I am looking at a folktale that was adapted to address current societal issues. I find frame analysis on a societal level looking at the three levels of discourse: representative, frame-aligning, and general. The first set are those texts which the societal movements considers seminal, the second are those produced by leaders and intellectuals to get buy in to the movement’s ideals from the general public, and the third is what happens in everyday discourse (Johnston 2002). How do I translate this theory into an approach to explore an individual literary work?
Sorry Erik, but did you mean form-aligning discourse? Ah, yes, I see in your another question that it is frame-aligning discourse. I have no expertise in the field, so I am also waiting for enlightening relies.
On the premise that this is a text analysis problem...What if we treat the folktale as content/ text; use a template in the form of the seminal text to frame the folktale;coding being informed by the leitmotif of the movement's leaders? In that way we get to see how popular discourse/folktale/blog posts align to the frame- mediated by the propagandists/thought-leaders. Can I say thereafter that the folktale bears a Familienähnlichkeit with the seminal text? The degree of alignment would then be a function of the incidences of overlap, conceptualized as family resemblances.Would love to get your views on the following discourse as well:
https://www.researchgate.net/post/How_useful_is_Wittgensteins_idea_of_family_resemblance_Familienaehnlichkeit_for_narrative_construction?_tpcectx=profile_questions
Although I do not understand what you really mean by "frame-aligning" or frame alignment, you may want to have a look at Peter Stockwell's use of schema or frame theory to account for the way literature affects the knowledge existing in our mind. I experimented with his framework with my students in a course on "Cognitive Poetics," and I found it quite pedagogical in confronting existing cultural knowledge frames and incoming knowledge in literary reading. The categories he uses are the following:
Knowledge preservation: Incoming knowledge fits existing schematic knowledge;
Knowledge disruption: Incoming knowledge seriously challenges/undermines existing schematic knowledge;
Knowledge restructuring: Incoming knowledge restructures existing schematic knowledge;
Knowledge reinforcement: New literary schemas come to confirm existing schematic knowledge;
Knowledge accretion: Incoming knowledge enlarges and explains existing schematic knowledge;
Knowledge refreshment: Existing schematic knowledge is revised and recast by incoming knowledge (pp. 79-80).
Stockwell has a strong background in science fiction through which he was able to espcially elicit frame conflicts.
The bibliographic entry is: Stockwell, P. (2002). Cognitive poetics: An introduction. London/New York: Routledge.
I hope this will help.
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