ABSTRACT

Narratives are everywhere. We tell narratives about ourselves and we make the world meaningful through storytelling. We position others through the narratives we tell and are positioned by stories told about us. And yet, while narratives have, of course, been analysed in critical discourse studies (CDS), including in one of its most popular approaches, the discourse-historical approach (DHA), this article proposes to go a step further by systematically integrating the concept of narrative into the core of the DHA. More specifically, I consider narrative from the perspective of the concept of narrative genre. That is, I propose a focus on how meaning arises via the narrative genres of romance, tragedy, comedy and irony, i.e. through (modes of) emplotment. Such an integration does not contradict the DHA’s (and CDS’) focus on detailed textual analysis or reject existing foci, e.g. on argumentation, but recognises the centrality of the narrative form for social life and offers further concepts for empirical analyses. This focus on narrative genre contributes, furthermore, to the critical study of meaning-making by revising Jürgen Habermas’ Critical Theory and offering a novel integration of the latter into the DHA, thus providing a theoretically justified, immanent foundation for its critique.

摘要

叙事无处不在。我们讲述自己的故事，并通过讲故事使世界变得有意义。我们通过讲述的故事来定位他人，并通过讲述我们的故事来定位他人。然而，尽管叙事当然已经在批判性话语研究（CDS）中进行了分析，包括在其最受欢迎的方法之一中，即话语-历史方法（DHA），但本文还是建议通过系统地整合叙事方法来走得更远。叙事概念成为DHA的核心。更具体地说，我从叙事体裁的概念的角度来考虑叙事。也就是说，我建议着重于如何通过浪漫，悲剧，喜剧和讽刺的叙事形式（即通过（模式））产生意义。这样的整合不会与DHA（和CDS）专注于详细的文本分析或拒绝现有的焦点（例如论证）相矛盾，但会认识到叙事形式对社会生活的重要性，并为实证分析提供了进一步的概念。这种对叙事体裁的关注，通过修订于尔根·哈贝马斯（JürgenHabermas）的“批判理论”并将其与DHA的新颖结合，为批判意义研究做出了贡献，从而为其批判提供了理论上合理的内在基础。