Combining insights from narrative analysis in sociology and trope theory in anthropology, this article develops a theory of tropes that emphasizes their historical production and political effects. Tropes function politically to enable some narratives, identities and resolutions while foreclosing others. As a powerful tool for socio-historical analysis, a consideration of tropes is crucial for deconstructing the taken-for-granted predicates and the `dangerous' consequences of political narratives. To illustrate the argument, the trope of `the Sixties' is analyzed as a case study.

This article examines the rise of meta-commentary in US media, and considers the consequences it has for the social construction and the performance of intellectual expertise. Media meta-commentary is defined as critical reflection about media practices and performances, in which the primary basis for criticism is the comparison of different media formats. Meta-commentary began to emerge with the differentiation of the aesthetic sphere and the development of a new kind of expert, the cultural critic. Cultural criticism led to a proliferation (...) of expert performance styles, including a type of counter-performance that rejects the somber and serious nature of traditional intellectual practices. By the 1980s, these new styles of intellectual performance were being reinforced by important institutional and regulatory changes within the media industry, and ultimately by the proliferation of new digital technologies and DIY culture. By the twenty-first century, media meta-commentary had become a distinctive and peculiar form of expert discourse, which legitimates the act of criticism while also relativizing it. The current environment suggests two possible outcomes: a hopeful one that encourages greater reflexivity, and a more ominous one that points toward populism. (shrink)

This article explores the cultural dimension in democratic struggle from the vantage point of the public sphere. It proposes that in the public sphere there take place competing and changing interpretations over the `public' through continuous articulation of two analytically distinct representations of public interest - democratic and communal discourses. In an empirical study of the recent credibility crisis in Hong Kong, the author demonstrates first, how the governing coalition sought to maintain its authority through a discourse of `administrative efficiency' (...) embedded in the hegemonic narrative of success, and second, how the challenging discourse of democracy regained momentum through de-mystification of the hegemonic narrative in the event of governing crises. The case study of the recent bird flu crisis offers a specific account of political and cultural challenge to bureaucratic paternalism in the postcolonial context. It is argued that the challenge was powerfully presented as the crisis became a dramatic moment of meaning reconstruction through ironic narrativizing and democratic encoding in the public sphere. (shrink)

This article develops a theory about the narrative foundations of public policy. Politicians draw on specific types of narratives in order to connect the policies they are proposing, the needs of the public, and their own needs for legitimacy. In particular, politicians are drawn to policy narratives in which they themselves occupy the central and heroic character position, and where they are able to protect the scope of their jurisdictional authority. We demonstrate how this works through a historical analysis of (...) congressional debate about the nonprofit sector in the United States. Two competing narratives framed these debates : a selfless charity narrative, in which politicians try to empower heroic charity workers and philanthropists, and then stay out of the way; and a masquerade narrative, in which fake charities are taking advantage of the nonprofit tax exemption, in order to pursue a variety of noncivic and dangerous activities. Members of Congress quickly adopted the masquerade narrative as the dominant framework for discussing the nonprofit sector because it provided a more powerful and flexible rhetoric for reproducing their political legitimacy. By developing innovative elaborations of the masquerade narrative, while remaining faithful to its underlying narrative format, politicians were able to increase the persuasive impact of their legislative agendas. We argue that the narrative aspects of political debate are a central component of the policy-making process because they link cultural and political interests in a way that involves the mastery of cultural structure as well as the creativity of cultural performance. (shrink)

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. (shrink)

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. (shrink)

This article proffers an invitation to neoclassical sociology. This is understood as a Habermasian reconstruction of the fundamental vision of the discipline as conceptualized by classical theorists, particularly Weber. Taking the cases of Eastern and Central Europe as a laboratory, we argue against the idea of a single, homogenizing globalizing logic. Currently and historically what we see instead is a remarkable diversity of capitalist forms and destinations. Neither sociological theories of networks and embeddedness nor economic models of rational action adequately (...) comprehend this diversity. A neoclassical approach enjoins an empirical research agenda comparing capitalisms, and an ironic, historical approach to analysis to inform an immanent critique of capitalist possibilities. (shrink)

Societies change; and sociology has, since its inception, described and evaluated these changes. This article proposes a revised theory of collective learning processes, a conceptual framework which addresses ways in which people make sense of and cope with change. Drawing on Habermas’ classic proposal, but shifting the focus from argumentation towards storytelling, it explains how certain articulations allow for collective learning processes (imagining more inclusive orders), while others block learning processes (imagining more exclusive orders). More specifically, the article points to (...) narrative genres (romance, tragedy, comedy and irony) which organize feelings and shape the social bond, proposing that ironic and tragic stories have the potential to trigger collective learning processes, while romantic and comic stories tend to block them. (shrink)