To raise the question of the nature of narrative is to invite reflection on the very nature of culture and, possibly, even on the nature of humanity itself. So natural is the impulse to narrate, so inevitable is the form of narrative for any report of the way things really happened, that narrativity could appear problematical only in a culture in which it was absent—absent or, as in some domains of Western intellectual and artistic culture, programmatically refused. As a panglobal (...) fact of culture, narrative and narration are less problems than simply data. As the late Roland Barthes remarked, narrative "is simply there like life itself . . . international, transhistorical, transcultural."1 Far from being a problem, then, narrative might well be considered a solution to a problem of general human concern, namely, the problem of how to translate knowing into telling,2 the problem of fashioning human experience into a form assimilable to structures of meaning that are generally human rather than culture-specific. We may not be able fully to comprehend specific thought patterns of another culture, but we have relatively less difficulty understanding a story coming from another culture, however exotic that culture may appear to us. As Barthes says, "narrative...is translatable without fundamental damage" in a way that a lyric poem or a philosophical discourse is not. · 1. Roland Barthes, "Introduction to the Structural Analysis of Narratives," Music, Image, Text, trans. Stephen Heath , p. 79.· 2. The words "narrative," "narration," "to narrate," and so on derive via the Latin gnārus and narro from the Sanskrit root gnâ . The same root yields γνωριμος : see Emile Boisacq, Dictionnaire étymologique de la langue grecque , under the entry for this word. My thanks to Ted Morris of Cornell, one of our greatest etymologists. Hayden White, professor in the program of history of consciousness at the University of California, Santa Cruz, is the author of The Tropics of Discourse: Essays in Cultural Criticism, The Greco-Roman Tradition, and Metahistory: The Historical Imagination in Nineteenth Century Europe. " The Narrativization of Real Events" appeared in the Summer 1981 issue of Critical Inquiry. Critical Responses to the present essay include Louis O. Mink's "Everyman His or Her Own Annalist", and Marilyn Robinson Waldman's "The Otherwise Unnoteworthy Year 711: A Reply to Hayden White," both in the Summer 1981 issue of Critical Inquiry. (shrink)

This article explores the rhetoric, and mass mediation, of the national Holocaust Memorial Day commemoration ceremony, as broadcast on British television. I argue that the televised national ceremonies should be approached as an example of multi-genre epideictic rhetoric, working up meanings through a hybrid combination of genres, author/animators and modes. Epideictic rhetoric has often been depreciated as simply ceremonial ‘praise or blame’ speeches. However, given that the topics of praise/blame assume the existence of social norms, epideictic also acts to presuppose (...) and evoke common values, in general, and a collective recognition of shared social responsibilities, in particular. My methodology draws on the Discourse-Historical Approach to Critical Discourse Analysis, given, first, its central prominence in analysing argumentative strategies in discourse and, second, the ways it facilitates a reflexive ‘shuttling’ between text-discursive features, intertextual relations and wider contexts of society and history. Here, I examine how a catastrophic past is invoked in speech and evoked through image and music, in response to the demands that uncertainty of the future ‘places upon one’s conscience’. (shrink)

Critical discourse analysis stands on the shoulder of giants – different giants – in order to answer how its critique, its ethico-moral stance, is theoretically grounded and justified. Concerning this question, this article explores the role of the Frankfurt School in the discourse–historical approach. Although references to the Frankfurt School can regularly be found in the DHA's canon, I argue that an even more comprehensive discussion would help in combating accusations of the DHA being unprincipled and politically biased, and further (...) enrich the DHA's toolkit for empirical analysis. After reviewing existing references to the Frankfurt School, I discuss this intellectual tradition – from Max Horkheimer and Theodor W. Adorno's The dialectic of enlightenment to Jürgen Habermas's language-philosophy – showing to what extent it can ground the DHA's emancipatory and socially transformative aims. Thereby, I illustrate how the DHA's critical standard is not simply based on a coincidental, though progressive, consensus but theoretically justified. (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)

The following is simultaneously an essay in sociological theory, in cultural sociology, and in the empirical reconstruction of postwar Western history. Per theory, it introduces and specifies a model of cultural trauma - a model that combines a strong cultural program with concern for institutional and power effects - and applies it to large-scale collectivities over extended periods of time. Per cultural sociology, the essay demonstrates that even the most calamitous and biological of social facts - the prototypical evil of (...) genocidal mass murder - can be understood only inside of symbolic codes and narratives; that these frames change substantially depending on social circumstances; and that this culture process is critical to establishing understandings of moral responsibility. Empirically, this essay documents, in social and cultural detail, using both secondary and primary sources, how it was that the `Holocaust' gradually became the dominant symbolic representation of evil in the late twentieth century, and what its consequences have been for the development of a supra-national moral universalism that may restrict genocidal acts in the future. (shrink)