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This article describes the effects of comic books in children's education, how the preconceived idea is that comic books lead to lower reading scores. The research found that this assumption was wrong and it promotes more organized thoughts and more linear narrative writing.

Some of the "2016 is awful" rhetoric might be about the way we all consumed the headlines this year. Amy Mitchell, director of Journalism Research at the Pew Research Center, says what we've been witnessing in news consumption trends over the last few years has changed us. "A lot of the shift to digital is presenting a news experience that is more mixed in with other kinds of activities," she says. "You don't necessarily go online looking for news each and every time. Somebody shares it, somebody emails it to you, somebody texts a link. And so many Americans are bumping into the news throughout the course of the day." Nikki Usher, a professor of media and public affairs at George Washington University, calls this recent phenomenon "ambient journalism," or "when you're constantly plugged in through social media and you're constantly online and engaged in some way." And that - that constant bumping into news and online discord, that constant engagement - over time, it becomes an assault. And, Usher says, besides that aggression of immediacy, a lot of the headlines we consumed this year, particularly about the election, pushed a certain narrative: a nation, and even a world, completely and disastrously divided, perhaps beyond repair. "Lots of crappy, bad things happen every year," she says, "but you aren't told over and over again that this just shows us how bad everything is."

Narratives powerfully persuade humans; pathos can outweigh logos to create believability.

In this article addressed to teachers, author Julia Csillag cites research on the use of wordless texts to teach students with autism spectrum disorder. Wordless texts can be used to address a variety of skills that autistic students typically struggle with, including diverse literacy skills, cognitive flexibility, and nonverbal communication. Removing words and auditory information also supports autistic students since integrating information from multiple senses can take longer in autistic individuals, particularly if this information is linguistic. Removing words can therefore positively influence processing. Using wordless books or movies can build diverse literacy skills in terms of making inferences, understanding narrative structure, and using evidence to support a claim. All wordless "texts" support individuals' ability to make inferences, which is helpful since research shows that "students with Asperger syndrome…had challenges in making inferences from the text" (Knight & Sartrini, 2014). Moreover, researchers have found that "similar processes contribute to comprehension of narratives across different media" (Kendeou, P. et al, 2009), meaning that addressing visual inferences can transfer to inferences made during reading. Images and silent books or movies necessarily require students to infer what is happening, who the characters are, etc.

Western literature exhibits a gradual progression from narratives that relate actions and events to stories that portray minds in all their meandering, many-layered, self-contradictory complexities. Perhaps people living in medieval societies were less preoccupied with the intricacies of other minds, simply because they didn't have to be. When people's choices were constrained and their actions could be predicted based on their social roles, there was less reason to be attuned to the mental states of others (or one's own, for that matter). The emergence of mind-focused literature may reflect the growing relevance of such attunement, as societies increasingly shed the rigid rules and roles that had imposed order on social interactions. But current psychological research hints at deeper implications. Literature certainly reflects the preoccupations of its time, but there is evidence that it may also reshape the minds of readers in unexpected ways. Stories that vault readers outside of their own lives and into characters' inner experiences may sharpen readers' general abilities to imagine the minds of others. If that's the case, the historical shift in literature from just-the-facts narration to the tracing of mental peregrinations may have had an unintended side effect: helping to train precisely the skills that people needed to function in societies that were becoming more socially complex and ambiguous.

This article explains the various ways one might deal with grief. These expressions are narratives, symbolism, metaphors, and analysis. Being narrative is sharing the legacy of the loved one and can be formed as eulogies, organizations, etc. Symbolism represents the relationship between the living and the passed. A common symbol is a "new star in the sky" for children who have lost parents, or a couple's wedding song. A metaphor is a way to describe a loved one or a relationship. An analysis is when one writes down their thoughts to reflect upon them. One may use this in a sudden-death case and the bereaved is overwhelmed by the idea that they "should've done more to save them."

This is an interesting college essay about an actor. She introduces the idea that "actors aren't human," in the first few lines, which hooks our attention, but never clearly tells us why they aren't. Instead of revisiting this topic, she shares a personal narrative of her acting experiences which, in a way show us why "actors aren't humans." I still think she could made it a little more clear.

At first when I started reading this essay, it didn't seem much like an essay, which is why I kept reading. I thought it was interesting how the author decided to write about her acting experiences; she made it clear that acting was very important to her. She did a good job of capturing my attention as a reader.

I think this essay is interesting. The ending message of it is about how her director had such a big impact on her life but you would never have guessed it would end up being about the director because he is not brought up until the end. I think this essay shows a great way to talk about someone who had a great impact in your life while still sharing a ton of information about yourself because I know that colleges use the essays to learn more about you.

Oral forms like ballads and epics exist in every culture, originating long before the advent of written language. In preliterate eras, tales had to be appealing to the ear and memorable to the mind or else they would simply disappear. After all, most messages we hear are forgotten, or if they're passed on, they're changed beyond recognition - as psychologists' investigations of how rumors evolve have shown. In his classic book Memory in Oral Traditions, cognitive scientist David Rubin notes, "Oral traditions depend on human memory for their preservation. If a tradition is to survive, it must be stored in one person's memory and be passed on to another person who is also capable of storing and retelling it. All this must occur over many generations… Oral traditions must, therefore, have developed forms of organization and strategies to decrease the changes that human memory imposes on the more casual transmission of verbal material." What are these strategies? Tales that last for many generations tend to describe concrete actions rather than abstract concepts. They use powerful visual images. They are sung or chanted. And they employ patterns of sound: alliteration, assonance, repetition and, most of all, rhyme. Such universal characteristics of oral narratives are, in effect, mnemonics - memory aids that people developed over time "to make use of the strengths and avoid the weaknesses of human memory," as Rubin puts it.

Information set to music, suggests research, is better retained, as it taps into time- honored strategies that help information stick. Tales that last for many generations tend to describe concrete actions rather than abstract concepts. They use powerful visual images. They are sung or chanted. And they employ patterns of sound: alliteration, assonance, repetition and, most of all, rhyme. A study by Rubin showed that when two words in a ballad are linked by rhyme, contemporary college students remember them better than non-rhyming words. Such universal characteristics of oral narratives are, in effect, mnemonics-memory aids that people developed over time "to make use of the strengths and avoid the weaknesses of human memory," as Rubin puts it. Songs and rhymes can be used to remember all kinds of information. A study just published in the journal Memory and Cognition finds that adults learned a new language more effectively when they sang it.

Jez Burrows is the author of Dictionary Stories: more than 150 short fiction pieces, composed entirely from example sentences taken from 12 different dictionaries. Describing his writing process, Burrows comments: "It was only a few weeks into writing Dictionary Stories that I realized the dictionary is something of a Trojan horse. Trundling up to the perimeter of your bookshelves, it presents itself as a harmless book of reference-but look inside and you'll find it crawling with thousands upon thousands of microscopic pieces of fiction, all in the form of example sentences. Fiction is perhaps a slightly misleading word to use in this context. Lexicographers do not write these examples from scratch in the service of whimsical narrative; they query huge corpora of texts that could include novels, news broadcasts, articles and essays, and select an example that demonstrates the most probable usage of a word. But surrounded by the neutral, instructive language of dictionary definitions, example sentences feel vital and full of personality. The New Oxford American Dictionary contains over 80,000 examples, but it was just one ("He perched on the edge of the bed, a study in confusion and misery," an example of the word "study") that set me on the journey of collaging these sentences together to create very short stories. Should you wish to try writing stories of your own in this vein, I give you this list of some of the most versatile words the New Oxford American has to offer-or at least, words with the highest number of example sentences, any of which would make a fine start to a story." So, if you want to try emulating Burrows' style, here're the 6 words: 1. go, 2. run, 3. take, 4. set, 5. cut, and 6. stand. These words illustrate the linguistic concept of polysemy: words that possess many meanings. Try creating a story using one--or collaging several example sentences. Have fun!

Novelist Kurt Vonnegut once opined, "There is no reason why the simple shapes of stories can't be fed into computers. They are beautiful shapes." Thanks to new text-mining techniques, this has now been done. Researchers at the University of Vermont's Computational Story Lab have analysed over 1,700 English novels to reveal six basic story types - you could call them archetypes - that form the building blocks for more complex stories. They are: 1. Rags to riches - a steady rise from bad to good fortune 2. Riches to rags - a fall from good to bad, a tragedy 3. Icarus - a rise then a fall in fortune 4. Oedipus - a fall, a rise then a fall again 5. Cinderella - rise, fall, rise 6. Man in a hole - fall, rise The researchers used sentiment analysis to get the data - a statistical technique often used by marketeers to analyse social media posts in which each word is allocated a particular 'sentiment score', based on crowdsourced data. Depending on the lexicon chosen, a word can be categorised as positive (happy) or negative (sad), or it can be associated with one or more of eight more subtle emotions, including fear, joy, surprise and anticipation. For example, the word 'happy' is positive, and associated with joy, trust and anticipation. The word 'abolish' is negative and associated with anger. Do sentiment analysis on all the words in a novel, poem or play and plot the results against time, and it's possible to see how the mood changes over the course of the text, revealing a kind of emotional narrative. While not a perfect tool - it looks at words in isolation, ignoring context - it can be surprisingly insightful when applied to larger chunks of text

A leading political strategist explains how candidates use the art of storytelling to help swing elections.

Almost every language on the planet includes words that sound like the things they describe. Crash, yawn, glug… speech is just full of these onomatopoeias. And because they have their root in real things they're often easy to identify. Even a non-native speaker might recognise the Hindi "achhee" (a sneeze) or the Indonesian "gluk" (glug). Because these onomatopoeias are so widely encountered, easy to pick up, and convey information might they be the first form of language? That's the argument presented in a recent paper published in Animal Cognition. It points out that our ancestors would have begun encountering more and more noises that we could repeat. Tool use/ manufacture in particular, with its smashes and crashes, would be a prime source of onomatopoeias. Mimicking these sounds could have allowed early humans to "talk" about the objects; describing goals, methods, and objects. Might handing someone a rock and going "smash" been a way to ask them to make a tool? Perhaps different noises could even refer to different tools. Humans are good at extracting information from mimicked sounds. These sounds also trigger "mirror neurons" - parts of the brain that fire when we observe other people doing something - allowing us to repeat those actions. Seeing someone hold a rock a certain way and saying "smash" could have helped our ancestors teach the proper way to smash. But the biggest benefit would be the fact that you can communicate about these objects without seeing them. Having a sound for a tool would allow you to ask someone for it, even if they didn't have it on them. Given these advantages, it's easy to imagine how evolution would have favoured people who mimicked noises. Over time, this would have driven the development of more and more complex communication; until language as we recognise it emerged. Following this narrative, you can see (or maybe hear) how an a human ancestor with almost no language capability gradual

This guide gives a run-down of tips for greater happiness. Some Words R Us related items: 1. Conquer negative thinking by acknowledging and challenging your thoughts. 2. Rewrite your story: we all have a personal narrative that shapes our view of the world, but sometimes our inner voice doesn't get it right. By (literally) writing and then editing our own stories, we can change our perceptions of ourselves and identify obstacles that stand in the way of our personal well-being. 3. Practice optimism: thinking positive thoughts and surrounding yourself with positive people really does help. 4. Kindness and compassion towards others and yourself

An NPR/Ipsos poll in December found that a significant number of Americans believe disinformation about the coronavirus and about settled historical facts. The findings underscore the enduring nature of unfounded conspiracies at a time when experts say disinformation is being spread on an unprecedented scale. The Internet gives conspiracy theorists a place to connect, and social media gives them a way to quickly disseminate their ideas on a mass scale. Disinformation peddlers are trying to drive traffic to websites where they can make money, or they're trying to shape a political narrative.

This New York Times interactive chatbox simulates a text conversation that you might have with a friend that's skeptical about getting COVID-vaccinated. One of the authors, Dr. Gagneur is a neonatologist and a professor of pediatrics at the University of Sherbrooke. His research has led to programs that increase childhood vaccinations through motivational interviewing. The second author, Dr. Tamerius is a former psychiatrist and the founder of Smart Politics, an organization that teaches people to communicate more persuasively. Dr. Gagneur highlights 4 principles that lead to more effective conversation: The skills introduced here are the same ones needed in any conversation in which you want to encourage behavior change, whether it's with your recalcitrant teenager, a frustrated co-worker or a vaccine-hesitant loved one. When you talk with people about getting vaccinated, there are four basic principles to keep in mind: ● Safety and rapport: It's very difficult for people to consider new ways of thinking or behaving when they feel they are in danger. Vaccine conversations must make others feel comfortable by withholding judgment and validating their concerns. Rather than directly contradict misinformation, highlight what they get right. Correct misinformation only late in the conversation, after they have fully expressed their concerns and have given you permission to share what you know. ● Respect for autonomy: The choice of whether to get vaccinated is others' to make, not yours. You can help guide their decision-making process, but any attempt to dictate the outcome - whether by commanding, advising, lecturing or shaming - will be met with resistance. ● Understanding and compassion: Before people will listen to what you have to say, they need to know you respect and appreciate their perspective. That means eliciting their concerns with curious, open-ended questions, showing you understand by verbally summarizing what you've heard and empat