Ch 11 Narrative Psychology Flashcards

1
Q

What is narrative psychology primarily concerned with?

A

Narrative psychology is concerned with how people organise and bring order to their experiences by constructing narratives, allowing them to make connections between and interpret events in their lives.

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2
Q

What is a key agreement among narrative researchers?

A

Narrative researchers agree on the importance of narratives in human interaction and share an interest in the structure and forms of the stories people narrate.

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3
Q

How do narrative researchers differ in their approaches?

A

While they agree on the significance of narratives, narrative researchers differ in their theoretical assumptions and methods of analysis.

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4
Q

Who is Murray, and what does he suggest about the development of narrative psychology?

A

Murray is a scholar who suggests that while literary and folklore critics have long been interested in narratives, the shift to narratives in psychology occurred more recently as part of a movement away from quantitative positivist psychology toward a focus on language and subjective experience.

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5
Q

How does Riessman (1993) define the concept of narrative in narrative psychology?

A

Riessman (1993) states that the exact definition of a narrative is open to debate among researchers.

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6
Q

According to Murray (2003), what is a narrative?

A

Murray (2003) defines a narrative as an organised interpretation of a sequence of events, attributing agency to characters and inferring causal links between events.

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7
Q

What does a narrative provide, according to Murray (2003)?

A

A narrative provides an opportunity to define ourselves, clarify the continuity in our lives, and convey this to others.

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8
Q

What are the six features of most narratives as described by McAdams?

A

McAdams identifies six features of most narratives: settings, characters, initiating events, attempts, consequences, and reactions.

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9
Q

What concern do Emerson and Frosh raise about defining narratives?

A

Emerson and Frosh question whether defining a narrative as something with a beginning, middle, and end focuses on a defensive structure that denies the disorganisation of everyday life.

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10
Q

What are Frank’s three types of illness narratives?

A

Frank identifies three types of illness narratives: restitution narratives, chaos narratives, and quest narratives.

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11
Q

What is a restitution narrative, according to Frank?

A

A restitution narrative follows the plot: “Yesterday I was healthy, today I’m sick, but tomorrow I’ll be healthy again,” with the end point being the expectation of recovery.

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12
Q

How does a chaos narrative differ from a restitution narrative?

A

A chaos narrative imagines life never getting better and lacks narrative order, offering no hope of improvement.

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13
Q

What is a quest narrative, as described by Frank?

A

A quest narrative sees illness as part of a journey where the experience is accepted, and there is a hope of personal growth or transformation.

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14
Q

What danger does Frank highlight in quest narratives?

A

Frank warns that quest narratives can sometimes romanticise illness, potentially overlooking the difficulties and distress involved.

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15
Q

What is Rickor’s (1984) argument regarding the function of narratives?

A

Rickor (1984) argues that humans need narratives to bring order to a constantly changing world and uses the term “emplotment” to describe how narrators organise sequences into meaningful plots.

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16
Q

According to Brunner, when do people seek organisation and coherence through narratives?

A

Brunner argues that people seek organisation and coherence through narratives particularly when life seems disorganised and incoherent, often during difficult times such as illness, bereavement, and divorce.

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17
Q

How do narratives help people cope with difficult experiences?

A

Narratives help make sense of difficult events, create order, and keep chaos at bay, offering a sense of control over disorganised or challenging life circumstances.

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18
Q

What role do narratives play in constructing and maintaining self-identity, according to Hiles and Cernak (2008)?

A

Hiles and Cernak (2008) argue that narrators play an active role in constructing their identities by choosing which stories to tell and which to withhold, shaping their self-identity in the process.

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19
Q

How can altering the stories we tell change our identities, according to Murray (2003)?

A

Murray (2003) suggests that by altering the narratives we tell, we can change our self-identities, as narratives provide localised coherence and stability in different social relationships.

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20
Q

What therapeutic function can illness narratives provide, according to Frank?

A

Frank argues that illness narratives offer a chance for those who are ill to find new destinations and maps in life, helping to reassert their voice after illness wounds both body and voice.

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21
Q

How do illness narratives describe life before illness, according to Murray?

A

Murray notes that illness narratives often describe life before illness in idyllic terms, which may help the narrator remove guilt and reinforce a sense of blamelessness.

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22
Q

How can narratives promote social change, according to the Centre for Narrative Research?

A

The Centre for Narrative Research claims that narratives can be important components of social change, contributing to resolving medical, social, and educational problems, building communities, and aiding reconciliation in conflict situations.

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23
Q

What example does Patricia Kauffert (1998) provide of narratives contributing to a resistance movement?

A

Kauffert (1998) describes how narratives from women with breast cancer helped form a resistance movement, including the Breast Cancer Coalition, which focused national attention on breast cancer and advocated for more funding and research.

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24
Q

What is the goal of narrative therapy?

A

Narrative therapy helps individuals reconstruct more fulfilling and freeing stories about their lives by addressing the constraining and restrictive stories they currently tell.

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25
Q

What does Riessman (1993) suggest narrative analysis focuses on?

A

Riessman (1993) suggests that narrative analysis examines how participants impose order on their experiences to make sense of events and actions in their lives.

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26
Q

What must be systematic and clear in a narrative analysis?

A

The analysis must be systematic and clear, generating insights into the structure of the narrative, its functions, and its social and/or psychological implications.

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27
Q

What sources can be used to gather narrative accounts?

A

Narrative accounts can be gathered from existing documents (e.g., Frost’s interviews with Nixon), narrative interviews, autobiographies, and creative methods like poems, lifelines, masks, and identity boxes.

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28
Q

What are the seven questions in Crossley’s semi-structured interview protocol for narrative interviews?

A

The seven questions cover: life chapters, key events, significant people, future plans, stresses and problems, personal ideologies, and life themes.

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29
Q

How does Crossley (2000) structure the ‘life chapters’ question in narrative interviews?

A

The ‘life chapters’ question asks participants to think of their life as if it were a book and divide it into distinct chapters.

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30
Q

How should researchers approach narrative interviews according to Etherington (2021)?

A

Etherington suggests a more collaborative approach to gathering data, describing them as “narrative conversations” rather than structured interviews.

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31
Q

Why might narrative interviews take place over several sessions?

A

Narrative interviews often occur over several sessions because it may take time for a participant to fully tell their story.

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32
Q

What does Riessman argue about the relationship between transcription and analysis?

A

Riessman argues that analysis cannot be easily separated from transcription; both are intertwined in the process of narrative analysis.

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33
Q

How does transcription in narrative analysis differ from discourse analysis?

A

In narrative analysis, a transcript of the content (questions and answers) is sufficient, while discourse analysis requires more detailed transcription, including pauses and annotations.

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34
Q

What determines the level of transcription required for narrative analysis?

A

The level of transcription required depends on the aims of the project and the type of analysis being conducted.

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35
Q

What do Langridge, Hiles, and Cermak suggest for narrative analysis?

A

They recommend applying a range of interpretive perspectives by repeatedly working through the text and asking different sets of questions about content, tone, themes, and social/psychological functions.

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36
Q

What questions should be asked about the content of a narrative during analysis?

A

Questions about content include: What type of story is being told? Who are the protagonists? Is the story progressive or regressive? Does it have a clear direction or does it fizzle out?

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37
Q

What questions should be asked about the content of a narrative during analysis?

A

Questions about content include: What type of story is being told? Who are the protagonists? Is the story progressive or regressive? Does it have a clear direction or does it fizzle out?

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38
Q

What should be considered when examining the tone of a narrative?

A

Questions about tone focus on how the story is told, including the language used, whether the tone is emotional or flat, optimistic or pessimistic, and if the narrative aims to persuade, justify, entertain, or achieve another rhetorical function.

39
Q

What is the focus when analysing themes in a narrative?

A

Analysis of themes involves identifying the key themes in the narrative, examining how they relate to or contradict each other, and assessing their importance in the overall story.

40
Q

What questions should be asked about the social and psychological functions of a narrative?

A

Questions include: What identities are constructed? How does the narrative position the protagonists and others? Who holds power in the story, and who gains or loses as a result of events?

41
Q

How does narrative analysis differ from other qualitative methods like interpretive phenomenological analysis (IPA)?

A

Unlike other methods, narrative analysis seeks to preserve the narrative as a whole rather than fragment it into themes.

42
Q

How do cultural narratives influence individual stories?

A

Murray (1999) argues that individuals draw on wider social and cultural narratives during interactions, shaping their personal stories.

43
Q

What role does the interview context play in shaping narratives, according to Mishler (1986)?

A

Mishler highlights that narratives are co-constructed through interaction, influenced by how interviewers ask questions, listen, interrupt, or otherwise participate in the storytelling process.

44
Q

What are the four questions Mishler suggests asking in narrative analysis regarding the interviewer’s role?

A

1) How does the interviewer influence the story’s production? 2) How do stories told in interviews differ from other contexts? 3) Do different interview types produce different stories? 4) How can the interviewer’s influence be considered in analysis?

45
Q

Why is researcher reflexivity important in narrative analysis?

A

Researchers must reflect on their own assumptions and biases, recognising that the narrative is co-constructed and their interpretation is influenced by their subjective perspective.

46
Q

What was the focus of the narrative analysis conducted by Papathomas and Lavallee?

A

They analysed the experiences of Beth, a 24-year-old athlete diagnosed with anorexia nervosa, focusing on her struggles with eating habits and attitudes, as well as her trauma related to sexual abuse by her tennis coach.

47
Q

How was rapport and narrative construction encouraged in the interviews with Beth?

A

Papathomas conducted six unstructured life history interviews, building rapport and trust, and used probing techniques to encourage Beth to reflect and take part in narrative constructions.

48
Q

What did Papathomas and Lavallee consider significant about Beth’s narrative in the context of eating disorders in sports literature?

A

Beth’s narrative was considered atypical compared to typical portrayals in sports literature, especially due to the inclusion of her experiences of sexual abuse. The researchers chose to honor the complexity and diversity of her story.

49
Q

What role did Papathomas assume during the analysis, and how is it defined?

A

Papathomas assumed the role of a story analyst, defined by Smith and Sparks as a researcher who steps back from the story and employs analytical procedures to scrutinise its features.

50
Q

Which narrative theorists’ techniques did Papathomas draw upon for the analysis?

A

Papathomas drew on techniques from Holstein and Gubrium, focusing on both the what’s (environmental circumstances of narration) and the how’s (processes of constructing the narrative) of Beth’s story.

51
Q

What did Papathomas focus on when reading the transcripts of Beth’s interviews?

A

Papathomas focused on the themes of the narrative (the what’s) and the performative aspects of how Beth linked certain experiences to make meaning (the how’s).

52
Q

What key events in Beth’s life were revealed during the narrative analysis?

A

Beth described a difficult childhood, excelling at tennis, being sexually abused by her coach at 13, and developing anorexia nervosa five years after the abuse.

53
Q

What did Papathomas and Lavallee suggest about Beth’s earlier reluctance to tell her story?

A

They suggested that Beth had resisted narrative opportunities due to the pain and psychological difficulty of sharing her experiences, which prevented her from constructing a coherent story and making sense of her trauma.

54
Q

How did Beth initially view her relationship with her tennis coach, and what role did this play in her narrative?

A

Beth initially saw her relationship with her coach as romantic, which normalised and legitimised her experiences. The coach played the “romantic hero” in her narrative, helping her cope with her troubled home life.

55
Q

What conflicting narratives does Beth struggle with as an adult?

A

Beth struggles between two competing narratives: a romantic love story, where she sees herself as equally responsible for the relationship, and an abuse narrative, where she is portrayed as a vulnerable minor who was not morally responsible for the abuse.

56
Q

What role did external media, like fictional TV programs, play in Beth’s reconstruction of her narrative?

A

TV programs like EastEnders, featuring abuse stories, helped Beth confirm that she was not to blame for the abuse, assisting her in reconstructing her narrative.

57
Q

What did Papathomas and Lavallee suggest about Beth’s struggle with narrative coherence?

A

They suggested that Beth’s inability to fully construct a coherent narrative of her abuse led her to live in a confused state, oscillating between opposing narratives, neither of which offered a satisfactory understanding of her trauma.

58
Q

How did Beth attempt to understand her anorexia nervosa in relation to her experiences of abuse?

A

Beth acknowledged the cultural narrative linking her abuse to her eating disorder but found this explanation unsatisfactory. Instead, she highlighted her mother’s influence on her negative body image as a more persuasive explanation.

59
Q

What other narrative did Beth draw on to make sense of her eating disorder, and how did her view evolve during the interviews?

A

Beth initially resisted the dominant narrative in sports psychology that linked sporting environments to eating disorders. However, later in the interviews, she began to draw on this narrative, possibly due to a lack of resources to construct meaning.

60
Q

What final narrative did Beth present regarding her eating disorder and relationship with her coach?

A

Beth suggested that her guilt about her relationship with her coach might have led to food restrictions as a way to avoid getting in trouble with her parents. This narrative attempted to link her family issues, abuse, and anorexia coherently.

61
Q

What conclusion did Papathomas and Lavallee reach regarding the use of cultural narratives in Beth’s case?

A

They concluded that it is important to expand available cultural narratives so that individuals like Beth have more resources to draw upon to make sense of their experiences.

62
Q

What are the origins and focus of memory work as a method of inquiry?

A

Memory work was developed in the 1980s by Frigga Haug and colleagues in West Germany. It focuses on how individuals internalise social relations and practices and actively construct their identities through personal memories, particularly in relation to socialisation and femininity.

63
Q

How does memory work differ from narrative psychology?

A

While narrative psychology often uses biographical narratives and coherent accounts, memory work focuses on specific memories that reveal contradictions and ambiguities in identity formation. Memory work is also a collective, third-person process.

64
Q

What are the key features of writing memories in memory work?

A

Memories should be written in the third person, be rich in circumstantial detail, and avoid first-person autobiographical explanations, as the focus is on contradiction and conflict in identity formation.

65
Q

What is the goal of Phase 1 in memory work?

A

Phase 1 involves group formation (4-8 members) and selecting triggers to write detailed, third-person memories that respond to specific events rather than abstract concepts.

66
Q

What happens during Phase 2 of memory work?

A

In Phase 2, the group analyses each memory for actions, roles, contradictions, and cultural meanings. Then, they perform cross-sectional analysis to compare themes and patterns across all the memories, and discussions are recorded for further analysis.

67
Q

What does Phase 3 of memory work focus on?

A

Phase 3 involves integrating the memories and the group’s discussions to build theories about social constructions. Existing theories and common sense ideas are critically appraised, and the process of writing helps clarify the theoretical formulations.

68
Q

What is the relationship between writing and memory work’s analysis process?

A

Writing is a collective and iterative process in memory work, as drafts are revised based on group discussions, often generating new ideas and requiring further analysis.

69
Q

Does memory work follow a linear process?

A

No, memory work is non-linear, allowing researchers to revisit earlier phases, expand on individual memories, and generate new triggers as new insights emerge, continuing until theoretical saturation is achieved.

70
Q

What emotions did Crawford et al. (1992) explore in their memory work study?

A

Emotions such as happiness, hurt, fear, joy, guilt, shame, anger, and rage.

71
Q

What was the purpose of memory work in Crawford et al.’s research?

A

To trace the processes by which group members develop and construct their emotions in social contexts.

72
Q

What did Anne’s memory highlight about social dynamics in her family?

A

It showed a power imbalance between Anne and her father, with traditional gender roles at play. Her mother’s intervention, though protective, subtly assigned responsibility to Anne.

73
Q

What common emotional patterns emerged across the group’s memories of saying sorry?

A

Instead of guilt or regret, the memories evoked feelings of confusion, fear, and indignation. Apologies served to deflect adult anger rather than express remorse.

74
Q

How were children’s actions interpreted in the memories analysed?

A

Children’s attempts to behave maturely were seen as challenges to authority, leading to punishment and apologies, which served to reinforce social power dynamics.

75
Q

What role did apologies play in maintaining social relations?

A

Apologies restored power relations within households or social contexts, as illustrated by Faye’s apology to her aunt.

76
Q

How did Crawford et al. explain the process of socialisation in the memories?

A

They argued that apologies and responsibility for others’ emotional well-being were part of a gendered process, teaching girls to accept responsibility even for unintended consequences.

77
Q

How did the group members’ memories illustrate the construction of emotions like anger and guilt?

A

Emotions were constructed in relation to issues of responsibility and autonomy, where children’s attempts to push boundaries were often met with punishment and admonition.

78
Q

What is a key similarity between narrative psychology and discourse analysis?

A

Both are social constructionist in orientation and focus on how events and experiences are talked about, rather than on the factual accuracy of the events themselves.

79
Q

According to Etherington, what is the nature of the stories presented in narrative research?

A

The stories presented are not “life as lived” but rather the researchers’ representations of those lives, as told by participants.

80
Q

How do narrative psychology and discourse analysis relate to identity construction?

A

Both approaches are interested in how identities are constructed through stories and accounts, and how these identities can change over time.

81
Q

What is meant by the “action orientation” of accounts in both narrative and discourse analysis?

A

This refers to the performative dimension of talk and text, where the meaning of what someone says depends on the social context and the communicative function of the account.

82
Q

Can you give an example of how a story might be used to establish a social identity in discourse?

A

For example, telling a story about participating in a protest at a political meeting could serve to establish a social identity as a political activist.

83
Q

What is the concept of “positioning” in both narrative psychology and discourse analysis?

A

Positioning refers to how speakers position themselves or others in their accounts, either in a micro sense (e.g., using the active or passive voice) or a macro sense (e.g., positioning oneself as a victim or perpetrator).

84
Q

What does Bamberg (1997) contribute to the understanding of narrative positioning?

A

Bamberg proposes three levels of narrative positioning that researchers should pay attention to, which help analyse how individuals position themselves within their stories.

85
Q

What is the main difference between narrative psychology and discourse analysis?

A

Narrative psychology is committed to a holistic perspective, focusing on the structure and function of the account as an integrated whole, which differentiates it from discourse analysis.

86
Q

What kind of knowledge does narrative psychology aim to produce?

A

Narrative psychology aims to produce knowledge about how individuals create meaningful stories from their experiences and the psychological and social consequences of those stories. It focuses on how stories are constructed, not whether they are objectively true or false. Researchers examine what is included or excluded in stories and what they mean to participants. This perspective produces social constructionist knowledge, acknowledging that the consequences of these stories are real and impactful. Some researchers also adopt a critical realist perspective, exploring the social, cultural, and material conditions that shape available narratives.

87
Q

How does narrative psychology view the truthfulness of participants’ stories?

A

Narrative psychology does not focus on the objective truth or falsity of participants’ stories. It recognises that different people can tell different stories about the same event and that the same person can change their story depending on the context. The emphasis is on how individuals construct their past and what their stories mean to them, rather than on factual accuracy.

88
Q

What assumptions does narrative psychology make about human behavior and the world?

A

Narrative psychology assumes that human behavior and experiences are meaningful and that understanding others requires looking closely at the stories and language they use. It posits that people are reflective, natural storytellers who create meaning by telling stories about their experiences. Furthermore, it holds that people continuously construct their identities through language, which is influenced by social and cultural contexts. It adopts a social constructionist orientation, recognising that while stories shape subjective reality, they are also bounded by socio-cultural and historical contexts.

89
Q

What role does language play in narrative psychology?

A

In narrative psychology, language is central to how people understand themselves and their experiences. Through the processes of talking and writing, individuals continuously create and shape their identities. Language helps people make meaning from their experiences, and these meanings are influenced by the social context in which they live.

90
Q

What is the relationship between narratives and socio-cultural contexts in narrative psychology?

A

Narrative psychology acknowledges that while people construct their subjective realities through stories, these constructions are not entirely free-floating. They are shaped and limited by the socio-cultural and historical contexts in which they occur. This means that certain narratives may be more readily available or acceptable depending on the broader social and material conditions.

91
Q

How does narrative psychology conceptualize the role of the researcher in the research process?

A

Narrative psychology views the researcher as playing an active role in the research process. The questions asked and the relationship between the researcher and participants shape the stories participants tell. The researcher’s own assumptions, biases, and beliefs also influence how they interpret and analyse these stories.

92
Q

What is the importance of reflexivity in narrative psychology?

A

Reflexivity is central to narrative psychology. Researchers are encouraged to be transparent about their role in the research process, including how their own perspectives influence the analysis. They must reflect on their impact on the production and understanding of narratives and make readers aware of the context and culture shaping the data.

93
Q

How should narrative researchers approach the ethical dimensions of their work?

A

Narrative researchers must approach their work with care and respect, understanding that they are working with personal and significant stories. They should ensure that the process of eliciting and analysing stories is done in a way that is sensitive to participants’ experiences, acknowledging the profound importance of stories in shaping identity.

94
Q

What parallels exist between the researcher’s role and the participants’ activities in narrative research?

A

Conducting and writing up research in narrative psychology is seen as another form of storytelling. The researcher, much like the participant, is involved in creating and constructing meaning through the research process. This reinforces the idea that both participants and researchers are actively shaping the narratives presented.