Plant propagation: Sexual and Asexual propapagation.pptx
Marta Genis: Integrating culture in teacher-training courses: Collective story-telling
1. Eaquals International Conference, Lisbon, 21 – 23 April 2016
Integrating culture in teacher
training courses: Collective
story-telling
Marta Genis
Nebrija University
www.eaquals.org
2. Contents
• Vladimir Propp
• Propp’s dramatis
personae
• Propp’s narratemes
• Jung’s archetypes
• Campbell’s Hero’s
Journey
2Eaquals International Conference, Lisbon, 21 – 23 April 2016
• Creating a collective
story
• Self-assessment
checklist
• To know more
3. Vladimir Propp
• Morphology of the Folktale
(1928)
• Basic plot components of Russian folk
tales:
• narratemes
• dramatis personae
From: en.wikipedia.org
3Eaquals International Conference, Lisbon, 21 – 23 April 2016
4. Propp’s narratemes
• Absence
• Interdiction
• Violation of
interdiction
• Seeking for
information
• Misfortune
• Interdiction From:
surfnetkids.com
• Repair
• Leaving home
Eaquals International Conference, Lisbon, 21 – 23 April 2016 4
6. Jung’s archetypes
Eaquals International Conference, Lisbon, 21 – 23 April 2016
ARCHETYPE GOAL FEAR TALENT
EGO
INNOCENT To be happy To be punished or
abandoned
Faith and optimism
ORPHAN To belong To be left out Realism and empathy
HERO Mastery in improving the
world
Weakness,
vulnerability
Discipline and courage
CAREGIVER To help others Selfishness and
ingratitude
Compassion and
generosity
SOUL
EXPLORER Search for a better life conformity Autonomy and
ambition
REBEL To mend what is not
working
Ineffectiveness or
powerlesness
freedom
LOVER Intimacy and experience Being alone,
unloved
Passion and
commitment
CREATOR To realize a vision mediocrity Creativity and
imagination
SELF
JESTER To enjoy Be bored or bore
others
Joy
SAGE To find the truth Being misled and
ignorance
Wisdom, intelligence
MAGICIAN To make dreams come
true, transformation
Negative
consequences
Personal power and
finding good solutions
RULER Create prosperous
community
Chaos Responsibility,
leadership
6
8. Creating a collective story
Eaquals International Conference, Lisbon, 21 – 23 April 2016
• PROCEDURE
• Brainstorm story ideas
• Choose an appropriate one
for the intended audience
• Make a story outline
• Develop characters and/or
scenes to illustrate the story
• Decide:
• The language to be used
(vocabulary and structures)
• The visual aids you will use
• Select the materials to
create the visual aids
needed
• Make the visual aids
• Practice storytelling with your
partners
• Perform the story for your audience
From:kstoolkit.org
8
9. Self-assessment checklist
Eaquals International Conference, Lisbon, 21 – 23 April 2016
1. Does your story have a clear beginning?
2. Does your story use a hook so to catch the
listener attention?
3. Does your story have a clearly defined
goal?
4. Does your story have some characters
such as defined by Propp?
5. Does your story have struggles,
difficulties, twists and frights?
6. Does your story have a happy ending?
1. Does your story have a clear beginning?
2. Does your story use a hook so to catch the
listener attention?
3. Does your story have a clearly defined
goal?
4. Does your story have some characters
such as defined by Propp?
5. Does your story have struggles,
difficulties, twists and frights?
6. Does your story have a happy ending?
9
10. To know more:
• Campbell, J. ([1949] 2004) A Hero with a Thousand Faces. Princeton, N.J.:
Princeton University Press.
• http://seas3.elte.hu/coursematerial/TarcsayTibor/Joseph-Campbell--The-Hero-
With-a-Thousand-Faces-Commemorative-Edition.pdf
• Jung, K. ([1947] 1969) Archetypes and the Collective Unconscious In
Collected Works, volume 9, part 1. Princeton, N.J.: Princeton University
Press.
• https://archive.org/stream/collectedworksof92cgju/collectedworksof92cgju_djvu.txt
• Propp, V. ([1928] 1969) Morphology of the Folktale. Texas: University of
Texas Press.
• https://archive.org/details/MorphologyOfTheFolkTale
• Vogler, C. ([1998] 2007) The writer’s Journey: Mythic Structure for writers.
Studio City, CA: Michael Wiese Productions.
Eaquals International Conference, Lisbon, 21 – 23 April 2016 10
Editor's Notes
Good afternoon.
My name is…
What we are about to do
These are the contents of the workshop
Vladimir Propp, in his Morphology of the Folktale (1928) analyzed the basic plot components of Russian folk tales to identify their simplest irreducible narrative elements. He broke up the folktales into sections, realizing that there was an invariant event pattern (narratemes) and only seven broad characters or dramatis personae.
Simplifying the 31 events into some 17 or 18 this is the sequence of events in any folktale:
Someone is absent from home.
An “interdiction” or ban or rule is announced.
The interdiction is violated.
The villain seeks information in order to deceive the hero and succeeds.
A "lack" or "misfortune" is announced; sometimes caused by the villain.
The hero is dispatched to repair the lack or misfortune.
The hero leaves home.
The hero is tested or challenged or questioned.
A donor offers a magical agent or introduces a “helper” character.
The hero acquires the magical agent orthe help offered) and arrives at the object of the search.
The hero and villain fight.
The hero is marked, branded or defeated.
The villain is defeated and the lack or misfortune repaired.
The hero returns to his homeland
The hero is not recognized, and, confronting the false hero, is tested (strength, riddle, danger).
The hero is recognized by a deed, mark or object, and the false hero or villain is revealed or punished.
The hero marries (often the object of the quest) and/or is made the ruler of the homeland
The characters he identified were the following:
the Villain, who struggles with the hero.
the Donor, who prepares and/or provides the hero with a magical agent; an object or an essential piece of information.
the Helper, who assists, rescues, solves and/or transfigures the hero (can take the role of the donor).
the Princess, sought-for by the hero (and/or her father) who is the victim of the narrative, being in some kind of danger.
the Dispatcher, who sends the hero off (can take the role of the Donor and/or the Helper).
the Hero, who departs on a search (seeker-hero), reacts to the Donor, defeats the Villain, gains the princess favour and rules at end.
the False Hero, who claims to be the Hero, often seeking and reacting like a real Hero but is always discovered/punished (sometimes he takes the villain role).
Later, Carl Jung in Archetypes and the Collective Unconscious (Collected Works, 1947-1960) discovered that there are universal patterns in all stories and mythologies despite the difference of language or culture and thought that part of the human mind contained a collective unconscious shared by all members of the human species with highly developed elements he called archetypes. Jung defined 12 primary types that symbolize basic human motivations. Each of them has its own set of values, meanings and personality traits and they evoke deep emotions. The types can be divided into three sets of four. Representing the Ego, the Soul and the Self. Below you can see a list with the goals, main fear and main talent of each of them.
The term archetype comes from ancient Greek, a term composed from two words: archein, which means "original or old” and typos, "pattern, model or type".
These archetypes are easily recognized in films and works of literature, as you can appreciate if you think of Stars Wars for example, whereLuk Skywalker is the hero
Darth Waider is the villain
Maybe you can find out who is the innocent or the careegiver…..
Joseph Campbell took Jung’s ideas and applied them to world mythologies. In A Hero with a Thousand Faces (1949) he identified a pattern of narrative that appears in literature, drama, storytelling, mythology, and rituals and he called it the Hero’s Journey, also called the Monomyth. This pattern is used as a kind of template of all the stories in which a hero begins an adventure.
Initially it had 17 stages but they have been reduced to 12 by Christopher Vogler. Who used them for cinema and TV series. They are the following:
1. The Ordinary World,
2. The Call to Adventure,
3. Refusal of the Call,
4. Meeting with the Mentor,
5. Crossing the Threshold to the "special world",
6. Tests, Allies and Enemies,
7. Approach to the Innermost Cave,
8. The Ordeal,
9. Reward,
10. The Road Back,
11. The Resurrection,
12. Return with the Elixir.
BENEFITS FOR TEACHERS
Develop an appreciation of stories as educational resources. Improve lesson plans with the use of a story within a unit.
Take advantage of the information contained in a story (geography, history, sociology, culture, etc.) for cross-curricular work. Connect with the students’ prior knowledge and experiences.
Foster the students' listening skills. Increase communication skills by learning to build up narratives.
Learn how to use voice and intonation for story-telling. Create interest, attention and motivation in students.
Generate and develop ideas for speaking, writing and visual activities. Use an effective way of introducing new language.
Make students reflect on values, traditions and culture present in the story and on their own concerns, perceptions and beliefs. Raise students’ awareness of the relationship between, language, voice and body (pace, pitch, volume, rhythm, pause, timbre).
Help students contextualize language diversity in reference to dialect, register, and language change.
Be able to organize information into a cohesive and coherent whole in order to communicate to audience. Take advantage of the creative talents of students as they begin to tell stories of their own.
Make use of story-telling for a wide range of students from beginner to advanced level.
BENEFITS FOR STUDENTS
Explore their own cultural roots. Experience cultural diversity. Empathize with and appreciate unusual people, events and places. Understand how archetypes are common to all cultures. Learn new vocabulary and expressions. Understand differences and similarities of cultures around the world Communicate thoughts and feelings. Increase memory. Participate actively in communicative and cooperative tasks. Enhance verbal proficiency and listening skills. Practice prediction (possible ending or alternative ending).Use imagination and creativity. Raise the interest for reading and writing
Rubrics and checklists are good tools for assessing stories. They usually include scales for the different levels of accomplishment and descriptors worded as statements.
A rubric can be used during:
the story design
during the development process
during the delivery
And they can be used as:
Self-assessment
Peer-assessment
Teacher-assessment
Examples of different types of assessment are:
Self-assessment checklist as the one presented here
Peer –assessment rubric
Teacher observation (assessment)
