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Story and metaphor(p.6)
Referencing system(p.59).
conversation analysis and discourse analysis (p.66)
A narrative, in its most basic form, requires at least three elements: an original state of affairs, an action or an event, and the consequent state of affairs. (p.2)
Listed in this way, the events do not make much sense. For them to become a narrative, they requires a plot, that is, some way to bring them into a meaningful whole. The easiest way to do this is by introducing chronology , which in the mind of the reader easily turns into causality. (p.2).
As French philosopher Lyotard (1979/1986) points out, the legitimacy of scientific knowledge in its modern and western meaning depends on its sharp differentiation from the commonsense, everyday knowledge of ordidnary people – the narrative knowledge that tells of human projects and their consequences as they unfold over time. Yet it has been claimed that the narrative is the main mode of human knowledge and the main mode of communication (p.3)
In modern times, the example of such attempts start with the work of Giambattista Vico (1744/1960) and continue with the realist novel and the Chicago School of Sociology. How can these attempts be justified? (p.3)
Alasdaire MacIntyre (1981/1990), a moral philosopher, claims that social life is best conceived of as an enacted narrative. This is a thought resonant with that of philosopher, poet, and literary theorist Kenneth Burke (1945/1969), who suggests a dramatist analysis of human conduct, which he bases on the assumption that the rules of the drama as much reflect as influence and shape social life. (p.3).
The advantages of building a connection between the theory of human action and the narrative has also been pointed out by Ricoeur (1981), who suggests that meaningful action is to be considered as a text and text as an action. (p.4)
Hermeneutics and semiotics, two sets of devices, can be combined in the same way that motives are reconciled with causes in an interpretation of human action and justification is interwoven with causality in human beliefs (Rorty, 1991). (P.4)
A world cannot be inherently fictional; it can be fictional only according to whether one believes in it or not. The difference between fiction and reality is not objectivie and does not pertain to the thing itself; it resides in us, accordidng to whether or not we subjectively see in it a fiction. (p.21).
Although the narrative may be indifferent to extralinguistic reality, it compensates for it with an extreme sensibility to the linguistic reality. (p.5).
Metaphors condense stories and stories examine metaphors. Patriarchy is one metaphor that could be illustrated by the story above ; but there are perhaps better stories for this metaphor and better metaphors for this story. “Story criticize metaphors and metaphors criticize stories”
Stories and metaphors cannot replace one another because they have different tasks to accomplish. (p.6).
Science is not separated from literature by an abyss (p.7)
Contemporary organizatgions tend to ignore the role of narrative in learning, at least in their programmatic attempts to influence organizational learning. (p.8).
The art of writing an of speaking ; the persuasive skills in general ) becomes extremely important and their critical development becomes a crucial task in its own right. (p.11).
Recently, however, they have been increasingly retold in a slightly stylized way in the belief that such stories can teach students the practices of the field much more successfully than texts written in a scientific mode. In this context, at least two examples, both focusing on Anglo Saxon organizations, are worth mentioning; Frost, Mitchell, and Nord, and Sims, Gabriel, and Fineman
In short, what is necessary in sensemaking is a good story. (pp.60-61)
It is important to stress, however, that my use of the narrative device is neither a model nor a blueprint but just an example. The device is everybody’s to use, reconstruct, and deconstruct at will. (p.17).
In the Polish version of the story, the dragon is sent sheepskins stuffe with explosives – a less complimentary picture of the researchers? (p.40).
But power alone does not decide the size of the audience. There is always beauty and use. There is a hope that humble stories might conquer the audience by their aesthetic value. (p.48).
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Data are Everywhere by Mark Freeman
From this article, I could find a lot of Freeman’s articles.
In line with what was said earlier regarding fidelity to the phenomena, my aim was to be faithful to the human experience. And so, if science is about faithfulness to reality, then surely I was doing it. In fact, I would sometimes argue that it could be that what I was doing was more scientific than what they were doing (“they” being whoever my positivist opponents were) – at least there were some signs of life. (2004, p.72)
Life itself is variously quite beautiful and very messy, and literature generally does well to embody it in its full measure. It also does well in dealing with the emotional side of things, allowing us not only to think but also to feel. In emphasizing the importance of feeling, I am suggesting that narrative analysis, in addition to supporting the customary scientific aim of increasing knowledge and understanding about the human realm, can support the aim of increasing compassion and sympathy, and a sense of connection to others. (p.79)
In her analysis of adolescents’ fictional texts, Lightfoot (Chapter 1.2) draws upon Bakhtin’s (1986) distinction between two different forms of discourse – one authoritative, one innerly persuasive – to describe how fiction writing constitutes a process through which individuals liberate themselves from the constraints of authority and traition and reconstruct who they understand themselves to be. Stewart and Malley (Chapter 3.3) likewise explore how young women who live on the margins of the World War II era fashioned a sense of themselves in relation to but, importantly, distinct from the dominant cultural narrative (p.xvii).
No framework for analyzing narratives can be complete without including the psychological processes usually subsumed under the generic term “imagination.” (p.5).
That is to say, a hierarchy of hypothesis-making skills liberates human beings from the constraints of the immediate environment. With this “as if” skill, the actor can interact with narratively constructed events that are spatially distant and temporally remote, he or she can relocate self to different times and places (p.11).
To identify the conditions for persons to act as if they believe (assign credibility to ) some poetic imaginings and not others, it is helpful to look into the meaning of the word “believing.” An etymological tracing of our modern word “believe” provides some clues to help establish what differentiates believing from imagining, even though they cannot be differentiated in terms of content. This tracing proceeds from an IndoEuropean form, “leubh,” translated as “strongly desires” or “love,” through Latin forms that gave us “libido” and various other forms meaning “to love” (Needham, 1973). They etymological connection between “belief” and the various words for “love” is central to my thesis: that believing are highly valued imaginings. Thus, within the cognitive term belief resides variants of love, a concept associated with emotional life. In this context, I am interpreting the word “love” not in its romantic sense but in its more general sense of “being highly valued” (p.18).
