Recently, bioethics has become interested in engaging with narrative, but in this engagement, narrative is usually viewed as a mere helpmate to philosophy. In this precis to his book The Fiction of Bioethics, Tod Chambers argues that narrative theory should not be simply a helpful addition to medical ethics but instead should be thought of as being as vital and important to the discipline as moral theory itself. The reason we need to rethink the relationship of medical ethics to narrative (...) is that ethicists test their ideas by applying them to cases, and cases are a narrative genre. Recognizing the importance that cases have for the way medical ethicists do ethics is essential in order to appreciate the field as a form of applied philosophy. Like other forms of representation, narrative has distinct and defining features, which ethicists, in order to understand the data of their field, must learn to recognize and differentiate. Ethicists need to attend to the way decisions about the discourse of a narrative influences the kind of moral theories judged relevant to it. The author briefly examines six features of narrative discourse that rhetorically condition the way we understand medical ethics cases: filter, reportability, closure, characters, chronotope, and gender. (shrink)

Abstract Narrative thinking has a very important role in our ordinary everyday lives?in our thinking about fiction, about the historical past, about how things might have been, and about our own past and our plans for the future. In this paper, which is part of a larger project, I will be focusing on just one kind of narrative thinking: the kind that we sometimes engage in when we think about, evaluate, and respond emotionally to, our own past lives from a (...) perspective that is external to the remembered events. Being able to do this is an essential part of what it is to have a narrative sense of self. Sometimes, I will suggest, we fail to have such responses?we are not able to think and feel as we should about an episode in our lives. On such occasions, there is a gap in our narrative sense of self?a gap which opens up especially where the past is in some sense tragic or traumatic. The desire to close this gap is what I will call a desire for emotional closure. (shrink)

A story does more than recount events; it recounts events in a way that renders them intelligible, thus conveying not just information but also understanding. We might therefore be tempted to describe narrative as a genre of explanation. When the police invite a suspect to “tell his story,” they are asking him to explain the blood on his shirt or his absence from home on the night of the murder; and whether he is judged to have a “good story” will (...) depend on its adequacy as an explanation. Can we account for the explanatory force of narrative with the models of explanation available in the philosophy of science? Or does narrative convey a different kind of understanding, which requires a different model and perhaps even a term other than ‘explanation’? (shrink)

In this article, “Narrative Closure,” a theory of the nature of narrative closure is developed. Narrative closure is identified as the phenomenological feeling of finality that is generated when all the questions saliently posed by the narrative are answered. The article also includes a discussion of the intelligibility of attributing questions to narratives as well as a discussion of the mechanisms that achieve this. The article concludes by addressing certain recent criticisms of the view of narrative expounded by this article.

The non-credit bearing and ongoing education and development of mid- to late-career corporate executives is known by the compound term executive education. Reductively stated, executive education, for its corporate consumers and its business school providers, is predicated on the relationship between an order and its execution ; a relationship I call the “order-execution cognate”. With the word execution derived from Greek for sequence, and with the sequence of an execution following-on from its corresponding order, sequentiality is the essence of execution, (...) and the cognate. Executive education involves the amelioration of this order-execution cognate, to the ends of increased profits and competitiveness for the corporation concerned, and increased career prospects for the individual executive. Concerning sequentiality, and as a thesis on the philosophy of executive education, I apply a strand of ontological reflection to examine this cognate, namely philosophy concerning time and temporal succession. To aid in this task I use the English translations of writings on time by the German philosopher Martin Heidegger. Emerging from Heidegger’s thought are two temporal types that acknowledge and critique temporal succession; chronological time and Kairotic time respectively. By associating Heidegger’s philosophic method with that of early German Romantic philosophy, I articulate how it is possible to reconceive the temporal sequence of the order-execution cognate as a productive oscillation between chronic and Kairotic time; I call this oscillation “ironic temporality,” and its productivity “ironic productivity”. My philosophical analysis of commercially lucrative and neoliberal executive education is at odds with traditional knowledge-based analyses, affording a critique of the capitalist order which the educative event serves. Disrupting temporal notions of that event then becomes a dangerous political act; becomes the means to frame the educative event for the management of our age; and becomes the new orders for executive education. (shrink)

It is often argued, most recently by Samuel Scheffler, that we should reconcile with our mortality as constitutive of our existence: as essential to its temporal structure, to the nature of deliberation, and to our basic motivations and values. Against this reconciliatory strategy, I argue that there is a kind of immortal existence that is coherently conceivable and potentially desirable. First, I argue against the claim that our existence has a temporal structure with a trajectory that necessarily culminates in an (...) ending. This claim is based on two false assumptions: that a life as a whole calls for narrative structure, and that narratives necessarily require closure as temporal endings. Second, I reject the proposal that temporal finitude is constitutive of the basic elements of diachronic agency, including the nature of deliberation and of our values. I argue that only finitude as scarcity of opportunities is constitutive of these elements. Additionally, scarcity might be present in an endless existence. Therefore, it is not incoherent to conceive of a recognizable and potentially desirable immortality that grounds the core features of diachronic agency. Thus, against the reconciliatory strategy, I conclude that we might never fully reconcile with mortality. Although we might embrace our inescapable mortality as essential to a fuller range of features of our existence, we can still justifiably regret our missing on an immortal existence. (shrink)

Narrative medicine is predicated on the importance of narrative to human life. Although that in itself is not controversial, an extension of this principle that has sprung up in narrative psychiatry—namely, that by coming to imagine a different life story one can become a different person—ought to be. One reason one cannot remake one’s life in the image of a story is that life is not to be mistaken for a story in the first place. The seminal study of psychotherapy, (...) Persuasion and Healing, although recommending that the demoralized absorb more uplifting stories about themselves, appears to recognize some limit to the possibility of modeling life on story. The same study likens therapeutic stories to placebos, but as it happens, placebos themselves have their limits, alleviating symptoms but not curing or “healing.” In order for someone to become a different person through the agency of the placebo effect, it would have to be more robust than it is. The argument that life follows narrative is an ironic one for a discipline devoted to narrative to make, given the salience in the tradition of the novel, from Don Quixote forward, of works that explore the fallacies of that presumption. In keeping with its attention to narrative, this article challenges the use of a short story by Chitra Divakaruni as an illustration of the principles of narrative psychiatry. (shrink)

There has been a longstanding and acrimonious debate in the human sciences over the role played by classic texts. Advocates of the classic insist its value is timeless and rests on the intrinsic superiority of its cognitive insights and aesthetic virtues. Critics, by contrast, argue that the respect accorded the classic is spurious because it conceals the ideological assumptions, tensions and discontinuities of tradition. This paper seeks a solution through the account of ‘the classical’ brought by Hans-Georg Gadamer in Truth (...) and Method, which acknowledges a text’s ‘eminence’ as well as its ‘historicity’. Following the introduction, the paper divides into four sections. Section one, notes that the hermeneutic account of tradition describes it as being open to challenge rather than closed and unchangeable, and that the classic, as grounded in tradition, will conserve difficulty as readily as comfortable certainty. Section two focuses on the idea that in the classic we find matter ‘properly portrayed’, while section three notes the importance of ‘application’ for an understanding of classic texts. It is noted that both ‘proper portrayal’ and ‘application’ depend on recognising the role of the fusion of historical horizons in generating classic texts. The final section challenges the criticism that the classic is no more than a reflection of the institutional power wielded by the canon, arguing instead that the classic and the canon are different entities, and conflating them in favour of the latter, misleadingly reduces classic-ness to being no more than an effect of canonicity. (shrink)

In this essay I begin with Aristotle’s perplexing observation that a tragic drama is a “whole,” one identified by a clear beginning, middle and ending. I pause to wonder how Aristotle imagines such ends, given his contention that a play concludes in such a way that “nothing can follow from it.” On the face of it, it is very difficult to imagine what Aristotle has in mind here. I suggest that one clue may be found in his title, Poetics, with (...) its clear suggestion that a dramatic event is in fact a making, a poiesis. I develop this idea to suggest that the end of a story, any story, tends to be something the reader imposes, often in the interest of generating a specific moral. I then display these readerly dynamics by providing a close reading of the famous story from Genesis, concerning the cities of Sodom and Gomorrah. I explore a number of different ways in which this story may be thought to “end,” as well as the implications of each such ending. (shrink)

(1995). Synthesizing disciplinary narratives: George Gaylord Simpson's tempo and mode in evolution. Social Epistemology: Vol. 9, Boundary Rhetorics and the Work of Interdisciplinarity, pp. 113-150.

Why do thinkers hostile or agnostic toward Christianity find in its apocalyptic doctrines—often seen as bizarre—appealing tools for interpreting politics? This article tackles that puzzle. First, i...

Apocalypse as a literary genre, as well as a political and religious agenda, has been criticized by writers such as Lee Quinby and Katherine Keller for its formula, which tends toward punishment for transgression and salvation of an elect. These same writers critique postapocalypse for its propensity for nihilism and portrayal of a human species ‘beyond redemption’. But perhaps it is precisely this refusal to redeem that endows postapocalypse with dangerous possibilities. The postapocalypse does not have to be considered (and (...) subsequently neutralized) via the same moral underpinnings that structure apocalypse. This paper frames postapocalypse not as a literature of pessimism or warning but as a radical context to explore dangerous possibilities without rehearsing apocalypse’s characteristic damnation, salvation and enforcement of a horizon of revelation that simultaneously works to obliterate aberrant possibilities. In order to explore these claims, the process of thinking beyond revelation in apocalypse is defined here as ‘the postapocalyptic imagination’. Its expressions are found in postapocalyptic texts, but also in other kinds of texts that respond to, and in some cases resist, the teleological drive of late capitalist narratives of endless progress. The postapocalyptic world is host to mutations, amalgamations and strange appropriations of forms and ideas left in the wreckage beyond the end. It is the task of the postapocalyptic imagination to explore what possibilities these ‘abominations’ might offer. This paper considers the motifs, characters and settings of postapocalyptic texts, alongside some of the anxieties and critiques they express. (shrink)

If placebos have been squeezed out of medicine to the point where their official place is in clinical trials designed to identify their own confounding effect, the placebo effect nevertheless thrives in psychotherapy. Not only does psychotherapy dispose of placebo effects that are less available to medicine as it becomes increasingly technological and preoccupied with body parts, but factors of the sort inhibiting the use of placebos in medicine have no equivalent in psychology. Medicine today is disturbed by the placebo (...) effect in a way psychotherapy is not. Psychotherapy does not have to grapple with such a disconcerting paradox as successful sham surgery, and unlike those physicians who once pretended to treat the patient’s body while actually attempting to treat the mind, the psychotherapist can treat the mind in all frankness. Perhaps it is because psychotherapy is less burdened by doubts about the placebo effect that it was able to come to its aid when it was orphaned by medicine. It is vain to expect something with so long a history as the placebo effect to disappear from the practices of healing. (shrink)

Transparency has achieved a mythical status in society. Myths are not false accounts or understandings, but deep-seated and definitive descriptions of the world that ontologically ground the ways in which we frame and see the world around us. We explore the mythical nature of transparency from this perspective, explain its social-historical underpinnings and discuss its influence on contemporary organizations. In doing so, we also theorize in a more general sense about the relationship between myth, as a foundational understanding and description (...) of the world, and the constellation of metaphors, as specific ways of framing and seeing organizational reality, to which it gives rise. While observations and evidence can always be adduced to challenge a particular set of metaphors, the endogenous force of the myth may sustain the overall project. This process is explained with a detailed analysis of the transparency myth. (shrink)

The Heideggerian question posed here as “what does it mean to dwell in a global age” leaves open, invites even, the possibility of committing two conceptual mistakes from which, depending on the theoretical universe we inhabit, two separate sets of problems arise. On the one hand, if the adverbial “in a global age” is taken to denote a radical historical caesura between “our age” and the age in which the concept was first deployed, one has to prove that the caesura (...) is indeed not only historically operative but legitimate on an ontological level. This would, however, be a futile attempt: there hardly exists an essential, qualitative difference between the ontological regime of “our global age” and the one sketched in Heidegger's 1954 essay “Building Dwelling Thinking.” We have not been blessed by any epochal turns, despite important switches – to move for a second to a different register—in regimes of accumulation. Thus, it may be concluded, the ontological question about the state of “dwelling in a precarious age” has already been posed and answered by Heidegger himself—from an ontological perspective, he is our contemporary. And of course, to such question there can in fact be only one answer: it is the same “metaphysics” that has precluded the possibility of “dwelling” throughout modernity that gave rise to our age as global. But then to avoid the mistake sketched out above and the repetition of an already accomplished analysis, the question as it is posed for us here should be taken as a politicization of the original concept, foreign to a puritanically ontological Heideggerian diagnostics, although building on its foundations: what is to be done historically at this moment to enter “dwelling”? (shrink)

The paper examines narrative operations involved in the temporal configuration of experience within a general framework of the phenomenological treatment of temporality. Taking as its point of departure a most basic instantiation of temporal experience, namely that of a ticking clock, it argues that the narrative dynamics which give form and charge the interval between tick and tock with significant duration are directly derived from the time-constituting operations of the embodied mind and, as such, are independent of their linguistic articulations. (...) Thus, it critically invokes Husserl’s account of time-consciousness, more specifically his model of retention-primary impression-protention, first in the context of Francisco J. Varela’s account of the neurodynamics of lived time, and then with reference to David Carr’s argument for continuity between narrative and the world of our experiences and actions. Building on these critical trajectories, the paper outlines how proto-narrative elements of lived time form a basis for the properly narrative operation of emplotment and, in its final section, discusses some of the complex relations between lived time and narrative time by contrasting Carr’s account of narrative with Paul Ricoeur’s model of triple mimesis. (shrink)

Although philosophers often focus on the essays of Leopold's Sand County Almanac, especially "The Land Ethic," there is also a normative argument present in the stories that comprise most of the book. In fact the shack stories may be more persuasive, with a subtlety and complexity not available in his prose piece. This paper develops a narrative ethics methodology gleaned from rhetoric theory, and current interest in narrative ethics among literary theorists, in order to discern the normative underpinnings of the (...) stories in Part 1. The narrative ethics approach sidesteps the need to ground the land ethic in ethical theory—which has been a reconstructive and problematic task for the philosophical interpreters of Leopold—and suggests, instead, that it emerges in Leopold's very effort to narrate his, professional, personal, and practical experience with nature. The involves examining the stories in terms of their emotional, logical and performative aspects. The result is an analysis that shows not only how these stories express normative claims, but also justify them. One conclusion of the analyses is that, in the narratives, there is less emphasis on the problematic notion of an over-arching "community" than in the prose pieces, and more emphasis on the metaphor of other living things as "fellow travelers" in the "odyssey of evolution." Second, the narratives take on an ironic attitude toward the ecological order, less discernable in the prose essays. The order itself may not be ethically admirable, but should be preserved since it makes possible any ethical relations within it. Thus, the narrative reading suggests some temperance to the usual holistic interpretation of his land ethic and its concomitant criticisms especially the charge of ecofacism. We should not take the land ethic imperative at its face value, in the sense that the good of the order itself is an intrinsic good. In the narratives, individuals are shown not merely to be means to the ecological whole, but the focus of sympathy and concern, in a manner that demands their good should also be an object of moral consideration. (shrink)

Frank Kermode uses the term aevum to question the links between origin, order, and time, associating experience with spatial form. Without end or beginning, aevum identifies an intersubjective order of time where we participate in the “relation between the fictions by which we order our world and the increasing complexity of what we take to be the ‘real’ history of that world”; being “in-between” time is a primary quality of the aevum. Regarding cinema, aevum identifies this third duration as emotional (...) experience, occuring as traumatic time. It facilitates thinking beyond lived temporal experience of everyday life to a philosophy of experience that accounts for alternative sensoria of time, similar to the traumatic encounter. The cinematic aevum is equally not of the material, corporeal world; concurrently associating human reality with the myths of the human condition. To say that a cinematic aevum exists following traumatic scenes, is to specify a visual “time-fiction” in film, to recognise a spatial form that belongs neither to the finite time of the film's narrative, or of the “eternal” time outside the film's diegesis, but participates in the order (and linking) of both. Wilfred Bion's psychoanalytic works are used to discuss the traumatic symptom of “empty time”: the inability to recollect, to make links between memory and experience, demonstrating a version of empty time that works as an external violence to spectator perception. Bion's theories offer fresh psychoanalytic perspective on trauma and its relationship to time by challenging classical ways of thinking about inner and outer perception. (shrink)

Elegies 1.19 and 2.15 combine the motifs of loss, desire, and writing in complex ways. In each poem, the speaker's attempt to recapture the past-to possess his beloved by writing about her-leads him to confront the imperatives of time and the limits of his own poetic art. Furthermore, because Cynthia is so closely identified with Propertius' project as an elegiac poet, she becomes a focus of literary as well as erotic unease. In poem 1.19, the narrator's anxiety about Cynthia's fidelity (...) discloses a deeper anxiety about the reception of his poetry, and about the ability of a text to represent its author faithfully once it enters the public domain. In contrast to 1.19, elegy 2.15 seems initially to resist the prospect of change and loss. In the first ten lines of the poem, the narrator affirms a kind of mastery over time and his beloved, re-creating a scene of pleasure from the past, and presenting Cynthia's unclothed body as the object of his and the reader's amorous gaze. Yet Cynthia's active role in the scene-the evidence of "her" desire-leads to the dissolution of the amatory tableau. Cynthia brings elements of narrative into the erotic spectacle created by the poet-lover; as in poem 1.19, she is associated with forces which threaten the text's stability or closure. In both elegies, however, the poet's fictive encounters with loss are productive as well as unsettling. Such fictions permit him to view both love affair and poetic project retrospectively, and to evaluate their significance. They give expression to literary anxieties, but also allow these anxieties to be explored and partially mastered. Finally, they offer a way of thinking about the limits of love, of representation, and of a writer's control over his text. (shrink)