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Marie L. Shedlock. The Art of Story-Telling
The Art of Story-Telling
Table of Contents
PREFACE
INTRODUCTION
Footnote
CHAPTER I
Footnote
CHAPTER II
Footnote
CHAPTER III
Footnote
CHAPTER IV
Footnote
CHAPTER V
Footnote
CHAPTER VI
Footnote
CHAPTER VII
Footnote
CHAPTER VIII
The Nightingale
The Swineherd
The Princess and the Pea
The Story of Sturla
A Saga
The Legend of St. Christopher
Arthur in the Cave
Hafiz the Stone-cutter
Footnote
To Your Good Health
The Proud Cock
Snegourka
The Water Nixie
The Blue Rose
The Two Frogs
The Wise Old Shepherd
The True Spirit of a Festival Day
Filial Piety
LIST OF BOOKS
Sources of Norse Stories for Story-tellers
List of Books containing Stories or Reading Matter for Children
Little Cousin Series
Titles of Books containing Translations and Adaptations of Classical Stories
Titles of Books containing Classical Stories from History Re-told
Sources of Indian Stories and Myths
Legends, Myths and Fairy-Tales
Romance
Titles of Miscellaneous Books containing Material for Narration
Classical Stories Re-told
Indian Stories
Common Sense and Resourcefulness and Humour
Titles of Books containing Stories from History
Stories from the Lives of Saints
Stories Dealing with the Success of the Youngest Child
Legends, Myths, Fairy Tales and Miscellaneous Stories
Miscellaneous Stories
Miscellaneous Stories taken from the Andrew Lang Books
Stories from Hans C. Andersen
Miscellaneous Modern Stories
For Teachers of Young Children
Footnote
INDEX
Отрывок из книги
Marie L. Shedlock
Published by Good Press, 2021
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The real value of the cinematograph in connection with stories is that it provides the background that is wanting to the inner vision of the average child, and does not prevent its imagination from filling in the details later. For instance, it would be quite impossible for the average child to get an idea from mere word-painting of the atmosphere of the Polar regions, as represented lately on the film in connection with Captain Scott's expedition; but any stories told later on about these regions would have an infinitely greater interest.
There is, however, a real danger in using pictures to illustrate the story—especially if it be one which contains a direct appeal to the imagination of the child (as quite distinct from the stories which deal with facts)—which is that you force the whole audience of children to see the same picture, instead of giving each individual child the chance of making his own mental picture, which is of far greater joy, and of much greater educational value, since by this process the child co-operates with you instead of having all the work done for it.
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