ON FUTURES AND ENDINGS: NARRATOLOGICAL REFLECTIONS ON CONTEMPORARY FORMS OF CRISES*

The article examines the changing relationship of the present to the future from a narratological perspective. It argues that three dominant narrative schemas structure the contemporary experiences of temporality in the Western social imaginary: the modern crisis narrative, the apocalyptic narrative, and the chronic crisis narrative. In its first part, the article shows how the modern sense of crisis, which emerged in the late eighteenth century, sedimented into a powerful narrative template by knitting together the past, the present, and the future into a unified plot. The second part focuses on the resurgence of apocalyptic stories in the Western social imaginary and humanities discourse. The final part highlights the special contribution of aesthetics of precariousness to the Western imaginary of time and temporality. It argues that the “chronic crisis narrative” deflates the teleological narrative arc of the modern crisis paradigm while also shunning the end-time discourse of the apocalyptic narrative.     

Communicating Climate Change: Are Stories Better than “Just the Facts”?

Postpositive policy scholarship has long asserted the importance of narratives—or stories—in shaping public policy through public opinion. In part, the Narrative Policy Framework (NPF) was developed to empirically test this assertion. To assess the relationship between policy narratives and public opinion, NPF posits several causal mechanisms including narrative transportation. Narrative transportation is a measure used to assess the extent to which individuals exposed to a story are “transported” into that story. NPF hypothesizes that as narrative transportation increases the reader of the story will (i) have more positive affect for characters within the story; and (ii) will find the story more persuasive. Using an online experiment involving a nationally representative sample of over 1,700 respondents, this research tests narrative transportation hypotheses by exposing subjects to one of three Cultural Theory narratives about climate change, as well as a control list of scientifically agreed upon facts. While findings do not support that narratives are any more transportive than fact lists in terms of directly persuading respondents to accept specific climate change policies, the data do show that narrative transportation positively influences affect for hero characters, which extant research demonstrates indirectly influences the persuasiveness of a story.     

Looked at and looked over or: I wish I was adopted

Through collaborative narrative writing, in this article, we redeploy the sense of refugeity present in our singular narratives to co-construct a shared space for creative scholarship that becomes a feminist space to belong. Drawing on feminist scholarship and performance theory, narrative collaborations awkwardly embrace our mutual and sometimes contradictory senses of self and identity performance. The co-constructed nature of this article reflects contemporary developments in qualitative research that employ creative arts practice-led methodologies and acknowledge researcher/writers as situated gendered, sexualized, and encultured subjects within particular global and local contexts. This unconventional structure is used here to foreground the intersubjectivity and spatiality from which research and the desire to research arise, and as an experiment in tracing the lines of flight between new identities and new spaces.     

Remembering the making of Gender,Place and Culture

Separately and together we offer our memories of how Gender, Place and Culture came into being. In so doing we seek to make available the kind of histories that often remain hidden from view. At the same time we illustrate the fallibility of memory and the conditions of possibility that frame what we can narrate.     

金山潜龙:流散书写中的华工囚禁叙事

论文从中国历史和文化的视角出发,将天使岛诗歌作为一部华人囚禁叙事重新加以解读。认为天使岛华工诗歌通过特殊的艺术手法和完整鲜明的思想立场构成了一部华人囚禁叙事。它在意识形态上表现出与美国清教徒囚禁叙事三个不同的特点:一是它的种族化民族主义诉求是历史的产物,其目的是构建一个抵抗种族迫害的有效话语武器;二是它强调集体救赎,并且认为个体救赎只有通过集体救赎方可实现;三是它主张凭借集体奋斗和人类自身之力获得拯救,彰显了一种与中国传统文化精神相契合的人文主义解放哲学。     

HISTORICAL AND LITERARY APPROACHES TO THE “FINAL SOLUTION”: SAUL FRIEDLÄNDER AND JONATHAN LITTELL

This article discusses together two recent prize‐winning works of epic proportions that have received much attention: Saul Friedländer's two‐volume historical study Nazi Germany and the Jews and Jonathan Littell's novel Les Bienveillantes (The Kindly Ones), the former of which focuses on victims and the latter on perpetrators of the “Final Solution.” I provide a critical analysis of Littell's novel, especially with respect to its seemingly fatalistic mingling of erotic and genocidal motifs and its disavowal or underestimation of the difficulty and necessity of understanding victims of the Nazi genocide. My analysis raises the question of the extent to which the notoriety of the novel may be due to the way it instantiates influential approaches to both literature and the Holocaust in terms of an aesthetic of the sublime, excess, radical ambiguity (resolvable at best into irony and paradox), and fatalistic entry into an incomprehensible “heart of darkness.” Crucial here is the notion that an object (paradigmatically, the Holocaust) both demands representation or explanation and ultimately is beyond comprehension, narrative, or even words. I also reevaluate the bases for the justified praise accorded Friedländer's masterwork and question certain claims made on its behalf by commentators, especially with respect to literary and historiographical innovation. In so doing, I explore and defend the role of critical theory in relation to historical narrative.     

2. STORYTELLING

Natalie Davis is a quintessential storyteller in the way theorized by Walter Benjamin, Hannah Arendt, and Michel de Certeau. Her work decenters history not simply because it grants agency and so historical visibility to those who have been hidden from history or left on its margins, but also because her stories reveal the complexities of human experience and so challenge the received categories with which we are accustomed to thinking about the world.     

Chronotope,Story, and Historical Geography: Mikhail Bakhtin and the Space‐Time of Narratives

Abstract: This article studies space‐time as revealed in narrative, especially narrative intended to validate truth claims. Narrative plot is uniquely suited to capturing truths about time, causal complexity, and space. Bakhtin's “chronotope” (space‐time), which bridges plot, narrated events, and the real world, is critical to understanding this capacity, whether in fiction, in histories, or in didactic stories, myths, and parables. The chronotope is underutilized in the social sciences, but disputes over indigenous land in Canada exemplify its potential applications. To fully capture these heteroglot (“many‐voiced”) conflicts, factual verification should not be the only test of a narrative's truthfulness.     

RESEARCH,NARRATIVE, AND REPRESENTATION: A POSTNARRATIVE APPROACH

Narrativism or representationalism is founded on the idea that historical narratives and representations are 1) true and indivisible wholes, whereof 2) the truth needs to be maintained, although a narrativist or representationalist whole cannot be confirmed or disconfirmed, and wherein 3) the past is represented in a figurative sense. These fundamental aspects of narrativism have had a positive impact on historiography, but they are also the three reasons why narrativism has neglected historical research and argumentation. To remedy these problems postnarrativism has been evoked. It opts for presentation instead of representation, cutting through all the links between the past and the historiographical product. The product is not a narrative or a representation but a thesis, a proposal to see the past in a special way. The only element postnarrativism wants to retain of narrativism is colligation because it has an argumentative structure based on epistemic values. Postnarrativism leads to knowledge, built on the practice of warranted assertions instead of truth. My postnarrativism chooses a middle course between a strong narrativism and what I would like to call a “weak,” presentational postnarrativism. I agree with postnarrativists that more attention must be paid to argumentation and research. Moreover, I consider time a neglected issue in narrativism. Nevertheless, I don't want to give up the three above‐mentioned fundamental aspects of it. In my view the assumption of truth with regard to (figurative) representation needs to be maintained, but in a pragmatic, provisional form: a historical narrative or representation can be considered as true as long as it has not been replaced by a better one. Retaining truth and holism, but wanting more room for investigation and argumentation, requires that narrativism's role in historical research and history‐writing be revised. This implies the replacement of the usual research phase by a preparation phase, wherein, next to research, space must be reserved for so‐called writing activities. Preparation means the conversion of a germinal narrative or representation into an accomplished whole. Holism occurs in two representational forms: a narrative and a representation. In both forms, research concepts and the associated temporalities become visible under the surface of the narrativist or representational superstructure.