The article discusses the narrative turn as a key for the analysis of sociological/social theories. To that end, we present some preliminary results of an inquiry around the theories of modernization put forward by the Italian-Argentine sociologist Gino Germani. We look into the narrative of transition, its paradoxes and a counter narrative found in some of his works. From this point we draw some conclusions about the limits of the "narrative turn" as a perspective (...) for social theory analysis and display, as an alternative, Foucault's perspective of re-problematization. We primarily look into the danger of homogenization that the "narrative turn" entails, in spite of the heterogeneity of elements which, as we shall argue, form the modernization theory found in Germani. In this sense, towards the end, the article seeks to contribute to a reflection on the work with theoretical texts and proposes an approach able to observe the historical and material singularities involved in his production. El artículo discute la perspectiva del giro narrativo como clave de análisis de teorías sociológicas/sociales. Para ello, presenta como "caso" algunos resultados preliminares de una indagación sobre las teorías de la modernización presentes en los textos del sociólogo ítalo-argentino Gino Germani. Se analiza el funcionamiento, en los textos germanianos, de una narrativa de la transición, sus paradojas, así como de una contranarrativa crítica de la modernidad. A partir de ello, se exponen algunos límites del abordaje propuesto por el giro narrativo al que se contrapondrá, como alternativa, la perspectiva foucaultiana de re-problematización. Fundamentalmente, se analizan los peligros de homogenización que comporta el tipo de análisis propuesto por el giro narrativo en desmedro de la heterogeneidad de elementos que, según argumentaremos, componen la teoría de la modernización presente en Germani. En este sentido, hacia el final, el artículo busca aportar a una reflexión respecto del trabajo con textos teóricos y propone un abordaje atento a las singularidades histórico-materiales asociadas a su producción. (shrink)

Contemporary ICTs such as speaking machines and computer games tend to create illusions. Is this ethically problematic? Is it deception? And what kind of “reality” do we presuppose when we talk about illusion in this context? Inspired by work on similarities between ICT design and the art of magic and illusion, responding to literature on deception in robot ethics and related fields, and briefly considering the issue in the context of the history of machines, this paper discusses these questions through (...) the lens of stage magic and illusionism, with the aim of reframing the very question of deception. It investigates if we can take a more positive or at least morally neutral view of magic, illusion, and performance, while still being able to understand and criticize the relevant phenomena, and if we can describe and evaluate these phenomena without recourse to the term “deception” at all. This leads the paper into a discussion about metaphysics and into taking a relational and narrative turn. Replying to Tognazzini, the paper identifies and analyses two metaphysical positions: a narrative and performative non-dualist position is articulated in response to what is taken to be a dualist, in particular Platonic, approach to “deception” phenomena. The latter is critically discussed and replaced by a performative and relational approach which avoids a distant “view from nowhere” metaphysics and brings us back to the phenomena and experience in the performance relation. The paper also reflects on the ethical and political implications of the two positions: for the responsibility of ICT designers and users, which are seen as co-responsible magicians or co-performers, and for the responsibility of those who influence the social structures that shape who has power to deceive or to let others perform. (shrink)

Abstract“Patient-centred care” is the recent response to the malaise produced in the field of health care from the point of view both of a technical mentality and the paternalistic model. The interest in the story-telling approach shown by both the humanities and the social sciences has favoured a “narrative turn” in medicine too, where the new ethics of therapeutic relationship consider the hermeneutic method a means by which to integrate evidence and subjectivity, scientific data and patient experience. The (...) aim of this paper is to show how Ricoeur’s theory of “threefold mimesis” makes a conceptual contribution to the use of narrative interviews in nursing and also be successfully transferred into and applied in the field of healthcare in general. First, the paper examines how this narrative approach might open up new possibilities for the acquisition of in-depth knowledge of patients’ life experiences, a condition indispensable for the improvement of the quality of care. Secondly, it highlights how this Ricoeurian method seems capable of provide an opportunity for healthcare professionals to review their own understanding of the caregiver-patient therapeutic relationship, beginning with their confrontation with the patient’s world as revealed by the narrative they provide. (shrink)

Introduction: the neuroscientific turn in political science The observation that brains and political orders are interdependent is almost trivial. Obviously, political orders require brain processes in order to emerge and to remain in place, as these processes enable action and cognition. Conversely, every since Aristotle coined man as “by nature a political animal” (Aristotle, Pol.: 1252a 3; cf. Eth. Nic.: 1097b 11), this also suggests that the political engagements of this animal has likely consequences for its natural development, including (...) the development of its psychological functions. Given these mutual interdependencies, it is remarkable that only since the 1960s, the more general domain of ‘biopolitics’ has attracted attention though first particularly in the form of behavioral politics (Alford and Hibbing). Since then biopolitics has gained in interest, so much so that different subdomains can be identified. Indeed, a 2008 review of the field of biopolitics identified five ‘headings’ of it: “(1) the case for a ‘more biologically oriented political science’, (2) ‘biologically related’ public policy issues, (3) physiological measures of political attitudes and behaviour, (4) the influence of physiological factors on actual political behaviour, and (5) the manner in which our species’ evolutionary history has left homo sapiens genetically endowed with certain social and political behavioural tendencies” (Somit and Peterson 43). Striking is how the relation between biology and politics is taken here in a rather unidirectional way, emphasizing particularly the decisive power of biology upon politics. The reverse relation is not mentioned specifically, reflecting the field of biopolitics, perhaps until quite recently. This absence of studies of political influences on our biology may have to do with the difficulty in investigating such influences. Empirical studies in biopolitics have two foci, broadly speaking: genetics and the brain, both of which have turned out to be complex and dynamic phenomena (Alford and Hibbing). Yet the studies of genetics and brain processes have made much progress in the last few decades, thanks to the development of research instruments - like fMRI brain scanners and TMS brain stimulation instruments - and of computational tools for data analysis and the simulation of explanatory models. For the field of biopolitics it is particularly relevant that within cognitive neuroscience the study of social and political issues has witnessed an increasing interest of researchers even more recently. Indeed, aware of the enabling and mediating role of the brain regarding those issues, a truly ‘neuroscientific turn’ can be observed in the social sciences, testified for example by the emergence of the field of ‘neuropolitics’ (Connolly; Vandervalk). Developing a systematic neuropolitics or biopolitics in general is a difficult challenge because of the wealth of causal influences on and interdependencies between biological, brain, cognitive and socio-political factors. Taking a somewhat more abstract perspective, this paper focuses on the process of emerging complexity in adaptive systems, enabling those to conduct ever more complex processes. Yet, parallel to that development can be observed that such systems, or organisms, are also capable in reducing the complexity of the information they are to process. Once they’re capable of developing and adjusting such compressed and complex representations of information, those systems or organisms can handle more information faster and more efficient and adaptive, yielding important benefits to the organism in navigating its environment (Halford, Wilson and Phillips). Before focusing on the role of narrative as a cognitive strategy for such a reduction of informational complexity, I will discuss the development of stable structures and increasing complexity in dynamic systems. Such a more general perspective prepares our discussion of the structures of both narratives and politics and in doing so contributes to the explanation of their interaction. (shrink)

Each narration or text, as it informs about an event, situation or person in history, has a history that sheds light on both its formation and how it arrived to us. The illumination of this history is at least as important as the content analysis of the information. For this reason, it is necessary both to examine whether the source in which the information is given has survived to the present day as it was created by the author without being (...) exposed to any external intervention, and to analyze the narration in terms of reliability and indication within the integrity of the isnād-text. In that case, when the word “text criticism” is mentioned, an understanding of a specific criticism should come to mind, which includes both critical edition (scholarly editing) of the first source and the critique of the narration by making sound research in terms of isnād and literary criticism (naqd al-isnād wa-l-matn). Due to reasons such as the inability to follow a standard method, the limited number of the copies and/or the distance of the copies from the author in terms of history and commercial concerns, many classical works published with relative verification contain such errors require a re-examination. One of these works is Ibn Hibbān’s (d. 354/965) book al-Majrūhīn. In his work al-Majrūhīn, Ibn Hibbān divided the narrators into two groups according to their reliability and collected the ones that he determined as weak according to his opinion. In this work, he placed Abū Ḥanīfa (d. 150/767) at the top of the list. First, he denounced Abū Ḥanīfa with the following expressions: Sahib al-ra’y, child of slaves, bicker, hypocrite, had little knowledge of hadith, a Murji’ī propagandist, a narrator who was blamed by imams. Then he tried to justify these claims by about thirty narrations from various salaf scholars. These narratives are completely different from the largely intellecutal discussions and criticisms of scholars such as al-Awza'i (d. 157/774), Ibn Abī Laylā (d. 148/765) and Ibn Abī Shayba (d. 235/849) on Abu Ḥanīfa and his school. The narrations compiled by Ibn Hibbān are display insulting and polemical narrations against Abu Ḥanīfa’s personality and reliability. In terms of being a source for later periods, it is important to examine and criticize these narratives in terms of the narration techniques. The al-jarḥ wa-l-taʿdīl is important part of the hadith science. al-Mejrūhīn, one of the leading works of this science is remarkable in many respects. According to this narration Abū Ḥanīfa Nuʿmān b. S̱ābit b. Zūtā b. Māh’ın (öl. 150/767) said, "If a man worships this mule to get closer to Allah, I see no harm in it." According to our analysis, there are the following determinations about the narrators in the chain of this narrative. Ibn Abī Mushir is unknown (majhūl), the narrator who is written as “Mahfūz b. Abī Savba” but his correct name is “Tawba” is matrūk. Ahmad b. al-Walīd al-Mahramī al-Karkhī is weak, and Yahyā b. Hamza, source person, is qadari who narrates from people with munkar al-hadith; but is also considered as a thiḳa narrator. As for Sa‘īd b. Abd al-Azīz, he has nothing to do with the reception and transmission of the narrative. In addition, there is also a break in the chain. First of all, what is expected from a basic work such as al-Majrūhīn, whose subject and purpose is purely a narrator analysis, is that the report in it should be acceptable, at least in terms of isnād. When the narrative in question, which is also included in earlier sources such as al-Fesewī (d. 277/890), is evaluated in terms of both the isnād and the text, one realizes the transformation of an expression circulating in the form of gossip against Abu Ḥanīfa in Damascus around the subject of ʾirjāʾ. ʾIrjāʾ was at the forefront of the heated debates in the second half of the second century into semā form in terms of isnād and text, besides, the word النعل/clog is transformed into البغل/mule. Apart from the weak points of the chain, Sa‘īd b. Abd al-Azīz, who has nothing to do with the reception and transmission of the narrative, has also been turned into the narrator/source of the report with the samā expression. Regardless of the purpose and the criteria of the narration technically, during the conversation with Sa‘īd, Yahyā b. Hamza’s sincere friend and teacher, a special speech in which a common report attributed to Abu Ḥanīfa was expressed, was transformed into Yahyâ’s samā‘ in the form of jazm. As a result, the word “shoe” or “clog” has evolved into mule. It would be a reductionist and over optimistic approach to assume that all this may have resulted from tashīf and tahrīf of the copyists. The narration we discussed is a typical example in terms of showing the effect of the conflict of ideas between Ahl al-Hadīth and Ahl ar-Ra’y on the narrations. Of course, this shoud be not regarded as the only example. (shrink)

Individuals develop a narrative identity through constructing and internalizing an evolving life story composed of significant autobiographical memories. The ability to narrate these memories in a coherent manner has been related to well-being, identity functioning, and personality pathology. Previous studies have particularly focused on coherence of life story narratives, overlooking coherence of single event memories that make up the life story. The present study addressed this gap by examining associations between narrative coherence of single turning point memories and (...) psychological well-being, identity functioning, and personality disorder (PD) symptoms among 333 Belgian emerging adults (72.1% female;Mage= 22.56,SD= 3.13, age range = 18–30). In addition, the present study tested whether narrative coherence could predict unique variance in PD symptoms above and beyond identity and interpersonal functioning, both considered key components of personality pathology. The findings showed that narrative coherence was not significantly related to psychological well-being, but yielded significant negative associations with disturbed identity functioning and antisocial PD symptoms. Furthermore, narrative coherence predicted unique variance in antisocial PD symptoms above and beyond identity functioning, but did not predict unique variance in borderline and antisocial PD symptoms above and beyond both identity and interpersonal functioning. Collectively, these findings suggest that narrative incoherence within single event memories might be characteristic for disturbed identity functioning and antisocial personality pathology. (shrink)

Over the last few decades there has been a strong narrative turn within the humanities and social sciences in general and educational studies in particular. Especially Jerome Bruner’s theory of narrative as a specific ‘mode of knowing’ was very important for this growing body of work. To understand how the narrative mode works Bruner proposes to study narratives ‘at their far reach’—as an art form—and on several occasions he refers to the dramatistic pentad as an important (...) method for ‘unpacking’ narratives. The pentad proposed by Bruner to study narratives was developed by the American philosopher and rhetorician Kenneth Burke and is embedded in his general linguistic theory of dramatism. From an educational perspective Bruner’s reference to the work of Burke has not been elaborated upon thus far. In this paper we aim to take Bruner’s suggestion at hand and explore how his educational theory of narrative as a mode of knowing can indeed be enriched by Kenneth Burke’s theory and method of dramatism. We claim that specifically the rhetorical framework that is developed by dramatism offers an important perspective about perspectives for education in a context that is increasingly confronted with a plurality of interpretive frameworks. (shrink)

This article examines motifs of falling, recoiling, and turning across Chester Himes’ oeuvre as figurations of Black susceptibility to racial violence. These images reference and reconstruct an event from Himes’ early adulthood: his catastrophic fall down an elevator shaft. Taking a psychoanalytically oriented approach, I analyze the metonymic connections between these motifs, rather than reading them in their chronological order, using Jean Laplanche’s theory of après-coup. I argue that the recursive quality of these images in Himes’ work is not merely (...) an unconscious repetition or conscious working through of a traumatic biographical event but part of an endeavor to imagine different ways to inhabit and survive the structural trauma of Jim Crow America. (shrink)

This chapter examines the role of narratives in our understanding of the relationship between food, agriculture, and the environment. Narratives are the most comprehensive way of representing things that have a historical dimension. They are crucial for putting events into context, portraying characters, and depicting scenarios. The chapter argues that environmental ethics needs to embrace the “narrative turn” in order to account for the diversity of ethical issues surrounding food, agriculture, and the environment, as well as to connect (...) overarching stories about food systems to our everyday lives. It identities several narratives commonly seen in the United States that frame the way we understand food and environmental issues. A narrative approach provides an alternative to theory-driven environmental ethics toward practical, non-academic focus on actual problems and solutions. (shrink)

During the last three decades there has been a wave of interest in narrative and narrativity in the humanistic and the social sciences. This “narrative turn” has spilled over to medicine, where narrative medicine has gained a considerable influence. However, there have also appeared second thoughts on the role of narratives in our lives, as well as on what narratives may mean in relation to clinical medicine. This article presents some influential voices in this debate and (...) scrutinizes the assumptions of narrative medicine in the light of these. It is concluded that there are sound reasons to tread this path with some caution and avoid the too far reaching ambitions on behalf of narrativity in relation to clinical medicine. However, narrative medicine should still be seen as a promising attempt within the broader scope of medical humanities to emphasize the importance of human subjectivity in clinical medicine. (shrink)

Contemporary philosophy of technology, in particular mediation theory, has largely neglected language and has paid little attention to the social-linguistic environment in which technologies are used. In order to reintroduce and strengthen these two missing aspects we turn towards Ricoeur’s narrative theory. We argue that technologies have a narrative capacity: not only do humans make sense of technologies by means of narratives but technologies themselves co-constitute narratives and our understanding of these narratives by configuring characters and events (...) in a meaningful temporal whole. We propose a hermeneutic framework that enables us to categorise and interpret technologies according to two hermeneutic distinctions. Firstly, we consider the extent to which technologies close in on the paradigm of the written text by assessing their capacity to actively configure characters and events into a meaningful whole; thereby introducing a linguistic aspect in the theory of technological mediation. Secondly, we consider the extent to which technologieshave the capacity to abstract from the public narrative time of actual characters and events by constructing quasi-characters and quasi-events, thereby introducing the social in our conception of technological mediation. This leads us to the outlines of a theory of narrative technologies that revolves around four hermeneutic categories. In order to show the merits of this theory, we discuss the categories by analysing paradigmatic examples of narrative technologies: the bridge, the hydroelectric power plant, video games, and electronic money. (shrink)

After establishing its roots in basic forms of sensorimotor coupling between an organism and its environment, the new wave in cognitive science known as “enactivism” has turned to higher-level cognition, in an attempt to prove that even socioculturally mediated meaning-making processes can be accounted for in enactivist terms. My article tries to bolster this case by focusing on how the production and interpretation of stories can shape the value landscape of those who engage with them. First, it builds on the (...) idea that narrative plays a key role in expressing the values held by a society, in order to argue that the interpretation of stories cannot be understood in abstraction from the background of storytelling in which we are always already involved. Second, it presents interpretation as an example of what Di Paolo et al. ( 2010 ) have called in their recent enactivist manifesto a “joint process of sensemaking”: just like in face-to-face interaction, the recipient of the story collaborates with the authorial point of view, generating meaning. Third, it traces the meaning brought into the world by interpretation to the activation and, potentially, the restructuring of the background of the recipients of the story. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.2 (2001) 233-250 [Access article in PDF] Narrative Theory and Function: Why Evolution Matters Michelle Scalise Sugiyama I It may seem a strange proposition that the study of human evolution is integral to the study of literature, yet that is exactly what this paper proposes. The reasons for this are twofold. Firstly, the practice of storytelling is ancient, pre-dating not only the advent of writing, (...) but of agriculture and permanent settlement as well. Secondly, narrative is ultimately a product of the mind, which in turn is the product of a long history of evolution by natural selection. Thus, an understanding of why and how humans create and consume narrative requires an understanding of (1) features of ancestral environments and (2) features of the mind that made the emergence of this phenomenon possible.There can be little doubt that narrative emerged in human prehistory. Language, an obvious prerequisite for storytelling, is likely to have emerged by at least 50,000 and possibly 250,000 years ago, depending upon whether one places one's trust in archaeological or anatomical evidence. 1 The most reasonable estimate is offered by Geoffrey Miller, who points out that, given its universality, the language faculty must have emerged by the time ancestral Homo sapiens began migrating out of Africa approximately 100,000 years ago. 2 Although the oldest known written narrative (The Epic of Gilgamesh) dates back only 5,000 years, the written literary traditions of many ancient cultures are known to be rooted in longstanding oral traditions. 3 The fact that many modern foraging peoples have rich and complex oral traditions further suggests that the emergence of narrative is not linked to the development of agriculture 10,000 years ago. Moreover, other forms of symbolic expression, such as the cave paintings, Venus figurines, and engraved bone [End Page 233] and antler that have been found at various sites throughout Europe, date back approximately 30,000 years, and rock paintings in Australia may date back even farther. 4 Since humans were physiologically capable of speech long before they began producing these artifacts, storytelling is likely to be at least as ancient as these other representational forms. Indeed, one scholar situates the "dawn of the oral tradition" within this period (Pfeiffer, p. 189). Given, then, that modern humans (Homo sapiens sapiens) have been in existence for approximately 100,000 years 5 and are the only hominid species or subspecies known for certain to exhibit storytelling behavior, we can safely say that oral narrative is a product of our hunting-and-gathering past, likely to have emerged between 30,000 and 100,000 years ago.The universality of narrative is further testimony to its being an ancient cognitive phenomenon. Literate or not, all known cultures, past and present, practice storytelling. 6 Moreover, all normally developing humans acquire the ability to process and generate stories: studies of Western children indicate that the ability to tell stories emerges spontaneously between the ages of two-and-a-half and three, and children as young as thirty months can distinguish between narrative and non-narrative uses of language. 7 In contrast to reading, writing, and arithmetic, no special education is required for narrative competence to develop, nor is there any evidence that oral literacy is acquired through contact with other cultures; although subject matter is often exchanged between groups, the practice of storytelling itself arises independently among even the most isolated peoples. Nor does any type of culture have a monopoly on narrative sophistication: the stories of hunter-horticulturalist societies are no less observant, insightful, or artful than those of agrarian or industrial societies.As with language, narrative takes the same basic form across cultures, which David Bordwell and Kristin Thompson define as "a chain of events in cause-effect relationship occurring in time." Given the preponderance of human agents in narrative, most narrative theorists would probably modify this barebones description to include character (usually understood to have a human psychology), goal-oriented action, and resolution. Frank Kermode, for example, defines the "proprieties" of narrative as "connexity, closure, and character," and John... (shrink)

Geologists, Paleontologists and other historical scientists are frequently concerned with narrative explanations targeting single cases. I show that two distinct explanatory strategies are employed in narratives, simple and complex. A simple narrative has minimal causal detail and is embedded in a regularity, whereas a complex narrative is more detailed and not embedded. The distinction is illustrated through two case studies: the ‘snowball earth’ explanation of Neoproterozoic glaciation and recent attempts to explain gigantism in Sauropods. This distinction is (...) revelatory of historical science. I argue that at least sometimes which strategy is appropriate is not a pragmatic issue, but turns on the nature of the target. Moreover, the distinction reveals a counterintuitive pattern of progress in some historical explanation: shifting from simple to complex. Sometimes, historical scientists rightly abandon simple, unified explanations in favour of disunified, complex narratives. Finally I compare narrative and mechanistic explanation, arguing that mechanistic approaches are inappropriate for complex narrative explanations. (shrink)

Recent decades have witnessed a growing interest in narrative both in certain areas of philosophy and in the study of religion. The philosophy of religion has not itself been at the forefront of this narrative turn, but exceptions exist—most notably Eleonore Stump’s work on biblical stories and the problem of suffering. Characterizing Stump’s approach as an apologetic orientation, this article contrasts it with pluralistic orientations that, rather than seeking to defend religious faith, are concerned with doing conceptual (...) justice to the range of possible human perspectives, both religious and nonreligious. By discussing various examples, the article makes a case for narrative philosophy of religion, especially in its pluralistic form. (shrink)

In the past decades, narrative practices have been developed, and care has been conceptualized as being narrative in nature. More recently, narrative care has been developing both as a practice and a field of study. It is necessary to make the theoretical foundations of narrative care visible to avoid the risk of narrowly defining narrative care as a matter of storytelling and listening. In this article, we develop an understanding of narrative care grounded in (...) early feminist pragmatist philosophy, with a focus on social and political activism and experience. Pragmatism holds the possibilities to open spaces for realities that are constantly in flux and for emergent situations that must be considered across time, diverse places and social contexts. With the aid of Vera’s stories about her relationship with Tammy, we demonstrate the importance of recognizing that realities are multiple, complex and uncertain. Furthermore, we discuss how the stronghold of formula stories and issues of power, positioning and inequities, restrict people’s possibilities to be, become and co-author their stories. We also argue that the playfulness, imagination and world travelling of narrative care are in line with early feminist pragmatism, which draws on a wide and diverse range of experiences. Jane Addams linked democracy to dialogue, joint experiences and social equality. This calls for the development of ethical frameworks grounded in care that are more specifically focused on relational ethics and a commitment to dialogical and relational democracy and the prioritization of community. (shrink)

The paper explores the potential of using narrative centered pedagogies in Engineering Ethics Education (EEE), drawing insights from their successful application in nursing and business ethics education. While traditional methods in EEE focus on fostering moral reasoning through case study analysis and teaching ethical theories, increasingly, there is a need for fostering soft ethical skills, such as moral sensitivity and creativity, which, in turn, demand new teaching approaches. Initially developed for nursing ethics, narrative pedagogy emphasises understanding experiences (...) through storytelling and dialogue, contrasting with the decision oriented focus of EEE. While narrative pedagogy allows for understanding stakeholders’ motivations, there is a gap in translating this understanding into ethical decisions, which engineering students must make. Drawing from a literature survey of the existing research in ethics education, the paper describes three kinds of narrative pedagogy to be used for EEE. Despite its theoretical potential, narrative pedagogy has not been deployed in EEE due to a lack of systematic research on its effectiveness. The paper calls for more experimentation and documented case studies in teaching to explore the potential narrative pedagogy in EEE. Without such experiments, the theoretical potential of narrative pedagogy in EEE may remain unproven. (shrink)

Extant literature romanticizes frugality as a lifestyle trait that helps in the spiritual evolution of consumers, which in turn enables them in overcoming the negative consequences of materialism and over-consumption. Extant studies have not paid attention to cultural contexts, such as caste and gender, which could outline the non-volitional enactment of frugality in societies such as India. We draw from the work of the political philosopher Alain Badiou to argue that frugality embodies non-volitional subjectivities and is linked to processes (...) of responsibilization and de-politicization. We engage with layered narratives from three story-sites and conceptualize frugality as a socio-political subjectivity that disenfranchises consumers and normalizes inequality. Our study provides evidence of how consumers are made to adopt frugality to conform to political conservatism and unequal orders of caste and gender. (shrink)

What is narrative? Ridvan Askin brings together aesthetics, contemporary North American fiction, Gilles Deleuze, narrative theory, and the recent speculative turn to answer this question. Through this process, he develops a transcendental empiricist concept of narrative. Askin argues against the established consensus of narrative theory for an understanding of narrative as fundamentally nonhuman, unconscious, and expressive.

This study examines how audiovisual brand stories both invite and enable consumers to enact heroic archetypes. Integrating research on the archetypal structure of narratives with research on the event structure of narratives, we distinguish singular plot stories (i.e. stories that show a Hero’s Journey) from embedded plot stories (i.e. stories that not only show but also tell one or more Hero’s Journeys) and develop a conceptual and narratological framework to analyze their structural elements. Application of the framework to 20 brand (...) stories representing 8 different brands reveals meaningful variation in elements between the singular plot stories and embedded plot stories. Differences in the expression of archetypes and event structure are argued to evoke different types of Hero enactment which in turn result in different outcomes. We specifically hypothesize that the enactment of heroic archetypes in singular plot stories primarily results in catharsis (pleasure), whereas the enactment of heroic archetypes in embedded plot stories primarily results in an outcome we describe as phronesis: a form of moral sense making of the self that advances one’s practical wisdom and prudence. The final section of the paper discusses how cathartic and phronetic outcomes of hero enactment may foster the psychological bonding between brand and consumer, and invite consumers to align their moral values with the values that are reflected by heroic character traits. The central aims of the analysis presented are to provide an exploration of narrative phenomena in a reasonably broad range of brand story videos and foremost to provide a conceptual framework with an applicable instrument suited to analyze relevant categories in these brand stories. The present study is interdisciplinary in its approach to a contemporary, developing marketing phenomenon, applying psychological modeling of archetypes and heroic values with narratological insights on perspective-taking and story structure. Its contribution is to systemize, from a narratological viewpoint, how various narrative archetypes in brand video stories may contribute to the development of brand-consumer relations. (shrink)

The configurational dimension, in turn, displays temporal features that may be opposed to these "features" of episodic time. The configurational arrangement makes the succession of events into significant wholes that are the correlate of the act of grouping together. Thanks to this reflective act—in the sense of Kant's Critique of Judgment—the whole plot may be translated into one "thought." "Thought," in this narrative context, may assume various meanings. It may characterize, for instance, following Aristotle's Poetics, the "theme" that (...) accompanies the "fable" or "plot" of a tragedy.1 "Thought" may also designate the "point" of the Hebraic maschal or of the biblical parable, concerning which Jeremias observes that the point of the parable is what allows us to translate it into a proverb or an aphorism. The term "thought" may also apply to the "colligatory terms" used in history writing, such terms as "the Renaissance," "the Industrial Revolution," and so on, which, according to Walsh and Dray, allow us to apprehend a set of historical events under a common denominator. In a word, the correlation between thought and plot supersedes the "then" and "and then" of mere succession. But it would be a complete mistake to consider "thought" as a-chronological. "Fable" and "theme" are as closely tied together as episode and configuration. The time of fable-and theme, if we may make of this a hyphenated expression, is more deeply temporal than the time of merely episodic narratives. · 1. It may be noted in passing that this correlation between "theme" and "plot" is also the basis of Northup Frye's "archetypal" criticism. Paul Ricoeur is professor of philosophy at the Université de Paris and John Nuveen Professor at the University of Chicago. Some of his works to appear in English are Husserl: An Analysis of His Phenomenology, Main Trends in Philosophy, and The Conflict of Interpretations: Essays on Hermeneutics. His previous contribution to Critical Inquiry, "The Metaphorical Process as Cognition, Imagination, and Feeling," appeared in the Autumn 1978 issue. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Thucydides: Narrative and ExplanationCarolyn DewaldTim Rood. Thucydides: Narrative and Explanation. Oxford: Clarendon Press, 1998. xi + 339 pp. Cloth, £47.Any text has dislocations in its narrative surface. Since the time of Schwartz and Schadewaldt (1929), the text of Thucydides' History of the Peloponnesian War has been scrutinized for its omissions, ellipses, and apparent contradictions. Scholars have thought that these would contain important clues regarding aspects (...) [End Page 138] of the war not emphasized explicitly by Thucydides in his narrative and that in addition they would help solve historiographical questions about Thucydides as an author: the nature and quality of the sources he had available to him, for instance, or, even more important, the evolution of his own understanding, over the long years in which he was observing and writing up the war. Thucydides himself provides grounds for such scholarly expectations by emphasizing that he had begun his project right at the war's beginning (1.1); he tells us in the second preface (5.26) that he was exiled after his command in the Thraceward region, and that thereafter he had a much better chance to talk to combatants on all sides. Clear stylistic differences distinguish different parts of the History; most strikingly, it breaks off mid-sentence in the narrative of the summer of 411. One can certainly see why, with this author in particular, attentive readers are tempted to take an analytical approach.Tim Rood, however, utterly rejects this temptation. Instead, he uses the tools of contemporary narratology to explore the text of Thucydides, just as it is, as the end product of authorial interpretation. He argues that Thucydides' narrative is not only written accurately to recount what happened but is also, in the most minute variations of its narrative details, an analysis of why and how the war happened as it did. Rood looks carefully at changes of perception (who "focalizes" the narrative at any given point), narrative disjunctions of time (analepsis, prolepsis, and variations in pacing), and Thucydides' handling of speech, thought, and the description of character. According to Rood, these are important clues that Thucydides provides to show us how the anticipations and perceptions of its various participants crucially shaped the Peloponnesian War.This is a careful, subtle book, and a very important one for historians as well as literary students of Thucydides. Rood is a student of S. Hornblower and C. Pelling, and in this revision of his Oxford thesis he cites the enormous secondary literature, both historical and historiographical, to excellent effect, usually in the context of precise observations about the import of individual passages. This is the first major study seriously to take into account Hornblower's Commentary (Oxford: Oxford University Press, 1991 and 1996), and the result shows on almost every page. Even in the stretches where the minute attention to details of Thucydides' language make Rood's narrative itself read more like a commentary than an essay, the textual observations are aimed at a larger and more interesting interpretive point. In the thoughtfulness and integration of its readings of individual passages into a larger overall argument, it resembles Connor's Thucydides (Princeton: Princeton University Press, 1984), but where Connor uses a reader-response approach, arguing that Thucydides moves the reader in effect through the sequential experience of the war as it unfolds, Rood has Thucydides constructing his narrative to unpack for us as readers how the war's participants saw and thought about things and reacted to one another and how this in turn influenced how things unfolded.The book has twelve chapters, divided among five parts. The first part generally discusses temporal and focalizing strategies, concentrating on the Pylos story and the role speeches play in the narrative; the second emphasizes how [End Page 139] perception and gaps of knowledge between readers and characters as well as temporal displacement contribute to Thucydides' analysis of Peloponnesian and Athenian strengths and weaknesses in books 4 and 5. The third part explores how Athenian political life in general and the character of Nicias in particular become crucial in books 6 and 7 and shape the way the Sicilian Expedition unfolds, setting the stage for the grim years after... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:NARRATIVE AND EXPLANATION: EXPLAINING ANNA KARENINA IN THE LIGHT OF ITS EPIGRAPH Marina Ludwigs University ofCalifornia, Irvine In this paper, I will be examining the relation of explanation to narrative, looking briefly at the theoretical side ofthe problematic and in more detail at specific explanatory issues that arise in Tolstoy's novel Anna Karenina. Although the use itselfofthe term "explanation" is not as visible in the humanities as (...) it is in the sciences, the explanatory enterprise by other names is just as prominent. For indeed, an animating impetus behind textual interpretation is an explanation ofhowatextcan be brought into a correspondence with another text, while contemporary critical-theoretical activities of demystifying aesthetic and cultural assumptions, contextualizing historical knowledge, or laying bare ideological presuppositions are, in one way or another, engagements in the explanation ofthe workings of language. I approach humanistic explanation via a brief detour of scientific explanation, which constitutes an already established discourse with a set of defined issues and standard arguments, limiting myself to touching upon issues relevant to the narrativization of explanation. In scientific debates, explanation is defined as an answer to the question of "why?," in contradistinction to the question of "what?," which prompts a description of a phenomenon in question. Descriptive and explanatory conceptual frameworks, however, are interdependent. A physical description involves an "in-depth" understanding of underlying regularities. An explanatory answer to a question is, in its turn, an argument that logically deduces the explanandum (the description ofa phenomenon to be explained) from the explanans (well-understood regularities). This Marina Ludwigs125 formal definition of an explanation necessitates a symmetry between explanation and prediction, because the reconstructed logical sequence can also be read in the other direction, demonstrating the inevitability of what has occurred. Thus the sight of shattered glass and a baseball lying about allows me to explain the accident by invoking the law ofthe conservation ofmomentum and the low shock-resistance ofglass. But the knowledge of these regularities would have also allowed me to predict the same outcome had I seen the baseball flying in its direction ofthe window. The ontological status of "regularities" has elicited a lively debate in the scientific community pertaining to the problem ofthe "real." The standard view of regularities defines them as general laws (the kind we learn about in physics classes) that could be deductive or inductive, deterministic or statistical. A general law may be subsumed under another, even more general law, thus forming a unifying hierarchy of laws. A rival conception appeals to causal mechanisms and defines regularities as established chains oftemporal succession. Both models, the covering-law and the causal one, have been criticized: the former—for its failure to distinguish a law from an accidental generalization; the latter—for its resurrection ofthe metaphysical notion ofcausal influence and its inability to deal with probabilistic events. One of the later contenders is Nancy Cartwright's model, that proposes to conceive of regularities as so-called "nomological machines"—"fixed (enough) arrangements] ofcomponents, or factors, with stable (enough) capacities that in the right sort of stable (enough) environment will, with repeated operation, give rise to the kind of regular behavior that we represent in our scientific laws" (Cartwright 50). Cartwright claims that scientific models work on the ceteris paribus (everything else being equal) basis. That is to say they "hold only in circumscribed conditions or so long as no factors relevant to the effect besides those specified occur" (Cartwright 28), such as inside a battery, refrigerator, or a rocket—insofar as special shielding conditions are in effect (as a counterexample, imagine usingNewton's laws ofmechanics for describing the motion of a dropped crumpled dollar). Cartwright's explanatory framework is thus pragmatic and local, avoiding the twin pitfalls of the metaphysical assumptions underlying the two older models—the totalizing and unifying idea of a covering law, on the one hand, and the influence of causal "force," on the other. What is instead emphasized by her is a procedural aspect of scientific knowledge that has been historically prevalent and reflects the practical exigencies of human existence—the experience of dangers and natural obstacles to human 126Explaining 'Anna Karenina ' desires. When ill-defined impediments are analyzed and reduced to concrete difficulties, specific... (shrink)

In this article, I outline various ways in which artifacts are interwoven with autobiographical memory systems and conceptualize what this implies for the self. I first sketch the narrative approach to the self, arguing that who we are as persons is essentially our life story, which, in turn, determines our present beliefs and desires, but also directs our future goals and actions. I then argue that our autobiographical memory is partly anchored in our embodied interactions with an ecology (...) of artifacts in our environment. Lifelogs, photos, videos, journals, diaries, souvenirs, jewelry, books, works of art, and many other meaningful objects trigger and sometimes constitute emotionally laden autobiographical memories. Autobiographical memory is thus distributed across embodied agents and various environmental structures. To defend this claim, I draw on and integrate distributed cognition theory and empirical research in human-technology interaction. Based on this, I conclude that the self is neither defined by psychological states realized by the brain nor by biological states realized by the organism, but should be seen as a distributed and relational construct. (shrink)

Narrative views of agency and identity arise in opposition to reductionism in both domains. While reductionists understand both identity and agency in terms of their components, narrativists respond that life and action are both constituted by narratives, and since the components of a narrative gain their meaning from the whole, life and action not only incorporate their constituent parts but also shape them. I first lay out the difficulties with treating narrative as constitutive of metaphysical identity and (...) turn to its function in practical identity. I then explore the ways narrative shapes our agency—by tapping into our motivational structures, providing an understanding of the social background within which our agency operates, guiding our agency through an understanding of our histories and aspirations, providing the links that structure actions internally, and allowing us to change the meaning of our pasts. I suggest that putting these functions of narrative together may allow us to genuinely shape our past motivational structures through our actions. Finally, if life has the form of a narrative, it may seem as if mortality is necessary for our lives and their contents to be meaningful: a narrative, it might seem, relies on the ending for its meaning. If so, an immortal life would be meaningless. I examine the possibility that even an immortal life may draw meaning from local narratives that constitute projects within such a life, while arguing that, to the contrary, narrative may be a tool exclusively adapted to mortal lives. (shrink)

During the last three decades there has been a wave of interest in narrative and narrativity in the humanistic and the social sciences. This “narrative turn” has spilled over to medicine, where narrative medicine has gained a considerable influence. However, there have also appeared second thoughts on the role of narratives in our lives, as well as on what narratives may mean in relation to clinical medicine. This article presents some influential voices in this debate and (...) scrutinizes the assumptions of narrative medicine in the light of these. It is concluded that there are sound reasons to tread this path with some caution and avoid the too far reaching ambitions on behalf of narrativity in relation to clinical medicine. However, narrative medicine should still be seen as a promising attempt within the broader scope of medical humanities to emphasize the importance of human subjectivity in clinical medicine. (shrink)

The ArgumentDuring the last two decades the debate on the use and abuse of narrative in historiography has taken a new form: ideological instead of methodological. According to poststructuralist critics, the representation of past events and processes in the form of a coherent story turns history into mythology, which is (or serves) conservative ideology. This is so because the fabrication of organic continuity and unity between the past and the present (as well as the future) of society depicts its (...) most fundamental laws and institutions as divine-natural rather than human creations and thereby renders them impervious to any rational or historical refutation. The main aim of this essay is to reclaim some credibility for narrative history against its critics, both ancient and modern, and on both methodological and ideological grounds, by reappraising the role of myth in the constitution of all norms and forms of life. Setting out from the observation that the narratives and other symbolic interpretations of historical reality in which the people believe are as real as the conditions and events in which they actually live, the author calls upon historians not to eliminate, but to illuminate, myths in history, by showing their extension or configuration of historical reality. (shrink)

How should critics approach narrative temporality in times of ecological disorder? Literary critics have attempted to bridge eco-criticism with narrative theory, shifting attention from narrative content to narrative form. Econarratology studies how narrative shapes our understanding of the environment. Yet, eco-critical interrogations of narrative form are lacking. Grounded in a homogeneous conception of time, narratology often relays a dichotomy between narrativity and “dysnarrativity”. This dichotomy fails to translate the variety of temporal processes in film. (...) I shall highlight the problem underlying Jacques Rancière's critique of Deleuze's film-philosophy and its relevance for narrative theory. My discussion of this dispute is grounded in the examination of Apichatpong Weerasethakul's Uncle Boonmee Who Can Recall His Past Lives. Critics invariably base their analyses on Boonmee's remembrances and reduce narrative complexity to dysnarrative indeterminacy by accommodating non-human storylines into a human plot. I argue that Uncle Boonmee both confirms and bypasses the critique of linear narrative that is at heart of the Rancière-Deleuze discussion. In doing so, Weerasethakul's feature calls for a new paradigm – different, yet unlike the crystalline narrative, positively determined. By bringing the event to the fore, Deleuze offers another theoretical backdrop for event narratology, that in turn proves useful to econarratology. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Narrative, Interpretation, and Plagiarism in Mr. Robertson's 1778 History of Ancient GreeceGiovanna CeseraniDays after the successful debut of his History of Scotland in 1759, Dr. William Robertson was busy consulting his friends about what project to undertake next. David Hume solicitously responded by expressing doubts about two of the possible topics—the age of Pope Leo Xth and the Emperor Charles Vth. The first would be difficult because it (...) would require the understanding of that age's "great Works of Sculpture, Architecture, Painting," while attaining the "competent Knowledge... requird of the State & Constitution of the Empire," including numerous European countries, necessary to carry out the second project "would be the Work of half a Life." Rather Hume recommended "the ancient History, particularly that of Greece": "I think," he wrote, "Rollin's Success might encourage you, nor need you be in the least intimidated by his Merit. That Author has no other Merit, but a certain Facility & Sweetness of Narration; but has loaded his Work with fifty Puerilities."1 Yet, after considering further the excellent historical narratives that survived from antiquity, Hume feared that they could indeed turn into a disadvantage for the aspiring modern historian: "For what can you do in most places with these Authors, but transcribe & translate them? No Letters or State Papers from which you coud correct their Errors, or authenticate their Narration, or supply their Defects. Besides, Rollin is so well wrote with respect to Style, that with superficial people it passes for sufficient." On the whole he thought, however, that a "History of Greece till the death of Philip... would be successful, notwithstanding all these discouraging Circumstances. The Subject is noble, & Rollin is by no means equal to it."2 [End Page 413]Despite his friend's advice, Robertson went on to write what became his most successful work, the History of the Reign of Charles V (1769), but Hume's letters are nevertheless revealing.3 Hume's acute concern with publishing success speaks, on the one hand, to his lifelong economic struggle, but also of the flourishing market for history books in his times, on which, before the professionalization of the discipline, authors more and more came to rely in lieu of the literary patronage of earlier times.4 But the issue of the status of the historian was more than an institutional one for Hume's contemporaries. While the classical model of the historian as political man writing history in his retirement from public life was in sharp decline, a clear successor was still to follow. As Pocock puts it: would one who studied, edited, or rewrote past history be an historian at all?5 Hume's concern with historical authority and his consciousness of the difference between a narrative based on experience, in the Thucydidean mode as he would have understood it, and one based on authorities, is clear in his letter advising Gibbon to transform the Decline and Fall's endnotes into footnotes.6 Hume's letters to Robertson show again this concern developed in parallel to a philosophical preference for manners over details of action, human explanations rather than divine ones. From this perspective he found "puerile" the French Jansenist educator Charles Rollin, who in the preface to his Histoire Ancienne (1730–38) set out the goal to reveal the design of divine Providence within human history and whose work was dominated by a moralistic reading of the past.7Hume's reflections and concerns neatly fit the influential interpretation that, more than half a century ago, Arnaldo Momigliano formulated for the genealogy of modern Western historiography. As Momigliano saw it, modern history developed precisely out of the eighteenth-century convergence of traditional historical narrative—what used to be linear accounts of mostly political events—and antiquarian research—scholarship traditionally devoted to systematic treatment of a variety of subjects that relied on the skills of paleography, epigraphy and the interpretation of archaeological material.8 This process—culminating with Gibbon—presupposed the philosophical shift of the age: "what used to be secondary becomes primary. What used to be primary—wars and dynasties—becomes secondary."9 Recent research has since [End Page 414] expanded the Momigliano's formula—this... (shrink)

While Plato recommended expelling poets from the ideal society, W. H. Auden famously declared that poetry makes nothing happen. The 19 contributions to the present book avoid such polarized views and, responding in different ways to the “ethical turn” in narrative theory, explore the varied ways in which narratives encourage readers to ponder matters of right and wrong. All work from the premise that the analysis of narrative ethics needs to be linked to a sensitivity to esthetic (...) form. The ethical issues are accordingly located on different levels. Some are clearly presented as thematic concerns within the text considered, while others emerge through the presentation of character and event by means of particular narrative techniques. The objects of analysis include such well-known or canonical texts as Biblical Old Testament stories, Mark Twain’s Huckleberry Finn , J. R. R. Tolkien’s The Lord of the Rings , Vladimir Nabokov’s Lolita , Jonathan Littell’s The Kindly Ones , Ann Radcliffe’s The Italian and Matthew Lewis’s The Monk . Others concentrate on less-well-known texts written in languages other than English. There are also contributions that investigate theoretical issues in relation to a range of different examples. (shrink)

While Plato recommended expelling poets from the ideal society, W. H. Auden famously declared that poetry makes nothing happen. The 19 contributions to the present book avoid such polarized views and, responding in different ways to the “ethical turn” in narrative theory, explore the varied ways in which narratives encourage readers to ponder matters of right and wrong. All work from the premise that the analysis of narrative ethics needs to be linked to a sensitivity to esthetic (...) form. The ethical issues are accordingly located on different levels. Some are clearly presented as thematic concerns within the text considered, while others emerge through the presentation of character and event by means of particular narrative techniques. The objects of analysis include such well-known or canonical texts as Biblical Old Testament stories, Mark Twain’s Huckleberry Finn, J. R. R. Tolkien’s The Lord of the Rings, Vladimir Nabokov’s Lolita, Jonathan Littell’s The Kindly Ones, Ann Radcliffe’s The Italian and Matthew Lewis’s The Monk. Others concentrate on less-well-known texts written in languages other than English. There are also contributions that investigate theoretical issues in relation to a range of different examples. (shrink)

Nurses frequently encounter situations in which they are compelled to make ethical decisions about what is good and right to do in their day-to-day practice. Often existing moral edicts prove to be inadequate in light of the patient's particular circumstances. To what, then, can the nurse turn? In response to this question, Gadow (1999) proposes a dialectical framework comprised of three ethical approaches: subjective immersion (ethical immediacy), objective detachment (ethical universalism), and intersubjective engagement (relational narrative). In this paper, (...) the dialectic framework proposed by Gadow (1999) is examined with respect to some of its potential implications for nursing practice and education. This endeavour is undertaken in the spirit of extending the dialogue that Gadow has so eloquently initiated. Questions related to whether it is possible (or necessary) to reconcile the contradictory tenets of these ethical approaches or the potential disjunction between the knowledge embedded in the relational narrative and ensuing action on the part of the nurse are discussed. In addition, some of the potential implications of this dialectical framework for nurse education are explored, including the question of how nurses learn to enter into a relational narrative with another and the relevance of relational narratives to teacher–student relationships. (shrink)

Nurse philosopher Sally Gadow (1999) has proposed the relational narrative between patient and nurse as a ‘postmodern turn’ for nursing ethics. She has conceptualized this moral approach as the construction by patient and nurse of a coauthored narrative describing the good they are seeking, as well as the means to achieve this good. The purpose of this article is to provide an elaboration of Gadow's seminal conceptualization of relational narrative based on her writings and those of (...) other philosophers. The article will further develop relational narrative's foundations in relationship and narrative and will explore engagement as a dimension essential to its creation and growth. The elaboration first builds on the notion of relationship as foundational to this postmodern moral perspective. Narrative then is advanced as being at the heart of the patient–nurse relationship and their relational narrative, based on an exploration of narrative's role in the moral realm as an epistemology for patient and nurse. Finally, the dialogic and embodied engagement expressed by a relational narrative is developed as a critical element of the ethic. (shrink)

Using insights from two of the major proponents of the hermeneutical approach, Paul Ricoeur and Hannah Arendt—who both recognized the ethicopolitical importance of narrative and acknowledged some of the dangers associated with it—I will flesh out the worry that “narrativity” in political theory has been overly attentive to story telling and not heedful enough of story listening. More specifically, even if, as Ricoeur says, “narrative intelligence” is crucial for self-understanding, that does not mean, as he invites us to, (...) that we should always seek to develop a “narrative identity” or become, as he says, “the narrator of our own life story.” I offer that, perhaps inadvertently, such an injunction might turn out to be detrimental to the “art of listening.” This, however, must also be cultivated if we want to do justice to our narrative character and expect narrative to have the political role that both Ricoeur and Arendt envisaged. Thus, although there certainly is a “redemptive power” in narrative, when the latter is understood primarily as the act of narration or as the telling of stories, there is a danger to it as well. Such a danger, I think, intensifies at a time like ours, when, as some scholars have noted, “communicative abundance” or the “ceaseless production of redundancy” in traditional and social media has often led to the impoverishment of the public conversation. (shrink)

we have recently seen the publication of several books on the narrative and identity of Pragmatism. Perhaps this is a sign that, after the first decade of the twenty-first century, scholars of Pragmatism now have the required distance or historical perspective to be confident about the history of Pragmatism in the twentieth century. In this paper, I examine the narratives of Pragmatism in Richard Bernstein’s The Pragmatic Turn and Colin Koopman’s Pragmatism as Transition.1 In spite of their differences, (...) these scholars argue for an inclusive “big-tent” Pragmatism.2 Their view of Pragmatism in America is optimistic and reconciliatory about the past, present, and future tensions that exist between pragmatist .. (shrink)

Drawing in part on recent work by Eleonore Stump and Sarah Coakley, I shall argue that even if NO HUMAN GOOD is true, divine hiddenness does not cast doubt on DIVINE CONCERN. My argument will turn on three central claims: (a) that ABSENCE OF RELIGIOUS EXPERIENCE and INCONCLUSIVE EVIDENCE are better thought of as constituting divine silence rather than divine hiddenness, (b) that even if NO HUMAN GOOD is true, divine silence is compatible with DIVINE CONCERN so long as (...) God has provided a way for rational creatures to find him and to experience his presence despite the silence, and (c) that there is some reason to think that Biblical narratives and liturgical acts are vehicles by which we might find and experience the presence of God. Each of these claims will be defended, in turn, in the three sections that follow. (shrink)

An important development in Christian theology during the second half of the twentieth century was what we might call the ‘narrative turn’—i.e. the idea that Christian theology’s use of the Bible should focus on a narrative representation of the faith rather than the development of a set of propositions deduced from the data of revelation. This paper inquires, first, whether and to what extent a narrative approach to systematic theology is incompatible with a ‘referential account’. It (...) is argued that a referential account of theology is compatible with narrative theology. Second, the author elaborates on the nature of reference in narrative by scrutinising three popular maxims of narrative theology, namely, that narrative expressions do not have the universal pretensions of propositional expressions of faith; that references in narrative always remain implicit in the story whereas, in propositional expressions, they are always explicit; and that narrative forms of expression are typically associated with the ‘ambiguity’ of reference, whereas propositional forms are typically associated with lack of ambiguity. (shrink)

This book provides a perceptive analysis of the "narrative turn" that led Paul Ricoeur to his magisterial work Time and Narrative. Ricoeur has for many years explored the intersections of diverse strands of European philosophy, but it is his recent work that has attracted the most discussion and engendered the most debate in Europe and America. The Narrative Path explores the roots and meaning of that work. Two of the book's five essays reach back to Ricoeur's (...) earlier work to clarify his themes: Richard Kearney concentrates on the role of imagination in hermeneuties, and Maria Villela Petit explores the development of Ricoeur's concept of history from History and Truth to Time and Narrative. Two essays analyze the significance of Ricoeur's reflections on metaphoric and narrative language: Serge Mellinger looks at the relationship between time and poetry from the point of view of Ricoeur's discussions of the connection between time and narrative, and T. Peter Kemp extends Ricoeur's analysis to argue that narration is indispensable to ethics. The book concludes with a reflection by Ricoeur himself on the linguistic, practical, and ethical dimensions of human beings, and with a bibliography of Ricoeur's work in English. T. Peter Kemp teaches in the Department of Philosophy at the University of Copenhagen. The Narrative Pathis based on a special issue of the journal Philosophy and Social Criticism, edited by David Rasmussen, who is Professor of Philosophy at Boston College. (shrink)

Applied ethicists’ interest in narratives and narratives ethics has grown steadily. Some thinkers position narratives as supplements to ethics, while others see narratives as new form of ethics comparable to virtue or deontological ethics. In this paper, I analyze some of the main ethical claims being made on behalf of business and literary narratives from the perspective of Aristotelian virtue ethics. I argue that, while narratives can significantly contribute to the development of our character, to a better grasp of virtues (...) and vices, and to a clarification of a virtue ethics framework, this contribution is highly nuanced. In particular, Aristotelian virtue ethics enable us to sensibly and helpfully distinguish the ethical value of _narratives within business ethics_ from _narrative business ethics _per se. This paper has three parts. Part One offers a provisional definition of narrative and sketches some of the large claims that literary critics, philosophers, theologians, and others have made for narratives’ relevance to and value for ethics. In Part Two, using narratives drawn from business and literature, I take up each of these claims in turn and examine whether the claim makes sense and is compelling from an Aristotelian virtue ethics perspective. Part Three gathers together the threads of the arguments in Part Two to specify the modest, but nonetheless significant, legitimate roles narratives might play within Aristotle’s virtue ethics. I also point to some limitations inherent in an Aristotelian critique of narrative ethics and suggest some questions for future research. (shrink)

This paper attempts to make more explicit the relationship between narrativity and feminist care ethics. The central concern is the way in which narrativity carries the semantic load that some accounts of feminist care ethics imply but leave hanging. In so doing, some feminist theorists of care-based ethics then undervalue the major contribution that narrativity provides to care ethics: it carries the semantic load that is essential to the best care. In this article, I defend the narrative as the (...) central medium though which we make sense of and communicate our lives and their attendant hopes and cares. More than just working with the narrative of the cared-for, caring is about investing in the narrative of the cared-for in order to meet the needs of this cared-for and how this narrative might turn out. I will further demonstrate how the attitude of caring or investing in a narrative would amount to what Gabriel Marcel has described as the attitude of disponibilité. (shrink)

This article examines how narratives mediate human interactions with environments to create a sense of place and identity. We begin with a review of the Greek poem Phaenomena to see how constellations brought a human dimension to the cosmos as well as a sense of predictability. A review of Jean-Paul Sartre’s Nausea illustrates the conception of indifferent space that erases the human presence, and how the imagination comes into play to fill the void. We examine how narratives work to model (...) aspects of environments and draw out meaning where before there was raw substance. Two seminal poems of Baudelaire then present a more subjective modeling of the environment. Pablo Neruda let his poetic vision be reflected in his three homes as protective playgrounds for his imagination. The article concludes that the models we examined are sheltering niches that help us feel at home in the world. As environments turn out to be more interactive, fragile, and complex than previously thought, our narratives also have to reflect on their impact on the sense of home they propose. (shrink)

Assigning a date to Kumārila is notoriously difficult. Kumārila’s dates are usually assigned through a relative chronology of Brahmanical and Buddhist philosophers with whom Kumārila engages or is engaged. This is a precarious method because the dates of these interlocutors are equally unstable. But what if in considering systematic dialogues (_śāstra_) to be the primary medium for interreligious philosophical debate we have missed a source that does engage with Kumārila, and that can be reliably dated? In this article, I (...) class='Hi'>turn to a religious group whom, it has been previously thought, did not respond to Kumārila until the eighth century—Jainas—as well as to a genre that is not typically viewed as a site of systematic philosophical dialogue—narrative. I argue that the _Padmacarita_, a Jaina Rāmāyaṇa composed by a Digambara writer called Raviṣeṇa, contains a narrative refutation of Kumārila’s commentary to _Mīmāṃsāsūtra_ 1.1.2. By bringing to light this refutation, and explaining how Raviṣeṇa’s _Padmacarita_ can be reliably dated, I assign Kumārila’s _terminus ante quem_ to the date of the _Padmacarita_’s composition, 676 CE. Finally, I suggest that Raviṣeṇa’s _Padmacarita_ is the earliest extant Jaina text to discuss Kumārila’s claims, and that Jainas used narrative to reflect on Mīmāṃsā before they turned to _śāstra_ as another medium for this dialogue. (shrink)

The claim that selves are narratively constituted has attained considerable currency in both analytic and continental philosophy. However, a set of increasingly standard objections to narrative identity are also emerging. In this paper, I focus on metaphysically realist versions of narrative identity theory, showing how they both build on and differ from their neo-Lockean counterparts. But I also argue that narrative realism is implicitly committed to a four-dimensionalist, temporal-parts ontology of persons. That exposes narrative realism to (...) the charge that the narratively constituted self, on the one hand, and the self that is the object of much of our everyday self-reference and self-experience, on the other, can't be the same thing. This conclusion may well force narrativists to abandon metaphysical realism about narrative selves—which, in turn, may leave the invocation of ‘narrativity’ as identity-constituting somewhat under-motivated. (shrink)

Once upon a time, medicine dismissed narrative as unimportant and uninteresting. Then, in the late 1980s, physicians and scholars became interested in how the study of narrative could enhance our understanding of illness and health care, and the field that came to be known as “narrative medicine” developed. Some of this scholarly activity focused on the idea of narrative ethics.After a flurry of activity around the turn of the twenty‐first century, narrative ethics seemed to (...) stall. The general interest in narrative in medicine continued but with few new ideas on how one might use narrative toward ethical ends. In the last few years, however, forward momentum has returned. The timing seems appropriate, therefore, for a “state of the field” report of sorts. (shrink)

This essay develops a theory of identities, selves, and ‘the self’ that both explains the sense in which selves are narratively constituted and also explains how the self relates to a person's individual autobiographical identity and to their various social identities. I argue that identities are the contents of narratively structured representations, some of which are hosted individually and are autobiographical in form, and others of which are hosted collectively and are biographical in form. These identities, in turn, give (...) rise to selves of various sorts—true selves, autobiographical selves, public and private selves, merely possible selves, and so on—which are the characters (or presupposed subjects) that appear in our various identities. Although the theory I develop bears some obvious affinities with the view that selves are fictional characters, the two views are in fact distinct, for reasons explained at the end. (shrink)

The concept of narrative has come to play an important role in a bewildering variety of disciplines such as literary theory, linguistics, historiography, psychology, psychotherapy, ethnology and philosophy due to a number of recent trends in the social sciences including: the rejection of strong apriori unities of experience, the focus on intersubjectivity as the grounding level of experience, the turn to language as the focus of philosophical reflection, and the success of semiotics in articulating the rules for the (...) generation and understanding of texts. The first section of the paper presents the framework of Ricoeur's investigation into narrative identity, which he embeds within an encompassing reflection on time and an examination of current theories of personal identity. The second section, then, both specifies salient aspects of Ricoeur's narrative model and shows how, using that model, Ricoeur claims that the concept of narrative identity solves the paradoxes of personal identity. The third section presents Dennett's concept of a narrative self and compares Dennett's and Ricoeur's models. As we shall see, these two philosophers, who work within antagonistic traditions, have surprisingly similar ways of using narrative as a model for understanding the self. (shrink)

Recent work on distributed cognition and self-narrative has emphasised how autobiographical memories and their narration are, rather than being stored and created by an individual, distributed across embodied organisms and their environment. This paper postulates a stronger form of distributed narration than has been accommodated in the literature so far, which I call narrative deference. This describes the phenomena whereby a person is significantly dependent upon another person for the narration of some significant aspect of their own autobiographical (...) self-narrative. I suggest that a person is more likely to narratively defer where they suffer a mnemonic impairment regarding some significant adverse life experience like trauma, illness or injury. Following a recent turn in the literature towards investigating the harmful aspects of distributed cognition as well as its many advantageous features, this paper explores how the benefits of autobiographical self-narrative deference within close personal relationships are complexly related to its harms. (shrink)