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Narrative Foreclosed? Towards a Psychosocial Research Agenda

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Ecological Crisis, Sustainability and the Psychosocial Subject

Part of the book series: Studies in the Psychosocial ((STIP))

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Abstract

Calls for a more radical vision of human–nonhuman interdependence demand a revisioning of models of participation that would take us into less familiar territory and test the boundaries of what we take to be a ‘psychosocial’ perspective. This final chapter is a brief attempt to look forward. It considers what a research agenda informed by the modest contribution of this book might look like. To do so it focuses in on the concept of narrative foreclosure as a starting point, before exploring the potential of participatory research for challenging narrative foreclosure.

it seems easier to imagine ‘the end of the world’ than a far more modest change in the mode of production, as if liberal capitalism is the ‘real’ that will somehow survive even under conditions of a global ecological catastrophe. (Žižek et al. 1999, p. 55)

a properly turned mythology, and its enactment in ritual, will compel sustainability, just as assuredly as it has heretofore impeded it. (Sherry 2013, p. 214)

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Notes

  1. 1.

    1. See the Lab’s website for more details https://www.utwente.nl/igs/lifestorylab/

  2. 2.

    2. In fact, imagination is considered an overlooked ‘core dynamic’ by some sociologists and social psychologists in processes of emancipatory social and cultural change (Zittoun and Gillespie 2015; Frank 2010).

  3. 3.

    3. It also echoes the calls of Sayer and others for policy makers to engage with people as conscious, concerned citizens, rather than developing ethically and politically questionable sustainability ‘behaviour change’ programmes that are modeled to work ‘behind-the-backs’ of their target populations (Sayer 2013; see also Soron 2010).

  4. 4.

    4. Novels include the aforementioned, Booker prize nominated, novel by Karen Joy Fowler, We Are All Completely Beside Ourselves (2013); memoirs include Helen Macdonald’s H Is For Hawk (2014; winner of the Samuel Johnson Prize and the Costa Book of the Year award in 2014); artistic projects include Jo-Anne McArthur’s We Animals photo-documentation work http://weanimals.org and Chris Jordan’s Midway series http://www.chrisjordan.com/gallery/midway/#CF000313%2018x24; documentaries include Blackfish (Director: Cowperthwaite 2013) and Speciesism: The Movie (Director: Devries 2013); popular science tacking species relationships and complexity include Caspar Henderson’s Book of Barely Imagined Beings (2013); Whitehead and Rendell’s meticulously researched argument that whales and dolphins have a collective culture (Whitehead and Rendell 2014); campaigns focussing on advancing the legal rights of nonhuman animals include the Arcus Foundation http://www.arcusfoundation.org and the Nonhuman Rights Project http://www.nonhumanrightsproject.org. There is some interlinking of these phenomena. Campaigns against the treatment of Orca whales in commercial aquariums, for example (e.g. http://www.seaworldofhurt.com/news/) is inspired in part by the documentary Blackfish and has made some impact on policy making and business practices in the US. See http://www.theguardian.com/us-news/2015/nov/09/seaworld-end-orca-whale-shows-san-diego for details.

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Adams, M. (2016). Narrative Foreclosed? Towards a Psychosocial Research Agenda. In: Ecological Crisis, Sustainability and the Psychosocial Subject. Studies in the Psychosocial. Palgrave Macmillan, London. https://doi.org/10.1057/978-1-137-35160-9_11

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