<P>While there are many books on the romantics, and many books on Heidegger, there has been no book exploring the connection between the two. Pol Vandevelde’s new study forges this important link. </P> <P>Vandevelde begins by analyzing two models that have addressed the interaction between literature and philosophy: early German romanticism (especially Schlegel and Novalis), and Heidegger’s work with poetry in the 1930s. Both models offer an alternative to the paradigm of mimesis, as exemplified by Aristotle’s and Plato’s discussion of (...) poetry, and both German romanticism and Heidegger owe a deep debt to Plato. The study goes on to defend the view that Heidegger was influenced by romanticism. The author’s project is thus both historical, showing the specificity of the romantic and Heideggerean works, and systematic, defending aspects of their alternative mode of thinking while also pointing to their weaknesses. </P>. (shrink)

Several scholars observed that narratives about the human past are evaluated comparatively. Few attempts have been made, however, to explore how such evaluations are actually done. Here I look at a lengthy “contest” among several historiographic narratives, all constructed to make sense of another one—the biblical story of the conquest of Canaan. I conclude that the preference of such narratives can be construed as a rational choice. In particular, an easily comprehensible and emotionally evocative narrative will give way to a (...) complex and mundane one, when the latter provides a more coherent account of the consensually accepted body of evidence. This points to a fundamental difference between historiographic narratives and fiction, contrary to some influential opinions in the philosophy of historiography. Such historiographic narratives have similarities with hypotheses and narrative explanations in natural science. (shrink)

Most art is made by people with a well-developed concept of art and who are familiar with its forms and genres as well as with the informal institutions of its presentation and reception. This is reflected in philosophers’ proposed definitions. The earliest artworks were made by people who lacked the concept and in a context that does not resemble the art traditions of established societies, however. An adequate definition must accommodate their efforts. The result is a complex, hybrid definition: something (...) is art (a) if it shows excellence of skill and achievement in realizing significant aesthetic goals, and either doing so is its primary, identifying function or doing so makes a vital contribution to the realization of its primary, identifying function, or (b) if it falls under an art genre or art form established and publicly recognized within an art tradition, or (c) if it is intended by its maker/presenter to be art and its maker/presenter does what is necessary and appropriate to realizing that intention. Meanwhile, artworlds—historically developed traditions of works, genres, theories, criticism, conventions for presentation, and so on—play a crucial but implicit role in (b) and (c). They are to be characterized in terms of their origins. (shrink)

The ever-expanding literature on narrative reveals a striking divergence of claims about the epistemic valence of narrative. One such claim is the oftstated idea that narratives or stories generate both “hot” and “cold” epistemic irrationality. A familiar, rival claim is that narrative has an exclusive capacity to embody or convey important types of knowledge. Such contrasting contentions are not typically presented as statements about the accidents or effects of particular narratives; the ambition, rather, has been to identify a strong link (...) between a single, positive or negative epistemic valence and narrativity, or the traits in virtue of which some discourse, utterance, or series of thoughts is aptly classified as a narrative or story. In this essay I contend that arguments in this vein are dubious.Not only are contentions about the specificity of narrative tenuous and controversial, but even if they were not, there are serious problems with the postulated connections between narrativity and the epistemic merits or demerits of narratives. These difficulties are identified in a critical discussion of prominent examples from the literature. My conclusion is not that there is nothing worth saying about relations between narratives and various epistemic desiderata, but that one prevalent theoretical ambition in this area ought to be renounced in favor of more viable avenues of inquiry. (shrink)

This paper argues that history differs from natural science in relying on folk psychology and so narrative explanations. In narratives, actions, beliefs, and pro-attitudes are joined by conditional and volitional connections. Conditional connections exist when beliefs and pro-attitudes pick up themes from one another Volitional connections exist when agents command themselves to do something having decided to do it because of a pro-attitude they hold. The paper defends the epistemic legitimacy of narratives by arguing we have legitimate grounds for postulating (...) conditional and volitional connections since they are given to us by a folk psychology we accept as true. (shrink)

Narrativism, as represented by Hayden White and Frank Ankersmit, can fruitfully be analyzed as an inversion of two brands of positivism. First, narrativist epistemology can be regarded as an inversion of empiricism. Its thesis that narratives function as metaphors which do not possess a cognitive content is built on an empiricist, "picture view" of knowledge. Moreover, all the non-cognitive aspects attributed to narrative as such are dependent on this picture theory of knowledge and a picture theory of representation. Most of (...) the epistemological characteristics that White and Ankersmit attribute to historical narratives therefore share the problems of this picture theory.The article's second thesis is that the theories of narrative explanation can also fruitfully be analyzed as inversions of positivist covering-law theory. Ankersmit's brand of narrativism is the most radical in this respect because it posits an opposition between narrative and causal modes of comprehension while simultaneously eliminating causality from narrativist historical understanding. White's brand of narrativism is more of a hybrid than is Ankersmit's as far as its theory of explanation is concerned; nevertheless, it can also be fruitfully interpreted as an inversion of covering-law theory, replacing it by an indefinite multitude of explanatory strategies.Most of the striking characteristics of both White's and Ankersmit's narrativism presuppose positivism in these two senses, especially their claim that historical narratives have a metaphorical structure and therefore no truth-value. These claims are hard to reconcile with the factual characteristics of debates by historians; this problem can be tracked down to the absence in "metaphorical" narrativism of a conceptual connection between historical narratives and historical research. (shrink)

Au cours des dernières décennies, d'importants philosophes tels Walter B. Gallie, Arthur Danto, Louis Mink, Hayden White et Paul Ricoeur ont mis l'accent sur le rôle de la narration en histoire. Le présent texte rappelle les thèses de ces auteurs et porte ensuite une attention particulière aux travaux de David Carr voulant que l'action historique elle-même ait une structure narrative. L'article discute des conséquences de ce « narrativisme » en prenant parti dans un débat alimenté par des interventions comme celles (...) de William Dray et de Noël Carroll. Il soutient qu'une thèse «réaliste» en la matière risque de déboucher sur la réactualisation d'une forme de philosophie spéculative de l'histoire, ce qui ne va pas sans soulever quelques questions à propos de l'analyse politique et de la pratique de l'histoire. (shrink)

This article discusses an epistemological problem faced by causal explanations of action and a proposed solution. The problem is to justify why one particular reason rather than another is specified as causally efficacious. It is argued that the problem arises independently of one’s preferred conception of singular causal claims, psychological and psychophysical generalizations, and our folk-psychological competence. The proposed fallibilist solution involves the supplementation of the reason given by narratives that contextualize it and provide additional criteria for justifying the causal (...) claim. It is argued that narratives have a distinctive structure that can afford the justification of causal attributions without sui generis powers of narrative explanation having to be invoked. (shrink)

The primary aim of this research is to develop a new philosophical analysis of the concept of character that reflects the complexity of people and meets the demands of moral explanation. It places the agent's particular perspective and the wider context at the centre of moral judgement. The reason for undertaking this project is to establish an account of morality that is not in conflict with discoveries in empirical psychology. It responds to the challenge that the situation usually has the (...) explanatory role and that character traits rarely function as explanations for action. It argues that the best interpretation of the situationist position is that reasons would have to be features of the situation to separate the situationist argument from behaviourism. However, it argues that this would then commit the situationist to a controversial theory of action where what explains an action need not obtain. It argues that to evaluate a person or his action properly we need to tell an explanatory story and that this narrative construction is what best reflects the richness and complexity involved. It further argues that an adequate attribution of character to an individual will also take narrative form. Hence character traits can explain action because a narrative explanation of why an individual acted in a certain way can also be an explanation of why a certain character can be attributed to that person. It argues that narrative has central importance in the attribution of character traits because the narrative structure gives us an understanding of character that cannot be gained from a non-narrative presentation of the actions and events. This additional knowledge connects with the emotions important to moral evaluation of persons and actions. (shrink)

La Ilustración suele ser definida como la época del optimismo racional, es decir, de la confianza en la razón como motor del progreso humano. Sin embargo, dicho diagnóstico se ha convertido en estigma y ha llevado algunos autores a afirmar que la idea de progreso es un exceso metafísico y que la confianza en la razón es una ingenuidad. En contra de esta interpretación usual presento con Kant la idea de progreso como un postulado de la razón práctica con una (...) función terapéutica, es decir, la filosofía de la historia es una narración causal-diagnóstica con fines antidepresivos en contra de la desmoralización del hombre. (shrink)