Narrative and Discursive Approaches in Entrepreneurship
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Narrative and Discursive Approaches in Entrepreneurship

A Second Movements in Entrepreneurship Book

Edited by Daniel Hjorth and Chris Steyaert

This is the second volume in a mini-series on movements in entrepreneurship. It aims to forward the study of entrepreneurship by stimulating and exploring new ideas and research practices in relation to new themes, theories, methods, pragmatic stances and contexts. The book explores different experiences and accounts of entrepreneurship, as well as reflections on ‘story telling’ in entrepreneurship research, discursive studies, and debates on how to interpret narrative and discursive work.
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1. 2. 3. I will argue in this chapter that the linguistic and performative turn are complementary and both are needed to conceive a prosaic approach to entrepreneurship. Which has been no sinecure, as we can read in Deetz’s plea (2003) to reclaim the legacy of the linguistic turn. What is paralogy? Consensus is only ‘a particular state of discussion, not its end’ (Lyotard, 1984: 65). The end is paralogy ‘a move (the importance of which is often not recognized until later) played in the pragmatics of knowledge’ (p. 61). The ends are moves that seek to contribute to diversity, uncertainty and undecidability, it is dissensus or apprenticeship in resistance because invention is always born of dissensus (Bertens, 1995: 127). For a plea to cherish (more) paralogy in organization studies, see Czarniawska (2001). While with a very different philosophical background. While Derrida ‘departed’ from de Saussure, Bakhtin rejected him, even as a point of departure (see Holquist, 2002). This fragment originally appeared in: Problema soderzhaniia, materiala, I formy v slovesnom khudozhestvennom tvorchestve [The problem of content, material, and form in verbal creative art]. See Morson and Emerson, 1990, p. xix. There is little doubt that Bakhtin greatly admires the realist novel and its ability to embrace the sense of the presentness of the present in a way that other genres don’t, most notably the Greek Romance, but also such autobiographical genres that he refers to as the analytic type and the energetic type (Bakhtin, 1981, pp. 140–42). For...

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