Narrative Research Now: Critical Perspectives on the Promise of Stories

Front Cover
Narrative Research Now: Critical Perspectives on the Promise of Stories
Copyright information
Table of Contents
List of Figures
Notes on Contributors
Acknowledgements
Foreword by Rachel Thomson
1 Narrative Now: Trends and Tensions
	What is narrative?
	Critiques and challenges
	Engaging with the critique: chapter outline
	Note
	References
Part I Institutional Authority and Counter-Stories
	2 Telling Stories with Ribbons: Visual Acknowledgement in the Wake of Child Sexual Abuse
		Introduction
		Child abuse, storytelling and testimony
		Scene 1: The appearance of Loud Fence, St Alipius Primary School
		Scene 2: St Patrick’s College
		Scene 3: St Patrick’s Cathedral
		Conclusion
		Notes
		References
	3 Policy Narratives and Policy Change: The Case of Pill Testing
		Narrative and public policy
		Discourse, narrative and change
		Methodology
		Drug checking
		Pragmatism and punishment
			Aotearoa
			New South Wales
		The value of values
		Conclusion
		References
	4 The Criminalised Other as Storyteller: The Promise and Peril of Bringing ‘Lived Experience’ into the Classroom
		Proximity and participation
		Story and narrative power
		Criminal ‘othering’
		Critical pedagogy
		Encountering the Other
		Reifying power relations (the perils)
		Conclusion (the promise)
		Note
		References
Part II Tellable and Untellable Stories
	5 Ethical Weaving: Creative Narrations of Family Trauma and Resilience
		Introduction
		Telling untellable stories
		‘Data’ collection from my family, an ethical dilemma
		The challenges of writing creative graphical memoir
			Graphic storytelling
		Authentic representations
		Emotional labour and intergenerational trauma
		Final thoughts
		References
	6 “I can’t believe how much I’ve done”: Joan and the Evolution of Her Life Story
		Oral history collection and curation and the Invisible Farmer project
		Interviewing Joan
		Joan tells her story at a Woman on Farms Gathering
		Joan – off the record
		Joan, full disclosure, and a roadblock
		Who owns the rights to Joan’s story?
		Notes
		References
Part III The Ethics of Representation
	7 Songs as Narratives: Ethical Tensions in Midnight Oil’s Dead Heart (1986) and Gadigal Land (2020)
		Introduction
		Contextualising the Oils’ songs’ stories
			Dead Heart
			Gadigal Land
		Who sings for whom and what can be heard?
		The imbrications of narrative openings to difference and more of the same
		Conclusion
		Acknowledgements
		Notes
		References
	8 Reading Back as a Way to Give Back? A Narrative Practice-Informed Method for Interview-Based Research
		Introduction
		One-dimensional stories and the problem of representation
		Narrative practice-informed ethics and politics
		A practice of witnessing through reading back resonant accounts
		Deconstruction as a practice of accountability
		Reading back: effects, possibilities and limitations
		Discussion
		References
	9 Narrating Women’s Life Histories: Voice, Audience, Ethics
		Introduction
		Why life histories?
		The role of the researcher in constructing the published narrative: our methodology
		Lasinem’s experience
		Ethical considerations: benefits and risks of life histories for the interlocuter
			Benefits
			Managing risks
		Conclusion
		Note
		References
	10 Narrative Next: Ways Forward for Narrative Research
		Institutional authority and counter-stories
		Tellable and untellable stories
		The ethics of representation
		What is next for narrative research?
		References
Index