Einigkeitsdiskurse: Zur Inszenierung von Konsens in by Stephan Habscheid, Clemens Knobloch
By Stephan Habscheid, Clemens Knobloch
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2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. A member of a family leaves home (the hero is introduced); The interdiction is violated (villain enters the tale); The villain gains information about the victim; Victim taken in by deception, unwittingly helping the enemy; Villain causes harm/injury to family member; Misfortune or lack is made known; Hero leaves home; Hero acquires use of a magical agent; Hero is transferred, delivered or led to whereabouts of an object of the search; Hero and villain join in direct combat; Villain is defeated; Initial misfortune or lack is resolved; Hero returns; Task is resolved; Hero is recognised; Villain is punished.
Goffman 1959: 252–253) These activities follow specific norms and rules, are part of the ,field of politics‘ (in Pierre Bourdieu’s sense) and are ritualized, as Murray Edelman claimed in his seminal book The Symbolic Use of Politics (Edelman 1967). However, we have no real access to the ,backstage‘, to the ,politics du couloir‘, the many conversations and the gossip in the corridors when politicians meet informally (Wodak 2008a; KrzyĪanowski/Oberhuber 2007). Back stage is where performers are present but the audience is not, and the performers can step out of character without fear of disrupting the performance; „the back region is the place where the impression fostered by the performance is knowingly contradicted as a matter of course“ (Goffman 1959: 112).
8. 9. 10. 11. 12. 13. 14. 15. 47 The society does not completely accept the hero. There is a conflict of interests between the villains and the society. The villains are stronger than the society; the society is weak. There is a strong friendship or respect between the hero and a villain. The villains threaten the society. The hero avoids involvement in the conflict. The villains endanger a friend of the hero’s. The hero defeats the villains. The society is safe. The society accepts the hero. ‘ Important for our analysis of The West Wing episodes below is the discursive construction of the hero, similar to the hero in Western films, who has both strengths and weaknesses.