Rules for a perfect conspiracy. Narrative, frame and collective action

  • Giusy Gallo
Keywords: conspiracy, frame, fiction, narrative, collective action

Abstract

The conspiracy can be declined as the construction of a narrative that is potentially endlessly repeated following a pattern that has variations depending on the aim the conspirators want to achieve. The purpose and dynamics of the power group secretly in action determine the conspiratorial narrative. The aspect of secrecy encourages the negative connotation that associates the conspiratorial dynamic with revolutions, dismissals of heads of state, overthrow of the established power or the order of things, triggering the fear of totalitarian drift, just to mention some areas already known to the political disciplines (Uscinski 2018), without mentioning the narratives related to the pandemic situation. However, whatever its object may be, the conspiracy-based narrative has taken on a negative connotation that is not an essential requirement, therefore not explicit in the etymological sense. Starting from the etymology of the term “conspire”, we intend to consider the emergence of a narrative model that privileges the sense of collective action, without the constraint of the political purpose mentioned above. Moreover, the reflection on the conspiracy narrative model will also refer to elements of rhetoric and the concept of frame.

References

Barkun, Michael (2003), A culture of conspiracy, University of California Press, Berkeley.

Bertuzzi, Niccolò (2021), “Conspiracy theories and social movements studies: A research agenda”, in Social Compass, vol. 15, n.12, https://doi.org/10.1111/soc4.12945.

Christie, Agatha (1934), Murder on the Orient Express, Harper Collins, London (trad. it. Assassinio sull’Orient Express, Milano, Mondadori editore 1997).

Christie, Agatha (2019), Assassinio sull’Orient Express, kindle edition, ed. or. 1934.

Cometa, Michele (2017), Perché le storie ci aiutano a vivere, Raffaello Cortina, Milano.

Danblon, Emmanuelle & Loïc, Nicolas (2010), Les rhétoriques de la conspiration, CNRS éditions, Paris.

Danesi, Marcel (2014), Signs of crime. Introducing forensic semiotics, De Gruyter Mouton, Berlin-Boston.

Eco, Umberto (1979), Lector in fabula. La cooperazione interpretativa nei testi narrativi, Bompiani, ed. 2002, Milano.

Eco, Umberto (1994), Sei passeggiate nei boschi narrativi, Bompiani, Milano.

Georgiu, Neophytos, Delfabbro, Paul, Balzan, Ryan (2021), “Conspiracy theory beliefs, scientific reasoning and the analytical thinking paradox”, in Applied Cognitive Psychology, vol. 35, n. 6, pp. 1523– 1534, https://doi.org/10.1002/acp.3885.

Goldberg, Robert Alan (2001), Enemies within: the culture of conspiracy in modern America, Yale University Press, New Haven.

Minsky, Marvin (1974), “A Framework for Representing Knowledge”, MIT-AI Laboratory Memo 306: https://web.media.mit.edu/~minsky/papers/Frames/frames.html

Revzin, Isaac & Graffy, Julian (1978), “Notes on the Semiotic Analysis of Detective Novels: With Examples from the Novels of Agatha Christie”, in New Literary History, vol. 9, n. 2, pp. 385-388.

Uscinski, Joseph, ed. (2018), Conspiracy theories and the people who believe them, Oxford University Press, London.

Visentin, Marco, Tuan, Annamaria, Di Domenico Giandomenico (2021), “Words matter: How privacy concerns and conspiracy theories spread on twitter”, in Psychology and Marketing, vol 38, n. 10, pp. 1828– 1846, https://doi.org/10.1002/mar.21542.
Published
2021-12-30
How to Cite
Gallo, G. (2021) “Rules for a perfect conspiracy. Narrative, frame and collective action”, Rivista Italiana di Filosofia del Linguaggio. Available at: http://160.97.104.70/index.php/rifl/article/view/692 (Accessed: 22November2024).