Suchergebnisse

Review of: Story Listening and Experience in Early Childhood, Donna Schatt and Patrick Ryan (2021)
Cham: Palgrave Macmillan, 214 pp.,
ISBN 978-3-03065-357-6, h/bk, £79.99

Since the early 2000s social media has transformed the internet into a site for the exchange of stories through the mass democratization of publishing. And yet, new forms of digital and online storytelling have at the same time compromised one of the core functions of storytelling, namely its social aspect, the ability to build community when two or more people share stories in the same space, at the same time, breathing the same air. Somewhat ironically the advent of social media may have broadened the audience for any one person's storytelling, whilst diminishing the social intimacy of the storytelling experience. As part of its research work into storytelling as a means of engaging people in the public debate around environment, the Storytelling Academy at Loughborough University has been developing new forms and processes of digital storytelling to promote wider engagement and dissemination of environmentally driven personal stories. 'The Reasons', first staged in Cambridgeshire in 2016, was an attempt to create a live, community social event that provided a public forum for storytelling as a way of debating issues around drought and water governance in the Fens. Inspired by a re-staging of La Rasgioni in Sardinia in 2015, a traditional form of conflict resolution, whereby a 'mock' court provides the means for the community to publicly tell its stories to each other, 'The Reasons' was co-designed for the Fenland context and was performed twice in 2016. It was then further adapted for use in the Korogocho slum in Nairobi for an event to discuss the issue of waste management with members of the local community, as part of an initiative with UN Live. 'The Reasons' is an attempt to bring together the advantages of digital storytelling as a reflective process with the social intimacy of the live storytelling event. The result is a new form of hybrid storytelling that seeks to build community and establish co-thinking processes to build resilience to environmental change. This article reflects critically upon the development and evolution of this work over the past five years.

This paper is in closed access until 12 months after publication. ; On the one hand, Luzel was a man of his time, adopting the philosophies and approaches of his fellow folklorists and antiquarians. However, many of his methods, in particular his insistence on authenticity and fidelity to the spoken word, and his realization that traditional cultures are enriched and preserved not through cultural isolation, but by interaction with other cultures, seem out of step with the attitudes of many of his contemporaries and rather seem to anticipate twentieth century developments in folktale collecting practice. Furthermore, Luzel often courted controversy and regularly came into conflict with many of his colleagues in the Breton cultural and political establishment around his insistence on publishing in French and his attitude towards the literary 'Unified Breton' and the associated debates around what constituted an authentic Breton culture. This article will place Luzel in his historical context and explore his approach to collecting and publishing his folktales and the controversies he courted. It is followed by a companion piece – a new translation of one of Luzel's tales – 'Jannic aux deux sous' ('Tuppenny Jack'*) – a Breton variant of 'The Frog Prince'.

François-Marie Luzel (1821–95) was one of the most significant French folklorists of his day and champion of Breton culture. He mainly collected folk tales in his native Lower Brittany and published prolifically, including three volumes in the monumental Contes populaires series, published by Maisonneuve and Charles Leclerc in 1887. On the one hand, Luzel was a man of his time, adopting the philosophies and approaches of his fellow folklorists and antiquarians. However, many of his methods, in particular his insistence on authenticity and fidelity to the spoken word, and his realization that traditional cultures are enriched and preserved not through cultural isolation, but by interaction with other cultures, seem out of step with the attitudes of many of his contemporaries and rather seem to anticipate twentieth-century developments in folk tale collecting practice. Furthermore, Luzel often courted controversy and regularly came into conflict with many of his colleagues in the Breton cultural and political establishment around his insistence on publishing in French and his attitude towards the literary 'Unified Breton' and the associated debates around what constituted an authentic Breton culture. This article will place Luzel in his historical context and explore his approach to collecting and publishing his folk tales and the controversies that he courted. It is followed by a companion piece – a new translation of one of Luzel's tales – 'Jannic aux deux sous' ('Tuppenny Jack') – a Breton variant of 'The Frog Prince'.

For more than five years, Latin America has been classified as the world's deadliest region for environmental activists. In Peru, the deadliest and most common type of conflicts are related to mining. However, there are dozens of mining conflicts in the country, and not all of them become violent—some are managed productively, and even violent conflicts can be resolved. What explains this variation? This interdisciplinary dissertation traces the processes and factors that can explain why mining conflicts both escalate into, and are transformed out of, violence. I draw on a controlled, qualitative comparison of four case studies, extensive ethnographic research conducted over 14 months of fieldwork, analysis of over 900 archives and documents, and unprecedented access to more than 230 semi-structured interviews with key actors in industry, the state, and civil society. Although the four mining projects shared similar contexts, their divergent outcomes—including the understudied effect of conflict 'routinization'—can be explained by actors' everyday relationships, locals' efforts to organize and draw outside attention, and companies' strategies to manage opposition and public opinion. In identifying patterns leading to conflict escalation and resolution, this research assists policymakers in the design of effective institutions that can channel conflict, gives international actors the understandings to best direct resources towards preventing violence, equips companies with tools to protect their investment by building mutual and durable community relations, and helps civil society in promoting forms of development that are commensurate with local needs and desires. More broadly, this dissertation presents an ethnography of subtle forms of violence, and explores how meaning-making practices render certain types of pain or damage noticeable while occluding others. By excavating how everyday interactions that underlie conflicts are strategically concealed in the short term, this study aims to assist in the prevention and transformation of violence over resource extraction.

Abstract

Abstract
This article emerges from the author's work on translating a selection of folktales collected by the nineteenth-century Breton folklorist François-Marie Luzel. It argues for a new approach to the translation of folktale texts that draws less from the traditions of literary translation and more from the current thinking around stage translation. It proposes that our understanding of the folktale text could benefit from a consideration of theatre scholarship (particularly Marvin Carlson's theories of 'ghosting') and that the emergence in recent decades of the figure of the contemporary professional storyteller asks us to think of the folktale not simply as a text of performance, but as a text for performance. Furthermore, it argues that the act of translation is in itself an act of performance, made within the context of all pervious performances and is, therefore, like all performances, provisional, incomplete and subject to revision.

In 1992, when Canadian Prime Minister Brian Mulroney sat down with Mexican President Carlos Salinas and U.S. President George H. W. Bush to sign the North American Free Trade Agreement, free trade was still a matter of fierce national debate in Canadian politics. NAFTA was meant to build on the U.S.-Canadian free-trade agreement that Mulroney had signed at the beginning of 1988, and his support for that deal had cost his party 34 parliamentary seats in federal elections later that year, which had focused almost exclusively on the issue. Adapted from the source document.