From princesses who free princes to journalists who tell stories about natural catastrophes and, most generally, individual and collective actors who make sense of the world, narratives are everywh...

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)

A pervasive feature of populism is the use of rescue narratives to stimulate emotional adherence with audience predicated on evoking fear versus hope for salvation. This paper argues that restricting the rhetorical appeal of rescue narratives to the affective domain obscures the argumentative function that these narratives partake in constructing political arguments. It, thus, claims that rescue narratives can perform as arguments when used to provide reasons to justify political action. The paper examines the way(s) Donald Trump employs rescue narratives (...) as arguments to justify military interventions in Iraq and Syria. The analytical framework supplements the argumentative strategies of the Discourse-Historical Approach to Critical Discourse Studies with pragma-dialectics’ argumentation schemes. The analysis shows that the different elements of the narrative construct premises for argument schemes adduced to justify the rightness of claims. Conceptualizing Trump’s rescue narratives as arguments prompts a reflection on the possibility of narrative discourse to be associated with the domain of reason. (shrink)