Speaking Out: Storytelling and Creative Drama for Children by Jack Zipes

Speaking Out: Storytelling and Creative Drama for Children by Jack Zipes

By Jack Zipes

In his profitable Creative Storytelling, Jack Zipes confirmed how storytelling is a wealthy and strong software for self-expression and for construction children's imaginations. In Speaking Out, this grasp storyteller is going extra, talking out opposed to rote studying and trying out and for the confident strength inside storytelling and inventive drama in the course of the K-12 years.

For the previous 4 years, Jack Zipes has labored with the local Bridges software of the Children's Theatre corporation of Minneapolis, taking his storytelling ideas into inner-city faculties. Speaking Out is partly a checklist of the adjustments storytelling can paintings at the minds and lives of teenagers. however it is additionally a shiny and exhilarating demonstration of a special form of schooling - one equipped from deep inside of each one baby.

Speaking Out is a booklet for storytellers, educators, mom and dad, and a person who cares approximately assisting youngsters locate inside themselves the keys to mind's eye.

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Nelson cautions that “discussions of bubonic plague” or “Sennacherib’s two campaigns” when we read of this angelic attack are really inappropriate and evidence of our inability to read these narratives as anything more than history (“The Anatomy of the Book of Kings,” JSOT 40 [1988]: 39–48). 67 Note that two campaign theorists also hold to the same division of sources held by those who posit only one campaign of Sennacherib in the southern Levant. , Bright, History, 285. This rejection of any correlation between Herodotus and the biblical account is based largely on the understanding that 2 Kgs 19:35 narrates the Assyrian army undergoing “a catastrophic defeat before the walls of Jerusalem” (Volkmar Fritz, 1 & 2 Kings [CC; Minneapolis: Fortress, 2003], 369).

116 Van Seters comments, “For Noth, it is not a case of Dtr being both editor and author, as he is now sometimes understood, but a choice between these two models. , Knoppers, “Introduction,” 2; McKenzie, “The Book of Kings in the Deuteronomistic History,” in The History of Israel’s Traditions: The Heritage of Martin Noth (ed. Steven L. McKenzie and M. Patrick Graham; JSOTSup 182; Sheffield: Sheffield Academic Press, 1994), 284. , 7–8. , Cogan (I Kings [AB 10; Garden City: Doubleday, 2001]) comments on “the stylistics and editorial procedure” of Dtr, asserting that he “does not seem to have made any effort at erasing the telltale signs of the individual sources; each was left to speak out in its own distinctive idiom and particular statement—hence its visibility” (95).

There is also the problem, in my mind, of postulating three redactions in so brief a period of time. 104 This is similar to Wolff ’s (“Das Kerygma,” 171–186) suggestion that the DH includes the theme of reciprocal movement between Israel and Yahweh’s word where God does not abandon his people if they ‘repent’ (‫)שוכ‬. ” Wolff agrees with Noth’s hypothesis that the DH was the product of essentially a single author, despite judgment and hope being located in the one work. 106 As Kenik (Design for Kingship, 11) writes, “There is a weakness in the conclusions offered .

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