A revised translation of Heidegger's most important work.

I argue against two popular claims. The first is a descriptive, empirical thesis about the nature of ordinary human experience: ‘each of us constructs and lives a “narrative” . . . this narrative is us, our identities’ (Oliver Sacks); ‘self is a perpetually rewritten story . . . in the end, we become the autobiographical narratives by which we “tell about” our lives’ (Jerry Bruner); ‘we are all virtuoso novelists. . . . We try to make all of our material (...) cohere into a single good story. And that story is our autobiography. The chief fictional char- acter . . . of that autobiography is one’s self’ (Dan Dennett). The second is a normative, ethical claim: we ought to live our lives narratively, or as a story; a ‘basic condition of making sense of ourselves is that we grasp our lives in a narrative’ and have an understanding of our lives ‘as an unfolding story’ (Charles Taylor). A person ‘creates his identity [only] by forming an autobiographical narrative – a story of his life’, and must be in possession of a full and ‘explicit narrative [of his life] to develop fully as a person’ (Marya Schechtman). (shrink)

One unresolved dispute within Heidegger scholarship concerns the question of whether Dasein should be conceived in terms of narrative self-constitution. A survey of the current literature suggests two standard responses. The first correlates Heidegger’s talk of authentic historicality with that of self-authorship. To the alternative perspective, however, Heidegger’s talk of Dasein’s existentiality, with its emphasis on nullity and unattainability, is taken as evidence that Dasein is structurally and ontologically incapable of being completed via any life-project. Narrativity imports into Being and (...) Time commitments concerning temporality, selfhood, and ethics, which Heidegger rejects. Although both positions find good exegetic support for their conclusions, they can’t both be right. In this article, I navigate a path between these two irreconcilable positions by applying insights derived from recent debates within Anglo-American literature on personal identity. I develop an alternative thesis to Narrativism, without rejecting it outright, by arguing that Dasein can be analysed in terms of what I call narratability conditions. These allow us to make sense of the prima facie paradoxical notion of historicality without narrativity. Indeed, rather than reconciling the two standard positions, I hold that the tension between them says something important about Dasein’s kind of existence. Thus I conclude that while the narrativist question Who ought I to be? is perfectly legitimate within limits, what the existential analysis of the limits on narratability reveals is that no answer to this question can ever be definitive. (shrink)

In this article I critically discuss a claim made by several writers in philosophy and the social sciences that for an individual to count as a person, a single personality, or the subject of a life, the experiences of the subject in question must take a narrative form. I argue that narrativity is a misleading and, in some ways of understanding it, implausible condition of what it is that adds unity to personhood and personality. I pursue this critique by considering (...) canonical accounts of narrativity in philosophy and literary studies. I consider those connections between events that must hold for the sequence to be considered a narrative: causal, teleological, and thematic connections. I argue that for each of these, the condition that experiential sequences (for a given subject) must have this structure is empty: any life sequence that is reflected upon in an interpretive spirit can meet it. What the condition of narrativity amounts to, then, is the more basic requirement that the person must be able to look upon the factors and events of her life with a certain interpretive reflection, whether or not those factors and events have any particular narrative unity in a traditional sense. (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)

Claims that the self and experience in general are narrative in structure are increasingly common, but it is not always clear what such claims come down to. In this paper, I argue that if the view is to be distinctive, the element of narrativity must be taken as literally as possible. If we do so, and explore the consequences of thinking about our selves and our lives in this manner, we shall see that the narrative view fundamentally confusues art and (...) life. We learn from art itself that our selves and lives transcend narratives and that thinking in a narrative manner ignores the rich complexity of individual persons. Footnotes1 I am grateful to John Cottingham, Galen Strawson, Bart Streumer and Douglas Farland for helpful comments on an earlier draft of this paper. (shrink)