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"No stories, no self": Co-constructing personal narratives in the psychotherapy session

100%
Pawelczyk J.
Poznań Studies in Contemporary Linguistics
|
2012
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vol. 48
1-21
EN
Psychotherapy constitutes one of the contexts in which narrating one's personal experience is highly encouraged and expected. By telling their life stories, clients are able to organize their "autobiographical self" as well as voice the aspects of their experience that need therapeutic intervention in order for the client to live a more fulfilling life. Informed by insights and methods of conversation analysis and discourse analysis, this paper discusses narrative as a practice situated within social interaction. The study examines how clients' personal narratives in psychotherapy sessions emerge as co-constructed interactional accomplishments, focusing on the active role of the psychotherapist in facilitating clients' troubles-telling. The functions of the therapist's interventions will be scrutinized in terms of their interactional and sequential import as well as corrective functions. The analysis presented in this study is based on two psychotherapy sessions conducted by the same psychotherapist working within the theoretical framework of Relationship-Focused Integrative Psychotherapy.
2
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Repairing Tales from Japan: Changes Over Time in Personal Narratives

100%
Riney T.
Research in Language
|
2011
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vol. 9
|
issue 2
19-28
EN
At two different times, Time 1 and Time 2, 13 participants in Japan (8 Japanese and 5 Americans) were asked to spontaneously respond in English to this prompt: "Tell me about one of the most exciting or dangerous moments in your life." The Japanese responded during their first and fourth years of college, which involved an interval of 42 months. The Americans were native speakers of English and responded earlier and later in their one year study abroad program in Japanese language and culture. Three questions addressed by this paper were the following: (a) What types of topics and narrative structures characterize these 26 stories? (b) What types of speaker-initiated repairs appear, and are the repairs the same or different at Time 1 and Time 2? (c) How are the repairs related to different listener (American, Japanese, Filipino, and Taiwanese) assessments of the intelligibility of the narratives?
3
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Repairing Tales from Japan: Changes Over Time in Personal Narratives

100%
Riney T. J.
Research in Language
|
2011
|
vol. 9
|
issue 2
19-28
EN
At two different times, Time 1 and Time 2, 13 participants in Japan (8 Japanese and 5 Americans) were asked to spontaneously respond in English to this prompt: “Tell me about one of the most exciting or dangerous moments in your life.” The Japanese responded during their first and fourth years of college, which involved an interval of 42 months. The Americans were native speakers of English and responded earlier and later in their one year study abroad program in Japanese language and culture. Three questions addressed by this paper were the following: (a) What types of topics and narrative structures characterize these 26 stories? (b) What types of speaker-initiated repairs appear, and are the repairs the same or different at Time 1 and Time 2? (c) How are the repairs related to different listener (American, Japanese, Filipino, and Taiwanese) assessments of the intelligibility of the narratives?
4
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A dokąd teraz? Problematyka obozowa w perspektywie jugosłowiańskiej. Przypadek Elviry Kohn

86%
Taczyńska K.
Acta Universitatis Lodziensis. Folia Litteraria Polonica
|
2018
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vol. 47
|
issue 1
135-158
EN
The text contains an analysis of photographs and personal (written) documents by Elvira Kohn (1914–2003), a Jew and a female prisoner of Kampor concentration camp, established in July 1942 on Rab island in Croatia. The article explores the specific features of a narrative about World War II and the Jewish experience in Yugoslavia which emerge from the materials. Presented so that they complement each other, photographs understood as photo-texts (Marianna Michałowska) and a diary and a poem recognized as inconspicuous texts (Jerzy Strzelczyk, Inga Iwasiów) form Kohn’s personal narrative. The microhistory (Ewa Domańska) of this photographer and writer is presented as material supplementing the knowledge about the past of Jews in Yugoslavia, which – due to the choices Elvira Kohn made in her life and art – can also be considered as evidence of emancipatory social changes of that period, and as an example of overcoming the existing cultural paradigms.
5
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Autoetnografia nie wzięła się znikąd- rozważania o ciągłości i zmianie

72%
Kępa E.
Parezja. Czasopismo Forum Młodych Pedagogów przy Komitecie Nauk Pedagogicznych PAN
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2014
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vol. 1
PL
Dokonywanie rewolucyjnych zmian nie jest zadaniem łatwym. Tak w kontekście ludzkiego życia, jak i na gruncie nauki. Towarzyszą mu wątpliwości i pytania. W artykule opisuję trudności powstałe w wyniku przesuwania granic dotyczących naukowego poznania związane z pojawieniem się autoetnografii. Piszę też o pracy wkładanej przez wielu badaczy w to, by autoetnografia „zadomowiła się” jako nowy sposób ujmowania i tworzenia wiedzy.Prezentowany tekst jest zgodny z zasadą parezji. Wzbogacony bowiem został o autoetnograficzną narrację o konieczności wyprowadzenia się ze starego domu i, wynikającej z tego faktu, potrzebie stworzenia go na nowo. Owa narracja stanowi otwartą, szczerą i wymagającą ode mnie dużej odwagi opowieść o moich doświadczeniach osobistych.
EN
Making revolutionary changes is not an easy task, both in terms of human life and science. It is accompanied by doubts and questions. In this article, I have described difficulties resulting from the shifting of scientific cognition borders that are connected with the emergence of autoethnography. I have also mentioned the efforts of many researchers to make autoethnography „domesticated” as a new way of handling and creating knowledge. The text respects the principle of parrhesia. It has been enriched with autoethnographical narrative about the need to move out from the old house and, in consequence, the need to create a new one. This story is open and sincere. It is also an act of courage, because this is the narrative about my own personal experiences
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