Samenvatting
Uitgebreide samenvatting van de colleges van het vak Strategische Storytelling
- Instelling
- Radboud Universiteit Nijmegen (RU)
Uitgebreide samenvatting van de artikelen van het vak Strategische Storytelling.
[Meer zien]Voorbeeld 4 van de 84 pagina's
Voorbeeld 4 van de 84 pagina's
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Voorbeeld van de inhoud
Strategische Storytelling – ArtikelenWeek 1
Oral narratives of personal experience – Labov (2008)
- The study of narrative extends over a broad range of human activities: novels, short
stories, poetic, film, folk tale, interviews, oral memoirs, histories, comic strips,
graphic novels and other visual media
o These forms of communication may draw upon the fundamental human
capacity to transfer experience from one person to another through oral
narratives of personal experience
o Narratives of personal experience were found to reduce the effects of
observation to a minimum
o Such narratives are delivered with a similar organization in a wide variety of
societies and cultures
- Structural organization
o A narrative is defined here as one way of recounting past events, in which the
order of narrative clauses matches the order of events as they occurred
Well, this man had a little too much to drink and he attacked me
and a friend came in and he stopped it
o The same events could have been reported in the non-narrative order
A friend of mine came in just in time to stop this person who had had a
little too much to drink from attacking me
This employs a variety of grammatical devices within a single
clause
o Narrative structure is established by the existence of temporal juncture
between two independent clauses
Temporal juncture is said to exist between two such clauses when a
change in the order of the clauses produces a change in the
interpretation of the order of the referenced events in past time
These are narrative clauses
o Narrative clauses respond to a potential question,
“what happened then?” and form the complicating
action of the narrative
o A narrative normally begins with an Orientation, introducing and identifying
the participants in the action: the time, the place, and the initial behavior
The orientation provides answers to the potential questions, “Who?
When? Where? What were they doing?”
E.g. My son has a , well, it was a fairly new one then
(Orientation). It’s a 60 cc Yahama. And it could move pretty
good. This fella and I were going down the road together.
o The end of a narrative is frequently signaled by a Coda, a statement that
returns the temporal setting to the present, precluding the question “and
what happened then?”
E.g. And you know the man who picket me out of the water?
He’s a detective in Union City, and I see him every now and
again
,- Evaluation
o Most adult narratives are more than a simple reporting of events
A variety of evaluative devices are used to establish the evaluative
point of the story
Narratives, which are basically an account of events that happened,
frequently contain irrealis clauses – negatives, conditionals, futures –
which refer to events that did not happen or might have happened or
had not yet happened
E.g. And the doctor just says, “Just that much more” he says,
“and you’d a been dead.”
Irrealis clauses serve to evaluate the events that actually did occur in
the narrative by comparing them with an alternate stream of reality:
potential events or outcomes that were not in fact realized
Frequently such evaluative clauses are concentrated in an evaluation
section, suspending the action before the critical event, and
establishing that event as the point of the narrative
Evaluative clauses vary along a dimension of objectivity
At one extreme, narrators may interrupt the narrative
subjectively by describing how they felt at that time
o E.g. I couldn’t handle any of it. I was hysterical for about
an hour and a half
In a more objective direction, narrators may quote themselves,
or with more credibility, cite a third-party witness (as in doctor
quote)
o E.g. I said to myself, ‘This is it’
At the other extreme, objective events speak for themselves
o E.g. And you could hear the prayer beads going in the
back of the plain
o Evaluation provides justification for the narrative’s claim on the greater
portion of conversational time than most turns of talk, requiring an extended
return of speakership to the narrator until it is finished
Evaluation thus provides a response to the question, “So what?”
o Narratives of personal experience normally show great variation in the length
of time covered by the clauses in orientation, complicating action and
evaluation sections, ranging from decades to minutes to seconds
Sequences of clauses of equal duration may be termed chronicles;
these are not designed to report and evaluate personal experiences
- Reportability and credibility
o A reportable event is one that itself justifies the delivery of the narrative and
the claim on social attention needed to deliver it
Some events are more reportable than others
The concept of reportability or tellability is relative to the situation and
the relations of the narrator with the audience
At the end of the scale, death and the danger of death are highly
reportable in almost every situation
At the other end, the fact that a person ate a banana for lunch might
be reportable only in the most relaxed family setting
, o Most narratives are focused on a most reportable event
Yet reporting this event alone does not make a narrative: it only forms
the abstract of a narrative
A narrative must also be credible if the narrative is not to be rejected
by the listener
o There is an inverse relationship between reportability and credibility: the
more reportable, the less credible
o In general, the more objective the evaluation, the more credible the event
- Narrative preconstruction
o When a narrator has made the decision to tell a narrative, he must solve the
fundamental problem: “Where should I begin?”
o The most reportable event is most salient, but one cannot begin with it
o Given the marked reportability of the most reportable event and the need to
establish credibility, the narrator must answer the question “How did this
event come about?”
The answer requires a shift of focus backwards in time to a precursor
event, which is linked to the most reportable event in the causal
network in which events are represented in memory
In traversing this network in reverse, the causal link found may be
event-to-goal, goal-to-attempt, or attempt-to-outcome
The process will continue recursively to e-2, e-3, etc .until an ordinary,
mundane event em is exactly what we would expect the person to do
in the situation described (em = orientation)
o Given the mundane and non-reportable character of the orientation, it
follows that the first link in the causal chain is a triggering event, which drives
the narrative along the chain towards the more reportable event
- The transformation of experience
o The participants in many narratives include protagonist, antagonist and third
party witnesses, of which the first is the most complex
o One can identify many egos present: the self as original author of the
narrative and its immediate animator; the self as actor; the self as
generalized other (normally as “you”); the anti-self as seen by other, and the
principal, the self in whose interest the story is told
That interest is normally advanced through a variety of techniques
which do not require any alteration in the truthfulness of the events
reported
o Most narratives of conflict involve linguistic devices that contribute to the
polarization of protagonist and antagonist, although within the family, other
linguistic forms lead to the integration of participants
The devices used to adjust praise and blame include most prominently
the deletion of events, an operation which can often be detected by
close reading
Kay elements in further manipulation are the grammatical features of
voice: passive vs. active, but also zero causatives which assign agency
(He drove through town with a chauffeur) or verbs which imply the
exertion of authority and resistance to it (My dad let me go with him)
, Other narrative devices function to increase the impression of agency:
pseudo-events that may not correspond to any physical event (“I
turned to him and”)
o Narrative analysis can show how the prima facie case is built to further the
interests of the principal
This involves detecting insertions of pseudo-events and removing
them, detecting deletions and replacing them; and exchanging excuses
for the action excused
It is then possible to approximate the original chain of events
on which the narrative is based
A useful exercise is to develop a complementary sub-rose case in the
interests of the antagonist
The comparison of these two constructions deepens our
understanding of how narrative skills are enlisted to transform
the social meaning of events without violating our
commitment to a faithful rendering of the past ?
Strategisch communiceren met narratieven, paradoxale functies en effecten – Sanders & van
Krieken (2018)
- Narratieven, ofwel verhalen, worden in uiteenlopende contexten door individuen en
organisaties ingezet om de begrijpelijkheid of overtuigingskracht van hun boodschap
te vergroten
- In dit artikel brengen ze onderzoek samen naar de rol die verhaalkenmerken en
communicatieve context spelen in de functies en effectiviteit van narratieve
communicatie in termen van begrijpelijkheid en overtuigingskracht
- Verhalen hebben in hun algemeenheid drie effecten die in deze artikelen aan de orde
komen:
1. Ze hebben affectieve en persuasieve effecten, méér dan een uiteenzetting van
feiten
2. Ze stellen de gebeurtenissen en mensen in het verhaal levendig voor ogen
3. Ze kunnen vertellers een identiteit geven de voor lezers een voorbeeld vormt
- De context waarbinnen we over verhalen spreken is functioneel
o Binnen CIW zijn narratieven relevant als middel om een doel te bereiken
Het gaat dus om strategisch gebruik van verhalen om bijv. een merk te
versterken, de begrijpelijkheid van leerteksten te optimaliseren, een
gezondheidsdoel na te streven
- Narrativiteit is overal, in de vorm van filmpjes en fotoreportages in krantjes,
brochures en op websites
- Wat is een verhaal (en wat is het niet)?
o Een verhalende tekst is een uiteenzetting die verwijst naar de tijd geplaatste,
momentane gebeurtenissen die standaard in chronologische volgorde
worden weergeven
Kenmerkend is dat er tijd verloopt tussen de gebeurtenissen en dat dit
tijdverloop los staat van de verteltijd hier-en-nu
Uitingen die op het hier-en-nu betrekking hebben, zoals vragen en
uitroepen, vormen geen verhaal, omdat de spreker en toehoorder
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