Forschungsgeschichte - Handbuch/übergreifende Darstellung.

"For description and defense of the narrative configurations of everyday life, and of the practical and social character of those narratives, there is no better treatment than Time, Narrative, and History.... a clear, judicious, and truthful account, provocative from beginning to end." —Journal of the British Society for Phenomenology "... a superior work of philosophy that tells a unique and insightful story about narrative." —Quarterly Journal of Speech.

Narrative thinking -- Narrative thinking about one's past -- Grief : a case study -- Narrative thinking about one's future -- Self-forgiveness : a case study -- The narrative sense of self -- Narrative, truth, life, and fiction.

Narrative as it is used by historians is not merely an incidental, stylistic feature of the historian's craft, but essential to historical explanation. Narrative presupposes a world of things that endure through change. Stories fill in the gaps in our experience and thus make continuity visible. Ideally, narrative stands proxy for experience, though this ideal can never be attained. No criterion can be formulated that will signify when a story is complete enough. The changing perspective of the (...) historian and the infinite detail with which he has to deal makes his task a continuous one. Yet the historian cannot be radically subjective because his story is always limited by the chronology of his events and the accuracy of his details. The rationale of narrative enables the historian to repudiate the covering-law model of historical explanation. (shrink)

Various claims have been made concerning the role of narrative in grief. In this paper, we emphasize the need for a discerning approach, which acknowledges that narratives of different kinds relate to grief in different ways. We focus specifically on the positive contributions that narrative can make to sustaining, restoring and revising a sense of who one is. We argue that, although it is right to suggest that narratives provide structure and coherence, they also play a complementary role (...) in disrupting established structure and opening up new possibilities. We add that both of these roles point to the importance of interpersonal, social and cultural factors in shaping the trajectory of grief. We conclude by briefly considering the implications for distinguishing between typical and pathological forms of grief. (shrink)

ExcerptNarrative today is a commanding term for individual and group definition. Within literature and literary discussions, narrative structure has been treated in increasingly complex and multifaceted ways. However, as narrative has moved from literature into wider cultural circulation, such multiplicity and complexity can be lost. Narrative is embraced as the form in which experience takes meaningful shape. Each individual or each group has a story as their version of who they are, interpreted in each one’s terms and (...) affirming each one’s right to such interpretation. On the one hand, this promises the airing and sharing of viewpoints and versions on the part of each self or group. On the other hand, certain tendencies and implications of narrative structure close off each version from the others. Narrative can then become a claim to one’s own story in ways that refuse the stories of others. Instead of interchange among many voices in an open forum, what emerge are competitive accounts that deny the validity of the accounts of others. (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)

Solon's cryptic injunction : "Call no man happy until dead" -- A mourning happiness : the Athenian funeral oration -- Difficult happiness : the case of tragedy -- Aristotle's hermeneutic of happiness : the first forgetting -- The trial narrative in Richardson's Pamela : suspending the hermeneutic of happiness -- Effects of the trial narrative on the concept of happiness -- Marriage plot -- The tragedies of sentimentalism -- Kantian ethics and the discourses of modernity -- Happiness in (...) revolution : erasing the political concept of happiness. (shrink)

In this essay, I will reflect on Max Weber’s idea of disenchantment in relation to the material turn within contemporary religious studies. In the first part, I return to the two most famous texts in which Weber uses the concept, with particular attention to the historical context in which these texts were penned. In the following part, I discuss some of the contemporary efforts to engage critically with the disenchantment narrative, including the endeavor to recover the material dimensions purportedly (...) marginalized by major strands of Western religiosity as well as the scholarly reflection on religion. Finally, I return to Weber and investigate the lasting value of his work while also raising some critical questions about the ways in which “nature” and “matter” are reinvited in some contemporary efforts to dismantle the disenchantment narrative. (shrink)

Most accounts of responsibility focus on one type of responsibility, moral responsibility, or address one particular aspect of moral responsibility such as agency. This article outlines a broader framework to think about responsibility that includes causal responsibility, relational responsibility, and what I call “narrative responsibility” as a form of “hermeneutic responsibility”, connects these notions of responsibility with different kinds of knowledge, disciplines, and perspectives on human being, and shows how this framework is helpful for mapping and analysing how artificial (...) intelligence (AI) challenges human responsibility and sense-making in various ways. Mobilizing recent hermeneutic approaches to technology, the article argues that next to, and interwoven with, other types of responsibility such as moral responsibility, we also have narrative and hermeneutic responsibility—in general and for technology. For example, it is our task as humans to make sense of, with and, if necessary, against AI. While from a posthumanist point of view, technologies also contribute to sense-making, humans are the experiencers and bearers of responsibility and always remain in charge when it comes to this hermeneutic responsibility. Facing and working with a world of data, correlations, and probabilities, we are nevertheless condemned to make sense. Moreover, this also has a normative, sometimes even political aspect: acknowledging and embracing our hermeneutic responsibility is important if we want to avoid that our stories are written elsewhere—through technology. (shrink)

Name der Zeitschrift: Semiotica Jahrgang: 2018 Heft: 224 Seiten: 1-17.

Self-narration, many philosophers assume, makes important contributions to our mental lives. Two views on self-narration can be distinguished. On the internalistic view, self-narration unfolds in the secluded mind and does not require overt communication. On the situated view, self-narration often depends on the conversational interaction with an interlocutor. The situated view has many advantages over its internalistic rival, including theoretical consistency and empirical plausibility. Yet, research on situated conversational self-narration has been shaped by a harmony bias, which consists in the (...) tacit assumption that interlocutors contribute to self-narration in ways that are beneficial and supportive, rather than malicious and harmful. This paper seeks to mitigate the harmony bias by considering the phenomenon of gaslighting, which is characterized by an interlocutor’s erosion of someone’s sense of epistemic and moral competence. In cases of narrative gaslighting, this erosion proceeds by maliciously interfering with the self-narrator’s mnemonic, interpretational, and conceptual abilities. Bringing together research on situated self-narration and gaslighting for the first time, it will be argued that the emerging account of narrative gaslighting has important implications for both. (shrink)

This book is part of the growing field of practical approaches to philosophical questions relating to identity, agency and ethics--approaches which work across continental and analytical traditions and which Atkins justifies through an explication of how the structures of human embodiment necessitate a narrative model of selfhood, understanding, and ethics.

This paper explores some issues which a humanlike story system ought to encompass, but which are usually not in the main focus of narrative models since Propp. We argue that knowledge about actions and interactions can account not only for how stories are constructed, but also for why some stories are more interesting and enduring than others. We analyze a traditional English folktale in these terms, and show how classes of surface expressions make recoverable the underlying structures and dependencies (...) that schema‐based understanders comprise. (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)

Contra common belief, idealists need to account for the relationship between the mind and the brain every bit as much as do physicalists and dualists. However, they must conceive of that relationship in a very different way to either of their metaphysical rivals. This paper presents an appropriate idiom in which idealists may describe that connection. But the gain is not simply one of language, for it is argued that this idiom rules out understanding mind-brain correlation either a relationship of (...) causation or as one of identity. Exploiting literary parallels, it is further suggested that this lexicon for understanding how mind and brain stand one to another highlights the subsidiary status of physical reality, turning the mind-brain correlation from an apparent refutation of idealism into something that in fact vindicates it. (shrink)

This study shows how Goethe's Die pilgernde Torin, Kleist's Die Marquise von O..., Hawthorne's The Scarlet Letter, and James' Daisy Miller can appeal to the reader who identifies a message friendly towards woman and her plight, whether the message was the author's intention or not.

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)

A group is lying when it makes a statement that it believes to be untrue but wants the addressee(s) to believe. But how can we distinguish statements that the group believes to be untrue from honest group statements based on mistaken beliefs or confusion within the group? I will suggest a narrative constraint for honest group statements, made up of two components. Narrative coherence requires that a new group statement should not conflict with group knowledge on the matter, (...) or beliefs of relevant operative subgroups, unless a coherent rationale is given. Narrative intention looks at the process of gathering new evidence on the area of expertise of the group and requires that the group position behind the statement is formed in good faith. The narrative constraint will help to distinguish group lies from more innocent erroneous statements of group beliefs when there is an internal disagreement within the group, including in cases involving spokespersons. (shrink)

There has been a long-standing interest in the putative roles that various so-called ‘theory of mind’ abilities might play in enabling us to understand and enjoy narratives. Of late, as our understanding of the complexity and diversity of everyday psychological capacities has become more nuanced and variegated, new possibilities have been articulated: (i) that our capacity for a sophisticated, everyday understanding of actions in terms of reason (our folk psychology) may itself be best characterized as a kind of narrative (...) practice and (ii) that acquiring the capacity for supplying and digesting reasons explana- tions might (at least normally) depend upon having a special training with narratives. This introductory paper to the volume situates the claims of those who support the narrative approach to folk psychology against the backdrop of some traditional and new thinking about intersubjectivity, social cognition and ‘theory of mind’ abilities. Special emphasis is laid on the different reasons for being interested in these claims about narrative practice and folk psychology in light of various empirical and philosophical agendas. (shrink)

The author of “How Bioethics and Case Law Diverge in Assessments of Mental Capacity: An Argument for a Narrative Coherence Standard” (2020) arrives at a reasonable conclusion; however, it is far le...

This paper focuses on the narrative aspect of Seneca’s idea of self-transformation. It compares Seneca’s viewpoint with some modern notions of the narrative self to highlight some parallels and significant differences between the ancient and modern conceptions and it establishes the reading of some parts of De Brev. Vit. in the context of other passages as concerned with the narrative self. The paper argues, amongst other points, that in Ep. 83.1–3, Seneca extends the practice of meditatio (ethically (...) directed self-examination) by incorporating the construction of a narrative self into this process, in dual roles, as examiner and examined. It concludes that Seneca expected us to avail ourselves of a similar self-assessment based on a dialogue with philosophical texts. (shrink)

In this paper we argue that the phenomenon of evidentiality, the grammatical marking in some languages of the source of one's knowledge, gives us a revealing window into the developmental processes in middle childhood that subserve the achievement of narrative competence. First, we argue that the mastery of evidentiality is connected to the development of an understanding of inference, and of the ability to mobilize this understanding in the construction of human narratives. Second, we examine the role that parent-child (...) discourse plays in clarifying the contrastive uses of sources of knowledge. Finally, we discuss the difference between first person and third person narratives, and suggest that evidentials might reveal something of the sources of evidence for persistence of self as the protagonist in one's own life story. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.3 (2004) 107-115 [Access article in PDF] The Search for Narrative Laura Felleman Fattal The most cursory cultural investigator cannot help but notice that the visual arts have become a significant source and impetus for the narrative of contemporary books, theater, and dance. In recent memory, the following theatrical and dance performances "Contact" by Susan Stroman and John Weidman, "Art" by Yasmina (...) Reza, "Sunday in the Park with George" by Stephen Sondheim, book by James Lapine, "Les Miserables" by Claude-Michel Schfonberg/music and others, "Picasso at the Lapin Agile" by Steve Martin, and "The Sleep of Reason," by Antonio Buero-Vallego have taken the not-so-dead-life (natura morta) or still life of painting into the vital arena of the performing arts. The quest to seek intra-discipline aesthetics among dance, music, theater, and the visual arts is not the charge, but instead a turn to establish a narrative that has brought about this invasion of interactivity between the arts. Clearly defined boundaries between the arts have beenfading since Fluxus, Happenings, and Performance Art for over half a century. In the early part of the twentieth century, Marcel Duchamp's chess games and use of the fourth dimension of time in his numerous produced and pondered pieces all speak to the interrelatedness of the arts.Contemporary novels based on historical themes and subjects have created characters based on the lives and works of famous and intriguing artists such as Michelangelo Caravaggio, Georges de La Tour, and Jan Vermeer. The silence and pensive qualities of the figures of Jan Vermeer, the seventeenth-century Dutch painter, have been the catalyst for two books, The Girl in Hyacinth Blue by Susan Vreeland and the Girl with the Pearl Earring by Tracy Chevalier.1 Vreeland combines the mystic of the Vermeer paintings' characters with the impoverished history of the refugee status of its owners. In various parts of Vreeland's book the authenticity of the Vermeer painting becomes a subtext for describing the work. [End Page 107] Just the lament of some Dutch art historians. Where has such a treasure gone, or some such thing? He turned to pour us both a brandy. So why could this not be? It's his same window opening inward at the left that he has used so often, the same splash of pale yellow light. Take a look at the figures in the tapestry on the table. Same as in nine other paintings. Same Spanish chair with lion's head finials that he used in eleven canvases, same brass studs in the leather. Same black and white tiles placed diagonally on the floor.2A few pages later the interest in the authenticity of the painting continues: No, no signature. But that was not unusual. He often failed to sign his work. Besides, he had at least seven styles of signature. For Vermeer, signatures are not definite evidence. Technique is. Look at the direction of the brush's stroke, those tiny grooves of the brush hairs. They have their lighted and their shaded side. Look elsewhere. You'll find overlapping layers of paint no thicker than silk thread that give a minute difference in shade. That's what makes it a Vermeer.3In Girl with a Pearl Earring, Vermeer's slow and meticulous technique, obsessive involvement with his models and his assiduous composition of light over textures of both animate and inanimate surfaces in the painting become the core of the novel. He had come in and was standing in the studio, looking out a window. "Take a seat, please, Greit," he said, his back to me.I sat in the chair by the harpsichord. I did not touch it — I had never touched an instrument except to clean it. As I waited I studied the paintings he had hung on the back wall that would form part of the concert painting. There was a landscape on the left, and on the right a picture of three people — a woman playing a lute, wearing a dress that revealed much of... (shrink)

This article explores the crisis of narrative in contemporary culture. It begins by examining the challenge represented by the mass media for the continuing art of storytelling. Taking up Walter Benjamin’s warning that we are moving from an age of narrative experience to an age of instant information, it analyses the implications of the post‐modern ‘cult of simulation’ for education, historiography and ethics. The paper concludes by advocating a critical hermeneutic approach as the most apt response to this (...) contemporary dilemma. Only by means of such hermeneutic retrieval, inspired by the work of Ricoeur and Gadamer, can we avoid the current reduction of temporal experience to a ‘depthless present’ without past or future, thereby reaffirming the crucial narrative dimensions of historical memory and hope. (shrink)

In this article, a semiotic approach is proposed to explain how human agents use and give meaning to art in complex contexts. Inspired by the psycho-historical approach on art appreciation, which attempts to embrace psychological and cognitive aspects of art sense-making, as well as the art-historical context dependence of artworks, an extended theory is suggested: an agent's art use and interpretation can be described using three general categories of meaning grounding: phylogenetic recurrence, ontogenetic recurrence and collective recurrence. These categories explain (...) how a certain meaning of a sign is possible and justifiable, supported by human agents' capabilities and purposes. This article also proposes that it is possible to narrate, using such categories of meaning grounding, how different agents enact art, that is, give meaning and act upon art in different circumstances. Finally, I offer some examples about how the model can be used in real art contexts. The objective of this narrative-enactive approach, even though it offers a limited and edited focus, is to offer an orderly and comprehensible method to explain the dynamic nature of art meaning and how biologic, individual and collective grounding and purposes intertwine. (shrink)

I begin my comments with a first-person narrative. I know Octavio, Erotildes, and Nuria from the time I worked at the Institute of Psychiatry and was very close to the field of mental health. They are people whose work I admire and appreciate. I comment on this text from the point of view of someone who has never worked directly in mental health assistance and whose knowledge about severe mental illness therapy has occurred mostly from a third-person perspective. My (...) comments are based on parallels with situations and experiences that I have been studying lately.First of all, I want to say that I fully agree with the authors’ argument that “experiences and narratives about illness, treatment, and recovery are... (shrink)

This article explores existential principles through autoethnographic poetry and narrative reflections. The use of poetry and narrative as tools in qualitative research is explored. Poetry and narratives are shown to be valuable tools for presenting people’s lived experiences of complex existential principles and processes. The use of poetry and narrative in this research is positioned within the traditions of expressive arts and postmodern research methods.

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)

Much has been written about the importance of narrative in teaching ethics and humanities to medical students and residents, as well as the value of narratives in clinical care. Relatively little has been said about the essential role of narrative in bioethics consultations. For most consults, the interpretation of narratives is the central moral feature, and the ethics consultant is inevitably one of the narrators. In a recent consult in which I participated, at least three narratives were in (...) play. The medical record itself was a narrative, or really, a variety of narratives. A second distinct narrative was the story of why this case had come to be categorized as an ethical concern for the medical team. A third narrative was the tentative sketch running through my mind as a consultant‐partly factual, partly anticipatory and conjectural, inevitably personal‐about what was going on here. (shrink)

The deceptive clues in the impossible puzzle film confirm the viewer’s internal expectations and allow retrospective attributing. In the film, a transcendental object negates an internal expectation, causing a retrospective blockage. Retrospectivity does not stop there; the transcendental object reinterpreting deceptive clues in the associative area leads to repeated attribution. This article consists of three parts. First, it discusses impossible puzzle films in the context of complex narrative classification. The following section introduces the Jungian concept of synchronicity and illustrates (...) how it works. The article concludes with a case study of Long Day’s Journey into Night (2018), which contains more complicated puzzles and explains how mind-game narrative techniques create deceptive clues and induce deceptive retrospective attribution. (shrink)

The classic national history narrates the formation and progress of a nation-state as a reflection of principles such as a national character, liberty, progress, and statehood. Today there appears to be a growing nostalgia for them, and with it for the role that history once played in the life of the nation. This paper argues that such nostalgia is justified insofar as it expresses skepticism about the philosophical assumptions of much social science history. In doing so, it defends the use (...) of concepts such as narrative and tradition. Yet this paper argues that such nostalgia is not justified insofar as it sides with an analysis of these concepts in terms of given principles of nationhood and statehood. Rather, the paper argues for a shift from developmental historicism to radical historicism. Radical historicism would treat traditions as pragmatically constructed and narratives as contingent. It would thus lead to denaturalizing accounts of the nations as dispersed, discontinuous, and disrupted, and arguably to histories of networks of peoples rather than nations. (shrink)