http://ivl.cns.iu.edu/km/pres/2009-zoss-links/2009-zoss-links-research-design/references/borgattifoster.pdf

The Network Paradigm in Organizational Research: A Review and Typology

In a work with far-reaching implications, Chela Sandoval does no less than revise the genealogy of theory over the past thirty years, inserting what she terms "U.S. Third World feminism" into the narrative in a way that thoroughly alters our perspective on contemporary culture and subjectivity.What Sandoval has identified is a language, a rhetoric of resistance to postmodern cultural conditions. U.S liberation movements of the post-World War II era generated specific modes of oppositional consciousness. Out of these emerged a new activity of consciousness and language Sandoval calls the "methodology of the oppressed". This methodology -- born of the strains of the cultural and identity struggles that currently mark global exchange -- holds out the possibility of a new historical moment, a new citizen-subject, and a new form of alliance consciousness and politics. Utilizing semiotics and U.S. Third World feminist criticism, Sandoval demonstrates how this methodology mobilizes love as a category of critical analysis. Rendering this approach in all its specifics, Methodology of the Oppressed gives rise to an alternative mode of criticism opening new perspectives on a theoretical, literary, aesthetic, social movement, or psychic expression.

Methodology of the oppressed

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

Discourse as Interaction in Society - Teun A van Dijk Discourse Pragmatics - Shoshana Blum-Kulka Conversation Analysis - Anita Pomerantz and B J Fehr Institutional Dialogue - Paul Drew and Marja-Leena Soronjen Gender in Discourse - Cheris Kramarae, Candace West and Michelle Lazar Discourse, Ethnicity, Culture and Racism - Teun A van Dijk et al Organizational Discourse - Dennis Mumby and Robin Clair Discourse and Politics - Paul Chilton and Christina Sch[um]affner Discourse and Culture - Anna Wierzbicka and Cliff Goddard Critical Discourse Analysis - Norman Fairclough and Ruth Wodak Applied Discourse Analysis - Britt-Louise Gunnarsson

https://content.ub.hu-berlin.de/monographs/toc/ethnologie/BV025789736.pdf

Discourse as Social Interaction

This paper is an argument for systematic textual analysis as a part of discourse analysis, and an attempt to stimulate debate on this issue between different approaches to discourse analysis. Two t...

Discourse and Text: Linguistic and Intertextual Analysis within Discourse Analysis:

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Published in 1977, Fragments d'un discours amoureux was an immediate success, rapidly becoming something of a French bestseller. Magazines, from Elle to Playboy, jostled for interviews. A television program cordially brought together Barthes and FranCoise Sagan to confer on love (the same television and the same Sagan who had served as witness in the book to "the most worn-out of stereotypes": "just last night, I heard it uttered in a play by Sagan: every other night, on TV, someone says: I love you").2 A theatrical adaptation by Pierre Leenhardt played in Paris at the Theatre Marie-Stuart. And the novelist Marie Cardinal, misunderstanding an invitation by the Nouvelles littdraires to provide a pen-portrait of Prime Minister Raymond Barre, wrote a piece instead on ... Roland Barthes, ending with the confession that what annoyed her most was that he, not she, had managed to produce such a fine account of love. Fragments, in other words, marks the great moment of the cultural resonance of Barthes's writing, its prestige, Barthes as almost a novelist, whereas Mythologies, twenty years earlier, had marked the moment of the force of his writing as cultural analysis and criticism (analysis and criticism of, among other things, the very magazines --"the journal Elle, a real treasure-house of myth"-that now sought him for their pages). Between the two books runs a whole movement (that of semiology, of the study of signs and the systematic conditions of their signification, followed by increasing attention to the terms of the production of meanings and of the relations of the individual as subject in that production) in which Barthes can be seen as a constant initiator of shifts and displacements, his own work returning more and more, the spiral of a return differently, to questions posed from a certain liking for aspects of an innerness of language and experience, from points of subjective response of intensity: pleasure (Le Plaisir du texte [ 1973]), the "I," the novel of the masks and personae and resistances of the ego (Roland Barthes par Roland Barthes [1977]), or, as in Fragments, a discourse of love. Fragments had one beginning in January, 1975 in Barthes's seminar at the Ecole des Hautes Etudes en Sciences Sociales. Just as previously he had devoted two years of the seminar to the analysis of Sarrasine, a short novel by Balzac,

Stephen Heath

Papers

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Barthes on Love

Language, Literature, Materialism

Roland Barthes: A Conservative Estimate@@@Image-Music-Text