CALIDAD DE SERVICIO

The  second  feature  of  narrative  is  that  it  is  meaningful:  there  is  a  suggestion  of  a  theme   and   the   use   of   emplotment.   Ostensibly,   a   plot   is   a   narrative   form:   it   is   a   sequence   of   events  that  makes  up  a  story  and  makes  it  distinctive.  It  is  argued  that  the  statement,   “The  king  died  and  then  the  queen  died”  is  merely  a  chronicle,  whereas  “The  king  died   and  then  the  queen  died  of  grief”  is  a  plot  with  an  explicit  link  between  the  two  events   in  the  sequence  (Forster,  1963).  However,  this  link  need  not  imply  causality  per  se.  An   expectation  of  causality  is  avoided  by  acknowledging  that  putting  these  events  together   provides  a  simple  explanation  and  increases  understanding  (Polkinghorne,  1988).  For   example,  that  the  king’s  death  so  pained  and  upset  the  queen  that  she  herself  also  died.   So  now  a  causal  law  (e.g.,  see  Ricoeur,  1984),  that  the  first  event  is  both  sufficient  and   necessary  for  the  second  event  across  a  range  of  different  contexts,  is  avoided.  Rather,   it  is  the  nature  of  narrative,  and  particularly  familiarity  with  forms  of  emplotment,  that   encourages  inference  of  causal  links  between  events.    

There  are  several  ways  to  classify  a  plot:  two  require  some  elaboration  here  since   they   informed   the   creative   story   elicitation   method   of   my   research,   which   will   be  

described   shortly.   One   way   of   classifying   emplotment   is   using   the   four   well-­‐known   Western   literary   tropes:   comedy,   tragedy,   romance,   and   satire   (Frye,   1957;   White,   1973).  In  comedy  the  protagonists  usually  belong  to  a  particular  society  or  group.  They   initially  obstruct  each  other  but  eventually,  despite  setbacks  and  funny  complications,   resolve  their  issues  striving  for  harmony  and  a  happy  ending.  Tragedy  is  the  opposite  of   comedy   and   is   an   individual’s   plight.   The   protagonist,   subject   to   the   rational   laws   of   fate,  falls  two  steps  backwards  with  every  step  taken  forward.  The  classical  ‘fall  from   grace’  and  ‘all  is  lost’  scenarios  are  experienced  but  while  the  outcome  is  dire,  those  left   behind   learn   from   these   tragic   circumstances.  Romance   focuses   on   a   protagonist’s   battle  against  the  ‘forces  of  evil’:  after  prolonged  searching,  trials,  and  adventures,  then   love,   self-­‐fulfilment,   success,   and   glory   are   earned.   The   assumption   is   that   all   things,   including   life   in   general,   have   a   true   and   deep   meaning   which   a   ‘true’   heroine   will   reveal  or  be  made  aware  of.  Finally  there  is  satire,  which  is  the  opposite  of  romance:  the   protagonist   will   never   win;   victory,   harmony,   and   self-­‐fulfilment   are   seen   as   illusions   and  absurd.  Irony,  often  with  the  benefit  of  hindsight,  casts  a  sceptical,  paradoxical,  and   contrary  view  of  situations,  suggesting  things  may  not  be  as  they  appear.  

Another   way   to   classify   emplotment   is   by   using   Gergen   and   Gergen’s   (1986)   progressive,  regressive  and  stable  narrative  forms.  Here,  a  protagonist’s  connectedness   or   coherence,   and   sense   of   movement   with   respect   to   a   specific   goal   are   important.   Also,   it   is   the   relationships   among   various   events   that   are   of   interest   rather   than   the   events  per  se.  In  a  progressive  plot,  events  are  linked  in  such  a  way  that  there  is  steady   movement   towards   the   goal;   in   a  regressive   plot,   events   move   the   protagonist   away   from   the   goal;   and   in   a   stable   plot,   the   protagonist   stagnates   or   procrastinates   with   neither   movement   towards   the   goal   nor   away   from   it.   These   progressive,   regressive,   and  stable  narrative  forms  exhaust  the  options  for  moving  towards  a  goal  and  are  very   simple,   rudimentary   plots.   They   are   substantially   less   complex   than   comedy,   tragedy,   romance,  and  satire  plots  and  can  be  used  to  deconstruct  these  more  elaborate  literary   tropes.   For   example   a   romance   consists   of   a   series   of   progressive-­‐regressive-­‐ progressive-­‐regressive-­‐progressive   plots   before   attaining   a   goal   of   self-­‐fulfilment   and   success.  Here  the  plot  is  initially  progressive  as  the  protagonist  moves  toward  the  goal   but  a  turn-­‐of-­‐events  or  turning  point  results  in  a  heading  away  from  the  goal,  another   turn-­‐of-­‐events   returns   the   protagonist   on   a   path   towards   the   goal,   and   in   the   case   of   romance,   to   eventually   attain   the   goal.   It   goes   without   saying   that   the   eventuality   of   turning  points  or  change  contributes  significantly  to  a  story’s  complexity  and  appeal.  A   dramatic  turn-­‐of-­‐events  can  make  stories  interesting,  even  exciting;  although  too  many   can  be  annoying  and  upsetting.  

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A   plot,   and   the   salience   of   emplotment,   influences   the   flow   of   action   and   behaviour  of  a  narrative’s  protagonists.  Conversely,  a  particular  sequence  of  events  and   sentiment  defines  a  plot.  For  instance,  if  a  movie  is  described  as  a  romantic  comedy,  a   certain   sequence   and   (con)sequence   of   events   is   likely.   Equally,   the   event   known   as   9/11   and   the   death   of   Princess   Diana   are   often   referred   to   as   tragedies.   Hence,   our   familiarisation   of   plots   and   the   structure   and   form   of   narrative,   influences   how   we   perceive   and   think,   imagine   and   relate,   and   make   choices   and   act.   Evidently,   when   presented   with   two   or   three   pictures   or   descriptive   phrases   depicting   people,   the   tendency   is   to   connect   them   together   to   form   a   story   reflecting   human   sentiments,   purposes,   values,   judgments   and   goals   (Sarbin,   1986).   Interestingly,   in   Western   cultures  we  tend  to  have  a  preference  for  a  romance  narrative  form:  the  attainment  of   goals   and   happy   endings   (Frank,   1995).   Although   not   of   particular   concern,   these   factors  should  be  kept  in  mind  when  using  a  narrative  approach  in  research  since  an   individual’s  knowledge  of  literary  form  can  influence  the  story  they  tell  (De  Medeiros,   2007).