The ethos of telling other people`s stories can be explored through a number of questions: who tells the story and how, what is the purpose or purpose of the story, what does the story promise (e.g. empathy, redemption, authenticity, clarification) – and to whose benefit? Storytelling rights also include issues of consent, empathy, and accurate representation. While storytelling – and storytelling – can act as a powerful tool for action and advocacy, it can also lead to misunderstandings and exploitation. A narrative is a narration of a real or fictional event, or a coherent sequence of events told by a narrator to a narrator (although there may be more than one of each). Narratives should be distinguished from descriptions of qualities, states or situations, as well as dramatic staging of events (although a dramatic work may also contain narrative discourses). A narrative consists of a series of events (of the story) told in a process of narration (or discourse) in which events are selected and organized in a specific order (the plot, which can also mean “synopsis of the story”). The category of stories includes both the shortest accounts of events (e.g., the cat sitting on the carpet or a short message) and the longest historical or biographical works, diaries, travelogues, etc., as well as novels, ballads, epics, short stories and other fictional forms. In the study of fiction, it is common to divide novels and shorter stories into first-person narratives and third-person narratives. As an adjective, “narrative” means “characterized by or in relation to narration”: thus, storytelling technique is the method of telling stories, and narrative poetry is the class of poems (including ballads, epics, and romances in verse) that tell stories, as opposed to dramatic and lyrical poetry. Some narrative theorists have attempted to isolate the quality or quantity of properties that distinguish narrative from non-narrative writings: this is called narration. [9] The cinematic narrative does not have the luxury of having a textual narrator who leads its audience to a formative narrative; Nor does he have the ability to allow his audience to visually manifest the content of his narrative in a way that is unique to literature.

Instead, cinematic narratives use visual and auditory aids as a substitute for a narrative subject; These devices include cinematography, editing, sound design (diegetic and non-diegetic sound), as well as arranging and decisions about how and where subjects are on screen – known as staging. These cinematic mediums contribute, among other things, to the unique blend of visual and auditory storytelling, resulting in what Jose Landa calls a “visual narrative instance.” [38] And unlike narratives found in other performing arts such as plays and musicals, cinematic narratives are not tied to a specific place and time, and are not limited by stage transitions in plays limited by scenography and allotted time. Oral storytelling is the first method of sharing stories. [7] During most people`s childhood, narratives are used to guide them about good behaviour, cultural history, community identity formation, and values, as studied today, particularly in anthropology among traditional Indigenous peoples. [8] Unlike most forms of storytelling that are language-based in nature (whether narratives presented in literature or orally), cinematic narratives face additional challenges in creating a coherent narrative. The common assumption in literary theory is that a narrator must be present to develop a narrative, as Schmid suggests. [36] The action of an author writing his words in a text is what conveys the narration of the text to the audience (in this case, the readers), and the author represents an act of narrative communication between the text narrator and the narrator. This is consistent with Fludernik`s perspective on so-called cognitive narratology – which asserts that a literary text has the ability to manifest itself in an imaginary, representative illusion that the reader will create for himself, and can vary greatly from reader to reader. [37] In other words, the scenarios of a literary text (relating to attitudes, frameworks, patterns, etc.) are presented differently for each reader based on a variety of factors, including the reader`s personal life experiences, which allow him or her to understand the literary text in a different way. Historians who use modern narrative might argue that traditional narrative focuses too much on what happened and not enough on why and causality. In addition, this form of storytelling reduces the story to tidy drawers and thus makes the story an injustice.

J. H. Hexter called these historians “lumpers.” In an essay on Christopher Hill, he noted that “lumpers don`t like accidents: they`d rather they disappear. The lumpy historian wants to categorize the entire past. Then tie all the boxes together into a nice curved package. Personality traits, specifically the five major personality traits, appear to be related to the type of language or patterns of use of words found in an individual`s self-narrative. [24] In other words, the use of language in personal narratives faithfully reflects the human personality. The linguistic correlates of each characteristic of the Big Five are as follows: the nature or existence of a formative narrative in many myths, folktales, and legends of the world has been a subject of debate for many modern scholars; But the most common consensus among academics is that in most cultures, traditional mythologies and folktales are constructed and told for a specific narrative purpose that serves to provide a society with an understandable explanation of natural phenomena – often without a verifiable author. These explanatory stories manifest themselves in various forms and perform various societal functions, including: life lessons from which individuals can learn (e.g., the ancient Greek story of Icarus refusing to listen to his elders and flying too close to the sun), explaining the forces of nature or other natural phenomena (e.g., the flood myth that encompasses cultures around the world), [39] and finally to transmit an understanding of our own human nature, using the example of the myth of Cupid and Psyche. [40] People often claim to understand events when they manage to formulate a coherent story or narrative that explains how they believe the event was generated.

Narratives thus form the basis of our cognitive procedures and also provide an explanatory framework for the social sciences, especially when it is difficult to compile enough cases to allow statistical analysis. Storytelling is often used in the research of social science case studies. Here, it has been found that the dense, contextual and interpenetrating nature of the social forces revealed by detailed narratives is often more interesting and useful for social theory and social policy than other forms of social inquiry. Storytelling rights can be broadly defined as the ethos of sharing storytelling (including, but not limited to, first-hand, second-hand, and imaginary stories). In Storytelling Rights: The uses of oral and written texts by urban adolescents, author Amy Shuman proposes the following definition of storytelling rights: “the important and precarious relationship between the narrative and the event, and in particular between the participants of an event and the journalists who claim the right to report on what happened.” [58] Storytelling is found in all forms of human creativity, art and entertainment, including language, literature, theatre, music and song, comics, journalism, film, television and video, video games, radio, gaming, unstructured leisure and performance in general, as well as certain arts of painting, sculpture, drawing, photography and other visual arts as long as a sequence of events is presented.

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