@article {454,
	title = {The Uses of Storytelling in Khaled Hosseini{\textquoteright}s The Kite Runner},
	journal = {Hacettepe University Journal of Faculty of Letters},
	volume = {35},
	year = {2018},
	month = {06/2018},
	pages = {1-11},
	type = {Research},
	chapter = {1},
	abstract = {In his The Kite Runner (2003), Khaled Hosseini uses storytelling for at least two purposes: to show how the first-person narrator yearns to alleviate or at least control the profoundly destructive impact of a single past experience on his adult mind and to show how, through such a recollection and reconstruction process, the narrator feels satisfied with his atonement by the end of his narration. Storytelling helps Hosseini{\textquoteright}s narrator to reconfigure his unfavourable experiences, which act both as the central concern of the narrative plot and as a shared quality weaving the central characters together. Cognitive narratologists, such as Monika Fludernik and David Herman, consider representation of experience an important basic element of narrativity or the qualities that make a narrative accepted as narrative. By focusing on his personal and human-like experiences, the protagonist Amir{\textquoteright}s storytelling not only functions as a significant tool to alleviate his intense suffering, but also facilitates the readers{\textquoteright} emotional engagement in Hosseini{\textquoteright}s storyworld. },
	keywords = {Atonement, Khaled Hosseini, Psychological Trauma, Storytelling, The Kite Runner},
	url = {http://dergipark.gov.tr/huefd/issue/37547/434221},
	author = {Nayebpour, Karam}
}
@article {456,
	title = {Narrativity in The Thousand and One Nights},
	journal = {Advances in Language and Literary Studies},
	volume = {8},
	year = {2017},
	month = {08/2017},
	pages = {85-90},
	type = {Research},
	chapter = {85},
	abstract = {<p>Scheherazade{\textquoteright}s art of storytelling is the main vehicle for the fictional worldmaking in The Thousand and One Nights. The overall structure of the folktale narrative depends on the tales she recounts to King Shahriyar, and it is through these tales that she finally is able to change his mind. The richness of the narrative qualities, properties, and techniques in The Thousand and One Nights has attracted narrative scholars and narratologists for a long time. Besides applying the frame narrative as a basic narrative technique for storytelling practices, Scheherazade{\textquoteright}s tales include many other narrative aspects, including narrativity-affecting features. Narrativity generally refers to the qualities and features that cause a narrative to be accepted or evaluated as a (prototype) narrative. This paper argues that Scheherazade{\textquoteright}s first tale for the king Shahryar, {\textquotedblleft}The Tale of the Merchant and the Ifrit,{\textquotedblright} includes some narrativity-affecting features which have the potential to inspire its narratee{\textquoteright}s, Shahryar{\textquoteright}s, emotional and cognitive responses, and hence facilitate his transportation into the storyworld. By capturing his interest with her art of storytelling, Scheherazade is able to avert the king{\textquoteright}s heinous crime against herself.</p>},
	keywords = {Narratee (Recipient), Narrativity and Narrativity-Affecting Features, Scheherazade, Storytelling, The Thousand and One Nights},
	issn = {2203-4714},
	doi = {http://dx.doi.org/10.7575/aiac.alls.v.8n.4p.85},
	url = {http://www.journals.aiac.org.au/index.php/alls/article/view/3707},
	author = {Nayebpour, Karam}
}
