This classic and controversial book examines the roots of the idea of virtue, diagnoses the reasons for its absence in modern life, and proposes a path for its recovery.

Paul Ricoeur has been hailed as one of the most important thinkers of the century. Oneself as Another, the clearest account of his "philosophical ethics," substantiates this position and lays the groundwork for a metaphysics of morals.

Marya Schechtman takes issue with analytic philosophy's emphasis on the first sort of question to the exclusion of the second.

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)

When philosophers address personal identity, they usually explore numerical identity: what are the criteria for a person's continuing existence? When non-philosophers address personal identity, they often have in mind narrative identity: Which characteristics of a particular person are salient to her self-conception? This book develops accounts of both senses of identity, arguing that both are normatively important, and is unique in its exploration of a range of issues in bioethics through the lens of identity. Defending a biological view of our (...) numerical identity and a framework for understanding narrative identity, DeGrazia investigates various issues for which considerations of identity prove critical: the definition of death; the authority of advance directives in cases of severe dementia; the use of enhancement technologies; prenatal genetic interventions; and certain types of reproductive choices. He demonstrates the power of personal identity theory to illuminate issues in bioethics as they bring philosophical theory to life. (shrink)

Marya Schechtman offers a new theory of personal identity, which captures the importance of being able to reidentify people in our daily lives. She sees persons as loci of practical interaction, and defines the unity of such a locus in terms of biological, psychological, and social functions, mediated through social and cultural infrastructure.

Can we understand what makes someone the same person without understanding what it is to be a person? Prereflectively we might not think so, but philosophers often accord these questions separate treatments, with personal-identity theorists claiming the first question and free-will theorists the second. Yet much of what is of interest to a person—the possibility of survival over time, compensation for past hardships, concern for future projects, or moral responsibility—is not obviously intelligible from the perspective of either question alone. Marya (...) Schechtman encourages us to adopt a more unified perspective. (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)

Images of myself being Napoleon can scarcely merely be images of the physical figure of Napoleon.... They will rather be images of, for instance, the desolation at Austerlitz as viewed by me vaguely aware of my short stature and my cockaded hat, my hand in my tunic.

Everyone loves a good story. But does everyone live a good story? It has frequently been asserted by philosophers, psychologists and others interested in understanding the distinctive nature of human existence that our lives do, or should, take a narrative form. Over the last few decades there has been a steady and growing focus on this narrative approach within philosophical discussions of personal identity, resulting in a wide range of narrative identity theories. While the narrative approach has shown great promise (...) as a tool for addressing longstanding and intractable problems of personal identity, it has also given rise to much suspicion. Opponents of this approach charge it with overstating or distorting the structure of actual lives. (shrink)

Philosophical discussions of personal identity depend upon thought experiments which describe psychological vicissitudes and question whether the original person survives in the person resulting from the described change. These cases are meant to determine the types of psychological change compatible with personal continuation. Two main accounts of identity try to capture this distinction; psychological continuity theories and narrative theories. I argue that neither fully succeeds since both overlook the importance of a relationship I call “empathic access.” I define empathic access (...) and discuss its role in a complete account of personal identity. (shrink)

The paper offers a mildly deflationary account of narrative, drawing attention to the minimal, thus easily satisfied, conditions of narrativity and showing that many of the more striking claims about narrative are either poorly supported or refer to distinct classes of narrative—usually literary or fictional—which provide a misleading paradigm for narration in general. An enquiry into structural, referential, pragmatic, and valuebased features of narrative helps circumscribe the limits of narration and the test case of the narrative definition of the self (...) is examined and shown to yield rather less that is often claimed. (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)

In this paper we defend the notion of narrative identity against Galen Strawson's recent critique. With reference to Elyn Saks's memoir of her schizophrenia, we question the coherence ofStrawsons conception of the Episodic self and show why the capacity for narrative integration is important for a flourishing life. We aho argue that Scú put pressure on narrative theories that specify unduly restncúve constraints on self-constituting narratives, and chrify the need to distinguish identity from autonomy.

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)

Narrative theory provides an interesting contribution to the rich philosophical literature on the self and personal identity. This links with psychological and psychiatric themes concerning the self, because many cases of disorder involve some kind of loss or fragmentation of the self. What follows is a philosophical inquiry into these narrative theories, which should have some implications for how we should regard subjects with these disorders. My primary philosophical conclusion is that there is an interesting germ of truth in the (...) narrativist position, where it concerns narrative threads within a person, but that we should resist the generalization from this restricted claim to the implausible position that .. (shrink)

In the Introduction to Self to Self, J. David Velleman claims that 'the word "self" does not denote any one entity but rather expresses a reflexive guise under which parts or aspects of a person are presented to his own mind' (Velleman 2006, 1). Velleman distinguishes three different reflexive guises of the self: the self of the person's self-image, or narrative self-conception; the self of self-sameness over time; and the self as autonomous agent. Velleman's account of each of these different (...) guises of the self is complex and repays close philosophical attention. The first aim of this paper is therefore to provide a detailed analysis of Velleman's view. The second aim is more critical. While I am in agreement with Velleman about the importance of distinguishing the different aspects of selfhood, I argue that, even on his own account, they are more interrelated than he acknowledges. I also analyse the role of the concept of 'bare personhood' in Velleman's approach to selfhood and question whether this concept can function, as he wants it to, to bridge the gap between a naturalistic analysis of reasons for action and Kantian moral reasons. (shrink)

Our experience of narrative has an internal and an external aspect--the content of the narrative’s representations, and its intentional, communicative aetiology. The interaction of these two things is crucial to understanding how narrative works. I begin by laying out what I think we can reasonably expect from a narrative by way of causal information, and how causality interacts with other attributes we think of as central to narrative. At a certain point this discussion will strike a problem: our judgements about (...) what is a relevant possibility within the narrative’s story depend on our judgements of probability; but these latter judgements depend, in turn, on factors external to the world of the story, and cannot be explained in terms of causal relations available within the story. We need the external, author-centred perspective at this point. These different perspectives, the internal and the external, correspond to different types of explanations we may give of events in a story; I call these internal and external explanations. I show how these different explanations are made use of in two contrasting arthistorical projects. I use these examples as the basis for a generalisation about the structure of the two explanatory forms. Finally, I suggest some ways in which explanations of these two kinds relate to one another, and to our thinking when we are engaged by a narrative. (shrink)