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Storytelling As Explained By Swap

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Also, Shauna and James (n.d.) refer the three ways in which stories can be used that are explained by Swap, et al. These three ways can turn information into knowledge that is easy to remember. First, it is the availability heuristic. In Swap, et al.’s quotation, Tversky and Kahneman indicates that “...when an event is made more available from memory, there is a strong tendency to believe it is more likely to occur or to be true elaboration...” Second, it is elaboration, “[to]...the extent that people reflect upon and integrate information with what they already know, they will remember it better.” Third, it is episodic memory, which comes from memorable experience.

The way to create and tell a story successfully

It is essential to let the audience hear and understand the message behind the story correctly. Therefore, how to create a successful story and tell it to the audience clearly are the critical matters.

For example, Eric and Amit (2009) give an example of using storytelling to improve information technology(IT) development efficiency. The research was held by Nielsen and Madsen and they cooperated with AstraZeneca. They held a project reflection workshop to ask employees on the expectation of IT projects. The research objective was to improve …show more content…

NASA is one of the examples. At NASA Jet Propulsion Laboratory Library, a librarian called Teresa Bailey had to implement a storytelling project as a part of the library events. She thought that many explicit knowledge has been taught in lectures and talks. Therefore, she decided to capture personal experience, which is personal tacit knowledge, to conduct stories. She recorded the experience from the upper management about organizational change and tales of different storytellers. Finally, the storytelling sessions succeeded and the listeners gained feelings of connectedness and belonging from the sessions (Khairul and Ahmad,

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Intro BP 2a. Audience -tone (Text evidence+text evidence) 2b. Purpose-repetition 2c. Context-organization 3.

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Hypothetical evidence was used to support this claim. Thompson appeals to pathos by stating, “Write about something and you’ll remember it better, in what’s known as the generation affect . . . if you force yourself to jot down what you know, you’re better able to retain the material” (57) This evidence is relevant to the claim that is being made by refuting his argument, supporting his counter argument.

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This is related to The Things They Carried by Tim O’Brien when O’Brien says By telling stories, you objectify your own experience. You separate it from yourself. You pin down certain truths. You make up others. You start sometimes with an incident that truly happened, like the night in the shit field, and you carry it forward by inventing incidents that did not occur but that nonetheless help to clarify and explain.

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Also, this Alexie’s quote shows that the thing that can influence the most in the truth is memory. He also wants the audience to think that if their memory does not work, they will not know the truth about something that happened. O’Brien says “What seems to happen becomes its own happening, and had to be told that way” (559). This quote supports Alexie’s idea that truth is what you remember from an episode. People always tend to tell the story in the way that it seemed to happen to them.

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Stories preserve and

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When we are faced with a traumatic event, we choose to remember only the boring details because we choose not to relive the event every day. This is called happening-truth. As stated by O’Brien: “here is happening-truth. I was once a soldier. There were many bodies, real bodies with real faces, but I was young then

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A storyteller invents comprehensible facts to fill in a story’s missing aspects. O’Brien continues to elaborate by explaining how “The pictures get jumbled; you tend to miss a lot. And then afterward, when you go to tell about it, there is always that surreal seemingness, which makes the story seem untrue, but which in fact represents the hard and exact truth as it seemed” (O’Brien 67). Again, as a soldier, especially in the Vietnam War, it proves difficult to realize what actually occurs and find the ability to remember specific details to completely and precisely retell it some time afterwards. Tim implies imagination’s role when he writes, “The thing about a story is that you dream it as you tell it, hoping that others might then dream along with you, and in this way memory and imagination and language combine to make spirits in the head.

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O'brien feels that as opposed to people whose lives are temporary, stories live on. It is appropriate to store memories of people in stories because the stories are the vehicle to bring memories the of people past their death, into the future. Ultimately, stories are powerful because they can hold love and memories of people

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The Power of the Narrator Truth is not what was seen or heard or happened, but what was felt. It can neither be generalized nor objectified because it is unique to the person who experiences it. The author’s best option to make the story feel true for the reader is to make it relatable to them by using the narrator. For the reader to relate to the story most, the narration of the story should alter depending on the content of the story. Tim O’Brien focuses on the relationship between narration, truth and feeling in his compilation of stories called The Things They Carried.

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This implies that stories have a much greater significance than merely sharing an experience. It produces an experience and develops it in a manner that makes it feel less in the past. “Practically everything we do that is specifically human is expressed in language” (Richter 809). This expands on O’Brien’s quote and structure throughout his novel and how this “expressed language” is the stories that O’Brien tells to throughout his novel and how this “expressed language” is the stories that O’Brien Tells to create the deeper meaning and draw more attention towards the importance of these stories and less about the realism or truthfulness of the stories. O’Brien creates a deeper meaning in more than just the relevance of the

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Narrators that tell a story in retrospect have an advantage of having more knowledge over narrators that tell a story in present

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The sad thing about stories is that “once a story is told, it cannot be called back. Once told, it is loose in the world” (King10), that plane with no survivors cannot be taken back, the article in the news about the bus that flipped is read by thousands of people and cannot be taken back. The author of the “Truth About Stories” never says whether he thinks that not being able to take back stories is a good or bad thing, but rather he states that “you have to be careful with the stories you tell. And you have to watch out for the stories you are told” (King,10) because they will shape who you

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People may not recall all the information they acquired, but personally I usually remember the ones that stood out, particularly ones that made me laugh. Twain’s quote suggests that making the audience laugh

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Over the last fifteen years, I have grown mentally and socially. I credit my growth to my ability to analyze and understand the world for what it is. Social imagination is the use of information to understand the world and ourselves for who we are. Possessing the quality of mind that can develop reason and the capacity to shift perspectives are the basis of social imagination (Mills 2000). As I mentioned in reflection one, I came to realize that my way of thinking is what helped me overcome living a poor lifestyle.

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Labov (1972) suggest conversational narratives is a fully verballised oral narrative of personal experience that should have two specific functions, namely referential function and evaluative function. Referential function could be found from the narratives temporally sequenced framework of abstract, orientation, complication, resolution and code while evaluative function the narrator presents particular perspective to evaluate through the audience responses. For instance, Labov asked adolescent African-Americans to tell him about a dangerous situation that they have experienced, evaluative effects are found through the narrator, e.g. external evaluation from adding an explanation or additional description to highlight particular point, embedded evaluation from putting evaluation comments into the characters in the narrative, as well as different kinds of comparisons and intensifiers, like gestures, sound effects, quantifiers, repetition, all of them provided emphasis and created a climax of the narrator. Labov (1972) emphasis evaluative devices enable to tell us whether the story is terrifying, dangerous, wild, crazy, amusing, hilarious, wonderful or even strange enough to be reported. Toolan (2006) mostly agress Labov’s concept on report actions/events in its order and the telling sequence, however, Toolan (2006) believes some part of the

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