The situated production of stories

• Main Authors: GREATBATCH, David, CLARK, Timothy Adrian Robert
• 格式: text
• 語言: English
• 出版: Institutional Knowledge at Singapore Management University 2010
• 主題: Organizational Behavior and Theory; Organizational Communication
• 在線閱讀: https://ink.library.smu.edu.sg/lkcsb_research/6256; https://ink.library.smu.edu.sg/context/lkcsb_research/article/7255/viewcontent/Situated_prod_stories_2010_pv.pdf
• 機構: Singapore Management University

At a general level storytelling is a pervasive feature of everyday discourse both within and outside organisations. Existing research on organisational stories indicates that they are not simply frivolous diversions that seek to amaze and entertain the recipients. Rather they may serve a number of important functions for organisations, which include socialising new organisational members by articulating the culture of an organisation; assisting with the development and verbalisation of visions and strategies; helping develop points of similarity within disparate and dispersed organisational groups; sustaining and legitimating existing power relationships as well as providing opportunities for resistance against them; and acting as collective organisational memory systems (Boje 1991, 1995, 2001; Boyce 1995; B. Clark 1972; Gabriel 1991, 1995; Moeran 2007; Mumby 1987; Wilkins 1983). Whilst previous studies have produced important insights into various aspects of storytelling within organisations, a common failing has been their focus on the analysis of textual recordings of stories rather than an examination of their in situ production. It has generally been assumed that a story's original meaning and purpose, as conveyed when it was initially told, is apparent from an analysis of a textual record of this event. With notable exceptions (e.g. Boje 1991, 1995, 2001), storytelling has not been viewed as a situated communicative act. This is surprising given that, as David Boje (2001) demonstrates, studying storytelling episodes as situated communicative acts, which are shaped not only by storytellers but also by story recipients, is critical to understanding their form, function and reception.