Ideology

Herman, Luc; Vervaeck, Bart

doi:10.1017/ccol0521856965.015

Cited by 29 publications

(5 citation statements)

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“…In each of these statements, ‘statistics’ could be replaced by ‘stories’ without compromising the insight. The ideological nature of narrative has been explored in literary criticism (Davis, 1987; Craib, 2000; Herman & Vervaeck, 2007; Salmon, 2010), and the performative nature of stories is widely recognized (Chambers, 1984; Phelan, 2007; Paley, 2009). Stories, like statistics – and irrespective of whether they are labelled ‘fiction’, ‘biography’, ‘history’, or ‘journalism’– baffle, deceive, legitimize decisions, bolster authority and power, sensationalize, inflate, confuse, and oversimplify.…”

Section: Methodology and Quality Criteriamentioning

confidence: 99%

The fictionalist paradigm

Paley

2010

Nursing Philosophy

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The fictionalist paradigm is introduced, and differentiated from other paradigms, using the Lincoln & Guba template. Following an initial overview, the axioms of fictionalism are delineated by reference to standard metaphysical categories: the nature of reality, the relationship between knower and known, the possibility of generalization, the possibility of causal linkages, and the role of values in inquiry. Although a paradigm's 'basic beliefs' are arbitrary and can be assumed for any reason, in this paper the fictionalist axioms are supported with philosophical considerations, and the key differences between fictionalism, positivism, and constructivism are briefly explained. Paradigm characteristics are then derived, focusing particularly on the methodological consequences. Towards the end of the paper, various objections and misunderstandings are discussed.

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Section: Methodology and Quality Criteriamentioning

confidence: 99%

The fictionalist paradigm

Paley

2010

Nursing Philosophy

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“…The storyline, or plot of a narrative, “secures the overall coherence of narrative accounts” (Llewellyn, 1999, p. 225) by providing a sequential pathway through time. A key aspect of any story is that it has a temporal location, meaning that it spans a certain time period (Herman and Vervaeck, 2007). The company's 2016 sustainability report can therefore be interpreted as having a storyline of sorts:This reporting year offered [Big Fish] a unique opportunity to work with the Tasmanian Salmon industry to tell our sustainability story ([Big Fish], 2016, p. 7, emphasis added).…”

Section: A Fairytale Analysis Of Big Fish's Environmental Reportingmentioning

confidence: 99%

“…The identification and analysis of characters and the roles they play is an important aspect of narrative analysis (Herman and Vervaeck, 2007; Margolin, 2007). Characters perform functions within the narrative, such as supporting a particular point of view, describing an event, location or condition (Phelan and Rabinowitz, 2012) and shaping action (Simons, 2014).…”

Section: A Fairytale Analysis Of Big Fish's Environmental Reportingmentioning

confidence: 99%

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Into the woods of corporate fairytales and environmental reporting

Morrison

Lowe²

2021

AAAJ

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PurposeUsing a dialogic approach to narrative analysis through the lens of fairytale, this paper explores the shared construction of corporate environmental stories. The analysis provided aims to reveal the narrative messaging which is implicit in corporate reporting, to contrast corporate and stakeholder narratives and to bring attention to the ubiquity of storytelling in corporate communications.Design/methodology/approachThis paper examines a series of events in which a single case company plays the central role. The environmental section of the case company's sustainability report is examined through the lens of fairytale analysis. Next, two counter accounts are constructed which foreground multiple stakeholder accounts and retold as fairytales.FindingsThe dialogic nature of accounts plays a critical role in how stakeholders understand the environmental impacts of a company. Storytelling mechanisms have been used to shape the perspective and sympathies of the report reader in favour of the company. We use these same mechanisms to create two collective counter accounts which display different sympathies.Research limitations/implicationsThis research reveals how the narrative nature of corporate reports may be used to fabricate a particular perspective through storytelling. By doing so, it challenges the authority of the version of events provided by the company and gives voice to collective counter accounts which are shared by and can be disseminated to other stakeholders.Originality/valueThis paper provides a unique perspective to understanding corporate environmental reporting and the stories shared by and with external stakeholders by drawing from a novel link between fairytale, storytelling and counter accounting.

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“…What I term “emotional elements” is close to emotional resonance, the degree to which the story strikes a chord with the audience (Lounsbury and Glynn, 2001; Giorgi, 2017; Lounsbury and Glynn, 2019). Finally, what I term “political elements” is related to narrator’s voice, which confers a story with legitimacy and authority (Herman, Jahn, and Ryan, 2005; Herman and Vervaeck, 2007). However, and this is where my work extends previous understandings, plausibility, resonance, and authority are usually studied as attributes of texts (e.g., frames), ignoring the process by which these texts were constructed (Leibel, Hallett, and Bechky, 2018; Lockwood, Giorgi, and Glynn, 2019).…”

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confidence: 99%

Narrating Institutional Logics into Effect: Coherence Across Cognitive, Political, and Emotional Elements

Zilber

2023

Administrative Science Quarterly

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Through an ethnographic study of decision making in a rape crisis center, I explore how institutional logics come to be through interactions. Zooming in on storytelling interactions and slowing down to follow their evolution, I find that collective cognitive, political, and emotional elements mediated the narration of logics into effect. While the interactions unfolded within a space of possibilities determined by logics, co-narrators still put much cognitive effort into negotiating which logic was relevant and how it implicated specific ways of understanding and responding to events. Narrators’ subject positions and their perceived interests and emotions also mediated the work of logics on the ground. Decisions were determined by degrees of coherence across these cognitive, political, and emotional elements. When there was high or moderate coherence, the decision followed the resolution implied by the narration. When coherence was low, decision makers rejected the decision implied by the narration. Coherence, then, constrained people’s agency to invoke institutional logic. These results offer compelling new theory about how institutional logics work: logics are neither deterministic nor freely manipulated but instantiated through collective and situated dynamics that set limits on their strategic use.

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Ideology

Cited by 29 publications

References 0 publications

The fictionalist paradigm

The fictionalist paradigm

Into the woods of corporate fairytales and environmental reporting

Narrating Institutional Logics into Effect: Coherence Across Cognitive, Political, and Emotional Elements

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