This article examines five common misunderstandings about case-study research: (1) Theoretical knowledge is more valuable than practical knowledge; (2) One cannot generalize from a single case, therefore the single case study cannot contribute to scientific development; (3) The case study is most useful for generating hypotheses, while other methods are more suitable for hypotheses testing and theory building; (4) The case study contains a bias toward verification; and (5) It is often difficult to summarize specific case studies. The article explains and corrects these misunderstandings one by one and concludes with the Kuhnian insight that a scientific discipline without a large number of thoroughly executed case studies is a discipline without systematic production of exemplars, and that a discipline without exemplars is an ineffective one. Social science may be strengthened by the execution of more good case studies.

Five Misunderstandings About Case-Study Research

Part 1: Social Analysis, Discourse Analysis, Text Analysis 1. Introduction 2. Texts, Social Events, and Social Practices 3. Intertextuality and Assumptions Part 2: Genres and Action 4. Genres 5. Meaning Relations between Sentences and Clauses 6. Types of Exchange, Speech Functions, and Grammatical Mood Part 3: Discourses and Representations 7. Discourses 8. Representations of Social Events Part 4: Styles and Identities 9. Styles 10. Modality and Evaluation 11. Conclusion

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Analysing Discourse: Textual Analysis for Social Research

What is narrative? How does it work and how does it shape our lives? H. Porter Abbott emphasizes that narrative is found not just in literature, film, and theatre, but everywhere in the ordinary course of people's lives. This widely used introduction, now revised and expanded in its third edition, is informed throughout by recent developments in the field and includes one new chapter. The glossary and bibliography have been expanded, and new sections explore unnatural narrative, retrograde narrative, reader-resistant narratives, intermedial narrative, narrativity, and multiple interpretation. With its lucid exposition of concepts, and suggestions for further reading, this book is not only an excellent introduction for courses focused on narrative but also an invaluable resource for students and scholars across a wide range of fields, including literature and drama, film and media, society and politics, journalism, autobiography, history, and still others throughout the arts, humanities, and social sciences.

The Cambridge Introduction to Narrative

Narrative is especially relevant to the analysis of organizational processes because people do not simply tell stories—they enact them. Narrative data have surface features that are useful for description, but explanatory process theories must be based on deeper structures that are not directly observable. To address this problem and to facilitate better process theory, in this article I use concepts from narrative theory to create a framework for analyzing structural features in narrative data.

Building Process Theory with Narrative: from Description to Explanation

This essay examines the ubiquitous presence of Venus in the archive of Atlantic slavery and wrestles with the impossibility of discovering anything about her that hasn’t already been stated. As an emblematic figure of the enslaved woman in the Atlantic world, Venus makes plain the convergence of terror and pleasure in the libidinal economy of slavery and, as well, the intimacy of history with the scandal and excess of literature. In writing at the limit of the unspeakable and the unknown, the essay mimes the violence of the archive and attempts to redress it by describing as fully as possible the conditions that determine the appearance of Venus and that dictate her silence.

Venus in Two Acts

Since its first publication in English in 1985, Mieke Bal's Narratology has become the international classic and comprehensive introduction to the theory of narrative texts. Narratology is a systematic account of narrative techniques, methods, their transmission, and reception, in which Bal distills years of study of the ways in which we understand both literary and non-literary works. In this third edition, Bal updates the book to include more analysis of film narratives while also sharpening and tightening her language to make it the most readable and student-friendly edition to date. Bal also introduces new sections that treat and clarify several modernist texts that pose narratological challenges. With changes prompted by ten years of feedback from scholars and teachers, Narratology remains the most important contribution to the study of the way narratives work, are formed, and are received.

Narratology: Introduction to the Theory of Narrative

This book is both a guide to, and interpretation of, the course of modern literary theory. Exploring the various theories of reading which have informed post--war literary criticism, it shows that for all the fervour of current debate about new movements in criticism, all these different approaches share at root a common notion of literary meaning.

Literary Meaning: From Phenomenology to Deconstruction

Literary Knowledge: Humanistic Inquiry and the Philosophy of Science

How does one read King Lear? We as readers often lull ourselves into a sense of false understanding: we take it to be such a great and powerful work, whose profundity is so "real" and "true," and hence, immediate, that we fail to question it. The work communicates despite its opacity; the reader resolves the difficulties of the play into simple, if not to say simplistic, oppositions and accessible, comprehensible structures where there is a seeming transparency of signification: Lear is "mad," Goneril and Regan are "ungrateful," and Cordelia is "loving" and "heroic." It could not be so simple, for a simple (simplistic) solution along these lines of psychological typology cannot do justice to the work's complexity. Lear, for example, is more than "mad"; this madness in any case must be at least explicated in textual terms rather than in pseudopsychological or metaphysical ones. Apart from the all too easily comprehensible plot about filial devotion, one of the main reasons for the assumed transparency of the play is the nature of the language itself, often singularly unpoetic (in normative terms), and like the characters who use it, jarring, aberrant, and at times awkward. The prose content of the play is also rather high in comparison to the rest of the major tragedies. Furthermore, there is an (apparent) lack of poetic fancy or imagination, with far fewer extended, complicated images than in many of the other plays. There is in fact only one salient linguistic feature apart from the uneven language and that is the negation endlessly repeated. The words "no," "never," "nothing," and similar words are prevalent throughout, as if, in this most tragic by being most basic and most nihilistic of Shakespearean plays, negation had replaced poetry as a dramatic vehicle as the only means of communication. The poetic pulse is not continuous; it is broken-negated-by the prose, the often prosaic verse, and by the negation in language of language and of

Lawrence R. Schehr

Papers

Narratology: Introduction to the Theory of Narrative

Literary Meaning: From Phenomenology to Deconstruction

Literary Knowledge: Humanistic Inquiry and the Philosophy of Science

King Lear: Monstrous Mimesis

A distance de voix: essai sur les "machines Ã parler"