The idea of narrative has been widely discussed in the recent health care literature, including nursing, and has been portrayed as a resource for both clinical work and research studies. However, the use of the term 'narrative' is inconsistent, and various assumptions are made about the nature (and functions) of narrative: narrative as a naive account of events; narrative as the source of 'subjective truth'; narrative as intrinsically fictional; and narrative as a mode of explanation. All these assumptions have left (...) their mark on the nursing literature, and all of them (in our view) are misconceived. Here, we argue that a failure to distinguish between 'narrative' and 'story' is partly responsible for these misconceptions, and we offer an analysis that shows why the distinction between them is essential. In doing so, we borrow the concept of 'narrativity' from literary criticism. Narrativity is something that a text has degrees of, and our proposal is that the elements of narrativity can be 'sorted' roughly into a continuum, at the 'high narrativity' end of which we find 'story'. On our account, 'story' is an interweaving of plot and character, whose organization is designed to elicit a certain emotional response from the reader, while 'narrative' refers to the sequence of events and the (claimed) causal connections between them. We suggest that it is important not to confuse the emotional persuasiveness of the 'story' with the objective accuracy of the 'narrative', and to this end we recommend what might be called 'narrative vigilance'. There is nothing intrinsically authentic, or sacrosanct, or emancipatory, or paradigmatic about narrative itself, even though the recent health care literature has had a marked tendency to romanticize it. (shrink)

Most historians today have abandoned the aspiration to a kind of scientific objectivity in their work—pace their postmodernist critics. Yet we cling nonetheless, with a touch perhaps of hypocrisy, to the closely related standard of strict impartiality, or moral neutrality, in all that we do. This article argues that the latter is as obsolete, now, as the former—if only because of the distinctive though largely implicit moral character of almost all published history, all but the most technically specialized. The issue (...) is not one of professional ethics, narrowly construed; obviously some such code must be maintained if history itself is to thrive. Rather historians are urged both to clarify the basic moral values that inevitably inform their work and to make more explicit, and thus intelligible, their ensuant moral judgments. They are also urged to discharge the task in a way that is commensurate with the pluralist, indeed global, challenges of our time. The implicit morality of conventional historical practice, in short, is no longer good enough. (shrink)

No articulation of `historical thinking' has been as influential as Sam Wineburg's position, according to which historical thinking is, fundamentally, the recognition of the ways in which the past is different than the present. Wineburg argues, further, that achieving that state is `unnatural.' This paper critiques both of these claims, arguing instead that we should replace a generic conception of historical thinking with one that is much more rooted in the specific practice of the discipline. It is surely necessary for (...) students to learn this practice, but it is not unnatural. Instead, learning to think historically is learning to speak the language of the discipline that we call ‘history.’. (shrink)

“Historicism” has become a ubiquitous and equivocal term. A classification is given here of five separate uses of the term currently in vogue, each provided with a unique qualifying adjective to help keep them distinct. I then offer a few objections to some of the more radical conclusions which have been drawn by proponents of a specific version of historicism, one associated with “postmodernism “. The positions of Rorty and Putnam are contrasted as examples of strong and weak degrees of (...) historicism, respectively. (shrink)

In order to explain some of the paradoxes and mysteries of the artist's cross cultural experience in Kiribati, he constructed an Artist's Book depicting through visuality, anecdote and reflection, his research process, engaging with current visual perceptions through negotiation with the past. In Kiribati previous encounters with Europeans and Islanders was dominated by English and I Kiribati with significant contributions by French missionaries. Each viewed the other through cultural filters of identity, which were informed by concepts of myth-historical, often heroic (...) pasts, modified by contemporary purpose such as power, trade, evangelism or personal gain. The method of transmission of beliefs about the past differed fundamentally as the Europeans were predominately informed by writing and the I-Kiribati by orality and performance. The non-literary epistemology of the I Kiribati contributed to a cosmology of non-iconic symbols that defined belief systems and social structures. These symbols connected place and space with time, self and group identities. The research found that the all surrounding visual symbol system of sacred meeting house, dwelling and canoe ) could be partly understood as an ongoing struggle since Deep Time, between the forces of the Ocea n represented by Bakoa, The Shark, and that of the triumph of the coming onto the Land and its people represented by Tabakea, The Turtle. The performative outcome of this triumph and the spirit of identity it engenders is expressed primarily in the ubiquitous I Kiribati Dance. The Artists Book is inspired by the creative classic I Kiribati form of oratory known as Te Kuna, using a structure analogous to the symbolic forms of narrative of Oceanic Voyaging traditionally employed by the I Kiribati. Differences in visual perceptions across cultural interface are understood not only as having the potential for conflict but also as providing positive dynamic force by the interchange of understood differences. The project contributes specifically to the ethnography of English and I Kiribati, semiotic systems and visual epistemologies, indicating directions towards positive outcomes in cross-cultural encounters. (shrink)

We suggest that there is a need for those who seek to explore issues associated with the implementation of citizenship education in England to clarify its specific nature. This can be done, at least in part, through a process of comparison. To that end we review some of the connections and disjunctions between 'character education' and 'citizenship education'. We argue, drawing from US and UK literature but focusing our attention on contexts and issues in England, that there are indeed some (...) broad areas of overlap between these two fields. Citizens should be of 'good' character and the educational initiatives that we consider both emerge from a concern about current trends in society. However, we suggest that the overlaps with citizenship education principally apply when character education is drawn very broadly. When we examine a particular approach to character education that is often US-based, and titled as 'citizenship', we note many contrasts with citizenship education as formulated in the National Curriculum for England. We suggest that citizenship educators in England need to interpret claims about the similarity between these two fields with caution, or meanings that apply to both character education and citizenship education will be distorted. (shrink)

My purpose in the researching and the writing of this thesis has been to investigate, and to try to explain, Frank Ankersmit's curious shift from his well expressed and firmly held narrativist position of "Narrative Logic", to an arguably contradictory, yet passionately held counter belief in the plausibility of a form of direct historical experience - an authentic unmediated relationship with the past. I am, accordingly, presenting here what I believe to be the most adequate explanatory account of/for Ankersmit's intellectual (...) journey. A journey which, in essence, constituted a substitution of his earlier representational, language centred philosophy of history for what might be taken as a new and mystical non-representational theory. This alternative theory of Ankersmit' s, lacking cognitive foundations, works on the basis of sensations, moods, feelings and therefore a consciousness deemed to be received directly from the past itself, and therein - for this thesis - lies its fatal weakness as a historical theory. Belief in the mystical may be all right at some level, if this is what is wanted, but a mystical experience itself cannot produce a historical re-presentation which is the only way that the past can be presented historically. Thus, I argue that Ankersmit's journey from language to experience - the latter phenomenon being more appropriately situated within the field of sociology/social theory and memory studies - is, in the end, a lost historical cause. (shrink)