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Investigating Psychology > Chapter 10 > Flashcards

Chapter 10 Flashcards

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1
Q

Discourse analysis can be used to analyze what?

A

People’s memory.

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2
Q

What happens during interactions?

A

People ‘do’ things.

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3
Q

According to Edwards discourse analysts are not interested in what?

A

The truth of the past but what doing now.

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4
Q

When do we typically remember things? When do we not?

A

In interaction with others and not in a laboratory.

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5
Q

What is autobiography in discourse analysis?

A

A story from a life but not the whole life story.

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6
Q

What is the difference between the experimental method and discourse analysis with regards to memory?

A

Experimental method is interested in accuracy but discursive analytic understands that a retelling is a version/construction.

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7
Q

Autobiographical memories are…

A

Reconstructions.

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8
Q

According to Conway, how do we remember past events?

A

The way we think of ourselves now dictates what we remember about the past. We remember which conform to the way we think of ourselves now.

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9
Q

What do dps bracket out? What do they focus on?

A

Bracket out ‘reality’ outside of discourse and focus on the ‘reality’ created in that discourse.

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10
Q

What are the two foci of d a?

A

What is being done in the discourse and the shared understandings (discursive resources) used which help construct the account/narrative.

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11
Q

How does the present relate to the past?

A

Issues in the present used to construct the past.

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12
Q

Accounts are s…… versions?

A

Selective.

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13
Q

Dps are not interested in accuracy but in what?

A

How and why an account is constructed?

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14
Q

What are discursive resources?

A

Combination of all the meanings and associations used before which help shape, pattern and construct people’s discourses. Determine what/the way people remember.

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15
Q

Analysts need to do what with regards to discursive resources?

A

Identify them, determine their meanings and how they relate to the current discourse/situation and its troubles.

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16
Q

What is double bracketing?

A

Not interested if something is true but also not interested in how experienced.

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17
Q

What three things do dps focus on?

A

Form and content of constructions, how constructions relate to social context, what is achieved.

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18
Q

What can we not assume about different versions of a retelling?

A

That one version is the right version. Always incomplete and something is always being done.

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19
Q

What is accountability?

A

People construct who is to blame and construct narrative to appear less blameworthy.

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20
Q

What can happen when we have a different conversation partner? What does this show?

A

There is a different construction. This variation can help understand the function of the constructions.

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21
Q

To what extent is managing accountability premeditated or fully intentional?

A

Not really

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22
Q

There is a focus on categories as understood by whom?

A

By participants and not the experts.

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23
Q

How are constructions negotiated?

A

Socially.

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24
Q

What do pre-existing, culturally available narratives do?

A

Help create the way people talk about experiences.

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25
Q

What do we need to do when we talk about experiences?

A

Put them into a form that other people understand.

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26
Q

What did young male PPS (19-21) have to do in Gergen’s study on narratives? What were the shapes? How did people remember events?

A

Depict lives using a graph. U-shape. Typically remembered good and bad events to fit the u-shape.

27
Q

What was the difference between the second and first group of PPS in Gergen’s study? What was a similarity?

A

The second group were 63-93 and the shape was like a rainbow peaking between 50 and 60 and then going downhill. Similarity was that experiences did not naturally reflect the shape of the narrative but were made to fit it (because that is the way people of their age group are seen to live their lives).

28
Q

Gergen’s study suggests that established narrative forms dictate..

A

Memory

29
Q

What do we do with the categories and cultural/conventions that exist?

A

We use them to help construct our identities and, by talking about them, we reinforce our identities.

30
Q

What do narratives help build?

A

Identities.

31
Q

What do narratives connect people to?

A

Culture.

32
Q

What are collective memories such as family memories or national histories?

A

Constructions which filter which accounts or details can be included (by those in power) and which not.

33
Q

How might a dp use histories?

A

To see if these partial truths have influenced individual accounts/memories.

34
Q

Discursive analyses are a synthesis of what?

A

Macro and micro approaches.

35
Q

Looking at the recognizable narratives which are taken for granted as the way things are would be the macro or he micro?

A

Macro

36
Q

A structure or sequence (first, then, next)of consequence (because of this then this) is the definition of what?

A

Narrative

37
Q

What is ‘trouble’?

A

Inconsistencies in accounts or being placed on the moral low ground by someone else.

38
Q

What do you need to do if there is trouble?

A

Repair work.

39
Q

What is an ideological dilemma? Example?

A

A choice with two unfavorable alternatives (rock and a hard place). ADHD mothers don’t want to be blamed for causing the child’s behavior but don’t want to be seen to pathologising their child.

40
Q

Why might a person change repertoires?

A

Manage trouble because of ideological dilemma.

41
Q

What was Reynolds’ study?

A

The changing meanings of bing asingle woman

42
Q

What kind of pattern did women show in Reynolds’ study?

A

Structured their lives according to stages based on age.

43
Q

Patterns in narratives are a sign of what?

A

That they are being used as narrative resources.

44
Q

What is society’s ‘coupledom narrative’?

A

People progress through stages: heterosexual love, marriage, family

45
Q

How are single women positioned by the dominant narrative?

A

As a lack/deficit, stuck at an earlier stage

46
Q

What is it difficult for (creates trouble) single women to do?

A

To construct a narrative which is different to the dominant narrative.

47
Q

What do single women (or those leaving a relationship or childless) need to do? What is a problem with this?

A

Contest negative identities and construct positive ones. Problem is that there are limited resources available.

48
Q

What has Heilbrun shown with regards to the difference between men and women’s biographies?

A

It is difficult for women to construct a biographical narrative which emphasizes work over marriage and family.

49
Q

In what two ways can women repair damage from trouble from the coupledom narrative?

A

Describe life in terms of major events rather than coupledom narrative or rhetorical work which counteracts trouble/negative meanings (e.g. Being single is a progressive/agentic step).

50
Q

Discursive analyses have shown that self/identity is linked to what?

A

Social world/practices

51
Q

What is identity work? How free is this?

A

Negotiating/constructing identity (through talk) in terms of what people in a specific culture say about you (there are shared ways of talking about self and others). There are constraints though as can’t just construct any identity.

52
Q

People are always already positioned by what embodied characteristics?

A

Gender, age, ethnicity, class etc.

53
Q

What do inconsistencies in the ongoing identity projects require? Is true consistency ever possible?

A

Repair

No

54
Q

Previous biographical narratives of self and positioning a create pressure for what in the future?

A

Consistency

55
Q

What was Taylor and Littleton’s study?

A

What are the identities identities of people in creative jobs and how are they constructed?

Art and Design postgraduates, novices.

56
Q

Taylor and Littleton observed patterns across the data in terms of what?

A

How first became interested in creative activity and what were early influences.

57
Q

What were the three particular patterns that Taylor and Littleton identified?

A
  1. Someone else on the family was creative
  2. Grew up in a creative environment
  3. Claim. To be interested from an early age
58
Q

What is the creative inheritance narrative?

A

Creativity can be passed down.

59
Q

What is the creative milieu narrative?

A

Growing up in a creative environment

60
Q

What is the early interest narrative?

A

Creative people are born and not made so evidence of early interest and talent

61
Q

What is the function of the narrative construction/resources in the Taylor and Littleton study?

A

Support the claim of being a creative person from the past to the present to the future

62
Q

In discursive analysis, to what extent are feelings important?

A

Only insofar as the functions they serve (often that feelings are more reliable than, for example, other people’s advice).

63
Q

Why do people talk about feelings in their accounts?

A

Because it is more difficult to challenge their reliability and makes the account more authentic.

Investigating Psychology (9 decks)

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