| dc.description | In recent decades there has been renewed social and academic interest in organized storytelling and storytellers in contemporary industrialized societies. Folklorists, storytellers, and other commentators speak of a "revival" of storytelling as manifested in the growing number of storytelling events in different social fields. For example, storytelling is valued as cultural form, maintained through festivals, professional organizations, and public funding schemes for the arts. It is also consumed as entertainment, in stand-up comedy, storytelling cafes and pubs, or formal recitals. Finally, it is a field with professional applications in areas such as therapy, education, or business (Stone 1998; Wilson 2005; Sobol 2008). As a result, there is a line of theoretical and applied scholarship that has attempted to examine this revitalization. This scholarship has been carried out, on one hand, by constructing a coherent portrait of contemporary storytelling in different national and regional contexts, such as Canada (Stone 1998), the United States (Sobol 2008), or Britain and Ireland (Wilson 2005; Harvey 1989); on the other hand, this has been done by developing conceptual tools to assess and train in contemporary storytelling practices (Ryan 2008; De Marinis 1987).// | eng |
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