs may be described by community members as “the way we do things” in a particular tribe, community, clan, or family. This includes decision-making processes. Respectful questions about cultural customs are generally welcomed, yet not always answered directly. Many AI/AN people have learned to “walk in two worlds” and will observe the cultural practices of their AI/AN traditions when in those settings, and will observe other cultural practices when in dominant culture settings. Sharing food is a way of welcoming visitors, similar to offering a handshake. Food is usually offered at community meetings and other gatherings as a way to build relationships.
Storytelling. 2.3.1 When we grow older we lose the witnesses to our lives and to our stories, and being in nursing homes may isolate us and prevent us from building new relationships.
2.3.2 Elderly citizens have many stories that may be lost if we do not reach out and listen. The Pilots tell their own stories, listen to the stories of their passengers and, furthermore, document these stories by passing them on from mouth to mouth or posting them on the social media. Storytelling is crucial for building and spreading the purposes of CWA and NCWAO, and CWA and NCWAO encourage everybody to participate herein.
Storytelling an Enterprises’ Suggestion
Storytelling. Although manic-depressive illness convenes them in this project, the condition finds divergent expression in their lives and pages. This dissertation, therefore, honors their resurgent heterogeneitical impulse as central to any compelling, constructive, and ‘just’ narrative enterprise. My case for narrative proceeds iteratively, with each chapter taking ‘the work of narrative’ as an analytical substrate from which to specify the exemplary character and core competencies of the given author and text around which it develops. I imagine these chapters, therefore, as mapping distinct responses to the following guiding questions: What does storying manic-depressive illness do, materially and metaphysically, for people living with the illness? What kinds of storytelling (i.e. genres, methodologies, media) best serve these ends and under what experiential and sociopolitical conditions? Lastly, how might the work of narrative revealed in storytelling about manic-depressive illness be extrapolated or adapted for use within clinical and activist settings so as to promote both the individual (i.e. intrapsychic and therapeutic) and collective (i.e. political and social) interests of people living with mental illness? I have formulated these questions and the evaluative terms through which they are operationalized and assessed within an interdisciplinary theoretical matrix that privileges feminist, disability, performance, and narrative ethics-based critiques of illness, storytelling, and their many points of political and cultural intersection. This theoretical framework advances along an agile methodology forged from sociological inquiry and literary criticism to accommodate this project’s divergent topics and materials without dropping its guiding theoretical and evaluative threads. Nevertheless, to the extent that my sociological- literary criticism gets lost—or found—in its own hyphen, this project’s ‘methodology’ constitutes what Xxxxxx Xxxxxx (2003) has described as a performative social science. In formulating my project’s guiding questions, I have kept its potential practical applications and non-academic audience in mind. I have recognized, however, that its prescriptive ambitions are necessarily hemmed at its thematic and methodological seams, as both determine the substantive and literal bounds of its study. As a result, this dissertation generates general guidelines for ‘the revitalization of narrative practice in contemporary mental health’ by stipulating...
