{"id":2610,"date":"2015-04-02T09:39:50","date_gmt":"2015-04-02T09:39:50","guid":{"rendered":"http:\/\/memetechnology.org\/?p=3268"},"modified":"2015-04-02T09:39:50","modified_gmt":"2015-04-02T09:39:50","slug":"plot-character-and-genre","status":"publish","type":"post","link":"https:\/\/generic.wordpress.soton.ac.uk\/archaeology\/2015\/04\/02\/plot-character-and-genre\/","title":{"rendered":"Plot, Character and Genre"},"content":{"rendered":"

I am across an interesting article<\/a> the other day which, I fear, has little to do with my thesis, but I was captivated and intrigued by it. It recorded and experiment exploring\u00a0storytelling genres, run by sociologists.<\/p>\n

So, why are sociologists looking at story? Well, I’ll let them explain:<\/p>\n

Preachers, advertising executives and politicians have long attested to the power\u00a0of a good story to change people\u2019s minds. Communication scholars recently have\u00a0shown why. People cognitively process stories differently than they process other\u00a0kinds of messages…\u00a0people process stories by immersing\u00a0themselves in the story, striving to experience vicariously the events and emotions\u00a0that the protagonists do.<\/p><\/blockquote>\n

I can’t argue with that, its one of the reasons why story is such a powerful interpretive tool, when done well.The authors (Francesca Polletta, Monica Trigoso, Britni Adams and\u00a0Amanda Ebner) argue that\u00a0the reader’s interpretation of a story will change depending on the ideology dominant at\u00a0the time the story is being read.<\/p>\n

Two hundred years ago, a story about a woman whose quiet forbearance allowed\u00a0her to suffer the indignities of poverty, abuse and injustice without complaint\u00a0might have been heard as a story of heroism. Today, \u2018Patient Griselda\u2019 is likely to\u00a0be interpreted as a story of abject and pathetic victimhood. This suggests that\u00a0stories are interpreted in terms of contemporary beliefs.<\/p><\/blockquote>\n

But they also argue that readers also bring their understanding of the genre into their interpretation of the narrative.<\/p>\n

It suggests that we can\u00a0hear stories in line, not with contemporary ideological beliefs, but with expectations that are intrinsic to the genre.<\/p><\/blockquote>\n

Thus, as readers, when we’ve twigged what sort of genre the story, we expect the characters to behave in certain ways.<\/p>\n

In particular, the moral evaluation that audiences make of the\u00a0story\u2019s main characters will depend less on characters\u2019\u2018objective\u2019 behavior than\u00a0on audiences\u2019 genre-based expectations. Audiences will fill in missing causal links\u00a0in the story in line with what usually happens in stories of this genre. For\u00a0example, in a tragic story, the main character\u2019s assertiveness may be blamed for\u00a0her downfall. The same assertiveness will be appreciated and endorsed when it\u00a0appears in a heroic story. Indeed, that assertiveness may be cited by audiences as\u00a0the reason for liking or identifying with the character.<\/p><\/blockquote>\n

Dealing with the sensitive issue of acquaintance or “date”-rape, and narratives\u00a0intended\u00a0to encourage victims to report incidents, the authors were interested in whether genre would trump dominant ideology or vice versa:<\/p>\n

Books, articles and other materials\u00a0that are aimed at preventing rape, encouraging women to report their rape and\u00a0helping victims to recover from their rape routinely include victims\u2019 stories of\u00a0their experiences. But do these stories do what they are supposed to do?<\/p><\/blockquote>\n

Their analysis of stories used in existing rape counselling literature, showed two genres being used. The first is\u00a0“gothic” stories, “in which an innocent woman is destroyed\u00a0by an evil man”, which they say is often criticized by feminists because victims struggle to identify with the woman in the story. The alternative that has appeared in response is what the authors call a “classic tragedy” in which “the protagonist is in a sense responsible for his\u00a0or her fate.”<\/p>\n

In their experiment, they presented the same plot \u00a0in four different genres, tragic and gothic, as per the existing counselling literature, and two alternatives: “heroic” and “rebirth.” Then, in a series of both closed and open questions and also in focus groups, asked readers “how they judged the protagonist of the\u00a0story; whether and why they identified with the protagonist of the story and\u00a0whether and why they could imagine being friends with her; whether they\u00a0believed that the story was credible; and, what they would do after they left the\u00a0rapist\u2019s room if they were the woman in the story.”<\/p>\n

I won’t do into depth on their results here, but this quote summarizes the dilemma they uncovered:<\/p>\n

Tell a story of a young woman\u00a0who is sheltered, shy and insecure \u2013 unlike the tragic protagonist, blameless \u2013 and\u00a0an audience of college women will like the woman in the story and identify with\u00a0her but will find it hard to imagine her reporting her rape. Tell a story of a woman\u00a0who is confident and assertive and the audience will imagine her reporting her\u00a0rape to police but will not identify with or like her. As researchers have shown\u00a0that identifying with characters is essential to stories\u2019 achieving their behavioral\u00a0effects, this presents a real problem.<\/p><\/blockquote>\n

So their are no easy answers, and not much learning for me, in my research, but I was intrigued by their approach.<\/p>
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I am across an interesting article the other day which, I fear, has little to do with my thesis, but I was captivated and intrigued by it. It recorded and experiment exploring storytelling genres, run by sociologists. 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