Abstract

Narration as a fundamental activity practiced among human beings dates from long before writing was invented, and spread throughout many different civilisations. Within cultural and literary studies it underwent a renaissance through the work of the Russian folklorist and scholar Vladimir Propp, who analysed the basic plot components of Russian folk tales (published in Russia in 1928, translated to English in 1958, Morphology of the Folktale). Then, with the breakthrough of text linguistics, the narrative perspective entered forcefully into analyses of non-fictional texts (Wehrlich 1976, van Dijk 1980, Adam 1992). There have been many discussions about the number of components in the narrative structure, but there is currently a more or less clear consensus on the 5 component schema: initial situation, complication, reaction, resolution, final situation. The narrative structure has also entered non-linguistic fields, such as psychology and political science, and more particularly into climate change discourse, where even the Intergovernmental Panel on Climate Change (IPCC) has described its reports as “narratives”. With this as a backdrop, we will in the present contribution discuss the notion of narrative and its relevance in the analysis of climate change discourse within different genres, to show that despite their differences in both content and structure, there is a common climate change narrativity. The comparison involves two very distinct genres, the first of which is the political speech, exemplified by French President François Hollande’s prepared remarks at the climate change conference (COP21) in Paris in late 2015. The second genre has not yet received a label, but can be called “survey discourse”. This corresponds to answers to open-ended questions in a survey undertaken by the Norwegian Citizen Panel in 2015, where respondents answer freely in their own words the following question: “Concerning climate change, what do you think should be done?” The differences between the two genres are manifold. A political speech is carefully drafted by professionals and represents an institutional commitment by a leader. Survey answers are formulated by anonymous respondents who most often are not specialists in the field, and who in no way are bound by their statements. Despite these differences, our findings will show how these texts belonging to very different genres comprise a plot, and how different characters (heroes, victims, and villains) are integrated into the unfolding ‘story’, thus reflecting the socially pervasive nature of narratives.

Highlights

  • Narration as a fundamental activity practiced among human beings dates back from long before writing was invented, and spread throughout many different civilisations

  • Our findings show how these texts comprise a plot, and how different characters are integrated into the unfolding ‘story’, thereby reflecting the socially pervasive nature of narratives. Another central aim of this paper is to show the theoretical and empirical value of analysing how a given narrative relates to other narratives on the same topic, through markers of linguistic polyphony (Nølke et al 2004)

  • At the micro-level of words and sentences, we identify and explore markers of linguistic polyphony (Nølke et al 2004), which signal the presence of other voices than that of the speaker or author at the moment of utterance

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Summary

Introduction

Narration as a fundamental activity practiced among human beings dates back from long before writing was invented, and spread throughout many different civilisations. Survey discourse consists of open answers to specific questions, formulated by anonymous respondents who most often are not specialists in the field, and who in no way are bound by their statements Despite these differences, our findings show how these texts comprise a plot, and how different characters (heroes, victims, villains) are integrated into the unfolding ‘story’, thereby reflecting the socially pervasive nature of narratives. More broadly, societal context, a climate-change (cc) narrative is not formed independently of others but inevitably relates to them by echoing these past narratives, either through their content, or by more clearly confirming or challenging them through the use of specific linguistic markers Such markers give rise to polyphony, or ‘multivoicedness’, as described by the Scandinavian Theory of Linguistic Polyphony (“ScaPoLine”) (Nølke et al 2004). Between two versions of the complication phase of an otherwise shared cc narrative

From narrative sequences to climate-change narratives
Discussion and Conclusion
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