This post is dedicated to internal coherence in storytelling.
The discussion concerns culture and materiality.
Based upon the work of novelist Yiyun Li (2014) and researcher Luigi Tomba (2015), as discussed at a separate page, at and of the work of students of the relationship between Buddhisms and violence as discussed at still another separate webpage, I have tentatively concluded that:
- Specialization drives limitations.
- The opposite of specializations drive limitations.
- Dealing with binaries gives rise to limitations, that is to say.
- Successful integration of multiple storylines requires skillful – and what appears to be effortless demonstration and enactment – of sequential and recurring alteration among the analyses and representations of a specified number of frames.
- About five frames at a time appears a good number to work with.
It has been noted, in a discussion related to the effectiveness of power posing, that we become what we pretend to be. To paraphrase William Blake, we become what we behold.
A corollary, from a dramaturgical perspective, is that we must take care what we pretend to be.
Figuratively and literally, role play and drama are central features of our lives.
Performance and enactment, which serve as key elements in out individual and group sense-making projects, are in turn key aspects of role play and drama.
With regard to such topics we can add that, occasionally, reality obtrudes.
With regard to stories and frames, a Jan. 23, 2016 CBC article is entitled: “Why lying is a sign of healthy behaviour for children.”
A March 6, 2016 CBC article is entitled: “René Girard’s theories still explain the violence all around us: French-born scholar spent his career trying to understand what what makes violence a chronic problem.”