This thesis explores the ethical impact of literary narrative fictions on the reader. It does so by focusing mainly on the reading experience since one of the main claims of the thesis is that literary narrative fictions are co-products of the author and the reader. In that sense the aforementioned impact cannot be understood without taking into account the creative acts of the reader. The exploration is carried out by focusing on three scholars whose investigations on the problem of literary (...) experience can be read as complementary works. In the first chapter I descriptively lay out Roman Ingarden’s investigation on the ontological and structural character of the literary work of art along with his phenomenological inquiry into the cognition of this work. By examining his basic claims about the nature of the literary work of art and its cognition, I discuss the ontological incompleteness of these works which necessitates the active role of the reader in giving the work its final shape. In the second chapter I focus upon Wolfgang Iser’s reader-response theory. Iser’s theory goes parallel to Ingarden’s in the sense that they both accept the openness of the work to the creative acts of the reader. Iser, however by his notions of depragmatization, negation and negativity suggest us a two-way traffic between the fictional work and the reader. Through the reading proses, by virtue of the negations and de-pragmatizations, the work invites the reader to reflect on the familiar norms it represents and suggest to her a new model to understand the real world. In this way, while giving a shape to the work, the reader is also shaped by it. The third chapter addresses the phenomenological hermeneutics of Paul Ricoeur. By exploring his notion of “narrative identity” as a mediator between the ipse and idem identities, my aim is to show the influence of the literary fictional narratives in understanding the identity of the individual subject as a temporal, historical, and intersubjective being. It is only through this understanding that we can construe the subject in her ethical identity. I will also focus on Ricoeur’s notions of “emplotment,” and “threefold mimesis,” which implies the active role of the reader in realizing the literary narrative fiction, so that I can reveal how fictional narratives enhance the notion of narrative identity. (shrink)

. Migrating narratives: pedagogical possibilities for relating difference. Ethics and Education: Vol. 7, Creating spaces, pp. 225-236. doi: 10.1080/17449642.2013.766539.

Hans Blumenberg is celebrated for demonstrating that metaphors have had a more foundational influence than concepts on European intellectual history. Many acknowledge that his insights might have achieved even greater impact if he had articulated a more explicit theory of metaphor. In 1960 Blumenberg discusses the historical formation of metaphors that have given rise to meaningful discourses on metaphysical abstractions, like God, existence, or Being, but he does not develop a general model of metaphoric language, and his work rarely engages (...) with other contemporary theories of metaphor. During Blumenberg’s lifetime, French and German postwar philosophers rarely cited one another. Yet French hermeneutics, and the work of philosopher Paul Ricoeur in particular, may have strongly influenced Blumenberg’s research group, Poetik und Hermeneutik. This paper is an attempt to recuperate intellectual affinities between Blumenberg and Ricoeur, in order to demonstrate that Ricoeur’s claims about metaphor provide the theoretical background for a fuller appreciation of Blumenberg’s metaphor analyses. (shrink)