By Stanton Wortham
This paintings tells how narrative self-construction occurs partially throughout the interactional energy of narrative discourse, as narrators enact attribute different types of social occasions, with their audiences, whereas telling their tales.
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Additional info for Narratives in Action: A Strategy for Research and Analysis (Counseling and Developement, 6)
This set changes over historical time. This account of voicing however, sounds in some ways like a rulebased theory. Isn’t Bakhtin proposing rules that connect types of cues to types of voices, without much attention to the particular context? I argue that he does not. Some analyses of voice, including my own in places (Locher & Wortham, 1994; Wortham & Locher, 1996), have presented voicing as too decontextualized a process. But Bakhtin himself makes clear that participants and analysts cannot compute a character’s voice by applying rules that associate types of words and expressions with certain social types.
In both the text and the example the Ephors refuse to expend resources on unhealthy babies. Analogously, in the storytelling event Mrs. Bailey herself seems to resent spending tax money on “unproductive” children. Two aspects of this passage make it seem unlikely that Mrs. Bailey is simply teasing Jasmine here. First, Mrs. Bailey raises an issue that is particularly charged in the contemporary United States: the use of workers’ tax payments to support nonworking people. It would have been safer to use a more hypothetical or less sensitive issue if she were simply teasing.
To establish this analogy, the utterance indexes two conceptual structures. One covers social organization in Sparta, which teachers and students have read about and discussed earlier. The other has emerged during the conversation, as teachers and students mention and reinforce parallels between subordinate, unprivileged Spartans (and Helots) and the black students themselves. Over time the organization of Sparta comes to provide an implicit relational map of the classroom interaction itself, with the black students cast as unproductive and subordinate.