Beyond narrative coherence by Matti Hyvärinen, Lars-Christer Hydén, Marja Saarenheimo,

By Matti Hyvärinen, Lars-Christer Hydén, Marja Saarenheimo, Maria Tamboukou

Beyond Narrative Coherence reconsiders the best way we comprehend and paintings with narratives. even supposing narrators are likely to try for coherence, additionally they upload complexity, problem canonical scripts, and survey lives through telling hugely difficult and contradictory tales. Many narratives stay incomplete, ambiguous, and contradictory. visible coherence can't be the only ethical usual, the one standpoint of studying, or the criterion for choosing and discarding study fabric. Beyond Narrative Coherence addresses the bounds and points of narrative (dis)cohering through delivering a wealthy theoretical and ancient historical past to the talk. Limits of narrative coherence are mentioned from the viewpoint of 3 fields of lifestyles that frequently threaten the coherence of narrative: disorder, arts, and nerve-racking political adventure. The authors of the booklet disguise quite a lot of disciplines equivalent to psychology, sociology, arts reports, political technological know-how and philosophy

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She found that in order to become a member of the AA movement in the US — and this is probably true all over the world — you had to learn to tell your life story in a specific way. The typical AA story includes certain topics, like drinking career, drinking experiences, family, religious life, and so on. It also has to include certain cognitive elements that have to do with how to interpret and describe life as a life in terms of being a recovering alcoholic. New members of the AA movement have to learn to tell this story first by listening to “old-timers” telling their stories; and later on by telling their own stories with support from more experienced members.

Thus the coherence of stories, as discussed in more detail elsewhere (Brockmeier, 2004), can change relative to the rhetorical dynamic of the conversation which, in turn, depend on the interplay among the different strategies, intentions, and narrative competencies of the participants. In our second example we present another weird autobiographical story. In this case we want to draw attention to a different context which, we believe, must also be taken into account in order to understand the coherence, and incoherence, of this kind of story.

The interview starts with the initial interview question. In this Peggy is addressed by the interviewer as the addressee in the speech situation; that is, she is the physical person sitting opposite the interviewer. Then in Line 1 we encounter a new version of the “I”, namely the narrator of the story. That is, the voice that is going to guide us through the events (“I’ve always been”). In Lines 2 and 3 the “I” refers to Peggy as a young person reflecting back on an even younger version of herself (Line 4: “when I was studying” and Line 5).

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