Various educational strategies use narrative artworks to pursue ethical training purposes. Based on the works of Dewey and Greene I show how these strategies do not always contribute to an aesthetic education ‒one that promotes experiences with artworks in which we develop sensitivities and capacities necessary to more richly, deeply and intensely experience what these and other artworks have to be experienced‒ and therefore end up having an instrumental use. This is the case with the most commonly used strategies: the (...) exemplary modelling strategy ‒which seeks to inspire students through characters that show an admirable moral character‒ and the moral deliberation strategy ‒which extracts dilemmas or moral problems from which characters from the works face to discuss them with the students. From Diamond’s work I show that, at the same time, it is precisely the non-aesthetic nature of these strategies that limits their chances of becoming a fully fledged ethical education. Hence, ethical education through the narrative arts is only fully developed when it is also an aesthetic education, and aesthetic education in the narrative arts is only fully developed when it also deals with matters of moral significance and is therefore also an ethical education. (shrink)

This paper examines Hermann Hesse's penultimate novel, The Journey to the East, from an educational point of view. Hesse was a man of the West who turned to the idea of 'the East' in seeking to understand himself and his society. While highly critical of elements of Western modernism, Hesse nonetheless viewed 'the East' through Western lenses and drew inspiration from other Western thinkers. At the end of The Journey to the East, the main character, H.H., believes he has found (...) the solution to his despair. This paper argues that he has not, at least not in the fullest sense Hesse came to see was possible. H.H. relies too heavily on faith and abandons reason too quickly in seeking to become 'absorbed' into the Other that he regards as his higher self. An answer to H.H.'s existential angst can be found in Hesse's final novel, The Glass Bead Game, where educational growth through the development of a critical, questioning, inquiring attitude is a central theme. (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 Water Margin is one of the four great classical novels of China. It describes how people from different walks of life were driven to become outlaws as a result of poor governance and widespread corruption. These outlaws have been regarded by some commentators as heroes, despite the fact that they perform wanton killing, over retribution, and cannibalism. Liu Zaifu 劉再復 argues that the novel has contributed to the moral downfall of the Chinese people. In this essay, I put forward (...) various arguments in objection to Liu. I think Liu’s argument is unsound, partly because he fails to address the nature of the cultural confrontation between modern readers and The Water Margin. By conducting an evaluation of Liu, I also consider a range of issues concerning how we may understand The Water Margin, and how the novel may morally relate to us in modern society. (shrink)

During the last decades, there has been a debate on the question whether literary works are utterances, or have utterance meaning, and whether it is reasonable to approach them as such. Proponents of the utterance model in literary interpretation, whom I will refer to as “utterance theorists”, such as Noël Carroll and especially Robert Stecker, suggest that because of their nature as linguistic products of intentional human action, literary works are utterances similar to those used in everyday discourse. Conversely, those (...) whom I will refer to as “appreciation theorists”, such as Stein Haugom Olsen and Peter Lamarque, argue that literary works are by no means comparable to conversational utterances, and treating them in terms of utterances mistakenly dismisses their literary features. The aim of this article is twofold: to defend a central aspect of the utterance theory and to reconcile the two main positions about central issues in the debate on the meaning of literary works. On the one hand, I shall argue that it is both legitimate and reasonable to discuss the utterance meaning of a literary work on the basis of an interpretative approach interested in the author's “message”. My aim is to show that literary works should be considered utterances in a conversational approach which aims at examining the illocutionary actions conveyed through the work. On the other hand, I attempt both to show that there are various legitimate interpretative approaches which are governed by the interpreter's purposes, and to suggest that the debate between utterance theorists and appreciation theorists is actually about merely different emphases. (shrink)

There is a long history of interest in ‘strangers’ and ‘strangeness’ in the West. Over the past 100 years, the concept of the stranger has been analysed by philosophers, sociologists and anthropolo...