Results for 'Pictorial narrative'

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  1. Shifting Perspectives in Pictorial Narratives.Emar Maier & Sofia Bimpikou - 2019 - In Uli Sauerland & Stephanie Solt (eds.), Proceeding of Sinn und Bedeutung 23. Barcelona: Leibniz-Centre General Linguistics (ZAS).
    We propose an extension of Discourse Respresentation Theory (DRT) for analyzing pictorial narratives. We test drive our PicDRT framework by analyzing the way authors represent characters’ mental states and perception in comics. Our investigation goes beyond Abusch and Rooth (2017) in handling not just free perception sequences, but also a form of apparent perspective blending somewhat reminiscent of free indirect discourse.
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  2.  35
    Super Pragmatics of (Linguistic-)Pictorial Discourse.Julian J. Schlöder & Daniel Altshuler - forthcoming - Linguistics and Philosophy.
    Recent advances in the Super Linguistics of pictures have laid the Super Semantic foundation for modelling the phenomena of narrative sequencing and co-reference in pictorial and mixed linguistic-pictorial discourses. We take up the question of how one arrives at the pragmatic interpretations of such discourses. In particular, we offer an analysis of: (i) the discourse composition problem: how to represent the joint meaning of a multipicture discourse, (ii) observed differences in narrative sequencing in prima facie equivalent (...)
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  3. Narrative Pictures.Bence Nanay - 2009 - Journal of Aesthetics and Art Criticism 67 (1):119 - 129.
    This paper is about visual narratives. Most of the examples used in the philosophical literature on narratives are literary ones. But a general account of narrative needs to be able to cover both pictorial and literary cases. In the first part of the paper, I will argue that none of the most influential accounts of narrative are capable of this. In the second part, I outline an account of visual narratives, or, rather, of our engagement with visual (...)
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  4. Picturing Words: The Semantics of Speech Balloons.Emar Maier - 2019 - In Proceedings of the 22nd Amsterdam Colloquium. Amsterdam: pp. 584-592.
    Semantics traditionally focuses on linguistic meaning. In recent years, the Super Linguistics movement has tried to broaden the scope of inquiry in various directions, including an extension of semantics to talk about the meaning of pictures. There are close similarities between the interpretation of language and of pictures. Most fundamentally, pictures, like utterances, can be either true or false of a given state of affairs, and hence both express propositions (Zimmermann, 2016; Greenberg, 2013; Abusch, 2015). Moreover, sequences of pictures, like (...)
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  5. Depiction, Pictorial Experience, and Vision Science.Robert Briscoe - 2016 - Philosophical Topics 44 (2):43-81.
    Pictures are 2D surfaces designed to elicit 3D-scene-representing experiences from their viewers. In this essay, I argue that philosophers have tended to underestimate the relevance of research in vision science to understanding the nature of pictorial experience. Both the deeply entrenched methodology of virtual psychophysics as well as empirical studies of pictorial space perception provide compelling support for the view that pictorial experience and seeing face-to-face are experiences of the same psychological, explanatory kind. I also show that (...)
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  6. Inflected Pictorial Experience: Its Treatment and Significance.Robert Hopkins - 2010 - In Catharine Abell & Katerina Bantinaki (eds.), Philosophical Perspectives on Depiction. Oxford University Press. pp. 151.
    Some (Podro, Lopes) think that sometimes our experience of pictures is ‘inflected’. What we see in these pictures involves, somehow, an awareness of features of their design. I clarify the idea of inflection, arguing that the thought must be that what is seen in the picture is something with properties which themselves need characterising by reference to that picture’s design, conceived as such. I argue that there is at least one case of inflection, so understood. Proponents of inflection have claimed (...)
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  7. Pictorial (Conversational) Implicatures.Tibor Bárány - 2019 - In Andras Benedek & Kristof Nyiri (eds.), Image and Metaphor in the New Century. Budapest, Magyarország: pp. 197-208.
    The philosophical problem of pictorial conversational implicatures can be summarized as follows: We have three propositions that are independently plausible and jointly inconsistent. -/- (Non-P) Anti-propositionalism: pictures do not have context-independent, conventionally encoded propositional content (propositional function). -/- (C) Only those representations can be used to convey conversational implicatures which have associated with them a context-independent, conventionally encoded propositional content (function). -/- (I) Pictures can be used to convey conversational implicatures. -/- There are three ways of responding to the (...)
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  8. Twofold Pictorial Experience.René Jagnow - 2019 - Erkenntnis:1-22.
    Richard Wollheim famously argued that figurative pictures depict their scenes, in part, in virtue of their ability to elicit a unique type of visual experience in their viewers, which he called seeing-in. According to Wollheim, experiences of seeing-in are necessarily twofold, that is, they involve two aspects of visual awareness: when a viewer sees a scene in a picture, she is simultaneously aware of certain visible features of the picture surface, the picture’s design, and the scene depicted by the picture. (...)
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  9. Against Narrativity.Galen Strawson - unknown
    I argue against two popular claims. The first is a descriptive, empiri- cal 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 (...)
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  10. Pictorial Implicature.Catharine Abell - 2005 - Journal of Aesthetics and Art Criticism 63 (1):55–66.
    It is generally recognised that an adequate resemblance-based account of depiction must specify some standard of correctness which explains how a picture’s content differs from the content we would attribute to it purely on the basis of resemblance. For example, an adequate standard should explain why stick figure drawings do not depict emaciated beings with gargantuan heads. Most attempts to specify a standard of correctness appeal to the intentions of the picture’s maker. However, I argue that the most detailed such (...)
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  11. Semantics of Pictorial Space.Gabriel Greenberg - 2021 - Review of Philosophy and Psychology 1 (4):847-887.
    A semantics of pictorial representation should provide an account of how pictorial signs are associated with the contents they express. Unlike the familiar semantics of spoken languages, this problem has a distinctively spatial cast for depiction. Pictures themselves are two-dimensional artifacts, and their contents take the form of pictorial spaces, perspectival arrangements of objects and properties in three dimensions. A basic challenge is to explain how pictures are associated with the particular pictorial spaces they express. Inspiration (...)
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  12.  90
    Pictorial Representation And Moral Knowledge.Katerina Bantinaki - 2004 - Postgraduate Journal of Aesthetics 1 (2):69-76.
    The idea that pictorial art can have cognitive value, that it can enhance our understanding of the world and of our own selves, has had many advocates in art theory and philosophical aesthetics alike. It has also been argued, however, that the power of pictorial representation to convey or enhance knowledge, in particular knowledge with moral content, is not generalized across the medium.
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  13. Embodied Narratives.Richard Menary - 2008 - Journal of Consciousness Studies 15 (6):63-84.
    Is the self narratively constructed? There are many who would answer yes to the question. Dennett (1991) is, perhaps, the most famous proponent of the view that the self is narratively constructed, but there are others, such as Velleman (2006), who have followed his lead and developed the view much further. Indeed, the importance of narrative to understanding the mind and the self is currently being lavished with attention across the cognitive sciences (Dautenhahn, 2001; Hutto, 2007; Nelson, 2003). Emerging (...)
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  14. The Narrative Self, Distributed Memory, and Evocative Objects.Richard Heersmink - 2018 - Philosophical Studies 175 (8):1829-1849.
    In this article, I outline various ways in which artifacts are interwoven with autobiographical memory systems and conceptualize what this implies for the self. I first sketch the narrative approach to the self, arguing that who we are as persons is essentially our (unfolding) life story, which, in turn, determines our present beliefs and desires, but also directs our future goals and actions. I then argue that our autobiographical memory is partly anchored in our embodied interactions with an ecology (...)
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  15. Pictorial Art and Epistemic Aims.Jochen Briesen - 2014 - In Harald Klinke (ed.), Art Theory as Visual Epistemology. Cambridge Scholars Press. pp. 11-28.
    The question whether art is of any epistemic value is an old question in the philosophy of art. Whereas many contemporary artists, art-critics, and art-historians answer this question affirmatively, many contemporary philosophers remain skeptical. If art is of epistemic significance, they maintain, then it has to contribute to our quest of achieving our most basic epistemic aim, namely knowledge.Unfortunately, recent and widely accepted analyses of knowledge make it very hard to see how art might significantly contribute to the quest of (...)
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  16. Narrative Niche Construction: Memory Ecologies and Distributed Narrative Identities.Richard Heersmink - 2020 - Biology and Philosophy 35 (5):1-23.
    Memories of our personal past are the building blocks of our narrative identity. So, when we depend on objects and other people to remember and construct our personal past, our narrative identity is distributed across our embodied brains and an ecology of environmental resources. This paper uses a cognitive niche construction approach to conceptualise how we engineer our memory ecology and construct our distributed narrative identities. It does so by identifying three types of niche construction processes that (...)
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  17. Narrative Explanation.J. David Velleman - 2003 - Philosophical Review 112 (1):1-25.
    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” (...)
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  18. How Pictorial is Chinese? And Does It Matter?Christian Helmut Wenzel - 2010 - Contributions of the Austrian Ludwig Wittgenstein Society 18:317-319.
    It has often been said that the Chinese script is pictorial or ideographic, and that this is one of the reasons why Chinese tend to think more analogically than logically, and why in the past the natural sciences developed to a lesser degree in China than in the West. These are strong claims. They have often been oversimplified and exaggerated, but I think there is something to be said for them. Here I will focus on the first question. I (...)
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  19. Literary Narrative and Mental Imagery: A View From Embodied Cognition.Anezka Kuzmicova - 2014 - Style 48 (3):275-293.
    The objective of this article is twofold. In the first part, I discuss two issues central to any theoretical inquiry into mental imagery: embodiment and consciousness. I do so against the backdrop of second-generation cognitive science, more specifically the increasingly popular research framework of embodied cognition, and I consider two caveats attached to its current exploitation in narrative theory. In the second part, I attempt to cast new light on readerly mental imagery by offering a typology of what I (...)
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  20. The Narrative Calculus.Antti Kauppinen - 2015 - Oxford Studies in Normative Ethics 5.
    This paper examines systematically which features of a life story (or history) make it good for the subject herself - not aesthetically or morally good, but prudentially good. The tentative narrative calculus presented claims that the prudential narrative value of an event is a function of the extent to which it contributes to her concurrent and non-concurrent goals, the value of those goals, and the degree to which success in reaching the goals is deserved in virtue of exercising (...)
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  21. Events, Narratives and Memory.Nazim Keven - 2016 - Synthese 193 (8).
    Whether non-human animals can have episodic memories remains the subject of extensive debate. A number of prominent memory researchers defend the view that animals do not have the same kind of episodic memory as humans do, whereas others argue that some animals have episodic-like memory—i.e., they can remember what, where and when an event happened. Defining what constitutes episodic memory has proven to be difficult. In this paper, I propose a dual systems account and provide evidence for a distinction between (...)
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  22. Narrative and Evidence. How Can Case Studies From the History of Science Support Claims in the Philosophy of Science?Katherina Kinzel - 2015 - Studies in History and Philosophy of Science Part A 49:48-57.
    A common method for warranting the historical adequacy of philosophical claims is that of relying on historical case studies. This paper addresses the question as to what evidential support historical case studies can provide to philosophical claims and doctrines. It argues that in order to assess the evidential functions of historical case studies, we first need to understand the methodology involved in producing them. To this end, an account of historical reconstruction that emphasizes the narrative character of historical accounts (...)
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  23. Teleology, Narrative, and Death.Roman Altshuler - 2015 - In John Lippitt & Patrick Stokes (eds.), Narrative, Identity and the Kierkegaardian Self. Edinburgh University Press. pp. 29-45.
    Heidegger, like Kierkegaard, has recently been claimed as a narrativist about selves. From this Heideggerian perspective, we can see how narrative expands upon the psychological view, adding a vital teleological dimension to the understanding of selfhood while denying the reductionism implicit in the psychological approach. Yet the narrative approach also inherits the neo-Lockean emphasis on the past as determining identity, whereas the self is fundamentally about the future. Death is crucial on this picture, not as allowing for the (...)
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  24. Narratives and Culture: The Role of Stories in Self-Creation.Arran Gare - 2002 - Telos: Critical Theory of the Contemporary 2002 (122):80-100.
    The condition of postmodernity has been associated with the depreciation of narratives. Here it is argued that stories play a primordial role in human self-creation, underpinning more abstract discourses such as mathematics, logic and science. This thesis is defended telling a story of the evolution of European culture from Ancient Greece to the present, including an account of the rise of the notion of culture and its relation to the development of history, thereby showing how stories function to justify beliefs, (...)
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  25. Pictorial Orientation Matters.John Dilworth - 2003 - British Journal of Aesthetics 43 (1):39-56.
    Issues concerning the spatial orientation of pictures play an important, though previously neglected, role in an adequate understanding of the nature and identity of visual artworks and other pictures. Using a previous contrast ('Artworks Versus Designs', BJA Vol. 41, No. 4, October 2001), I show that differing orientations of a design naturally give rise to distinct pictures, which may be appropriated as distinct artworks by a discerning artist--which also shows that such artworks cannot be types, since they share a common (...)
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  26. Preserving Narrative Identity for Dementia Patients: Embodiment, Active Environments, and Distributed Memory.Richard Heersmink - 2022 - Neuroethics 15 (8):1-16.
    One goal of this paper is to argue that autobiographical memories are extended and distributed across embodied brains and environmental resources. This is important because such distributed memories play a constitutive role in our narrative identity. So, some of the building blocks of our narrative identity are not brain-bound but extended and distributed. Recognising the distributed nature of memory and narrative identity, invites us to find treatments and strategies focusing on the environment in which dementia patients are (...)
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  27. Narrative Pedagogy for Introduction to Philosophy.Kevin J. Harrelson - 2012 - Teaching Philosophy 35 (2):113-141.
    This essay offers a rationale for the employment of narrative pedagogies in introductory philosophy courses, as well as examples of narrative techniques, assignments, and course design that have been successfully employed in the investigation of philosophical topics. My hope is to undercut the sense that “telling stories in class” is just a playful diversion from the real material, and to encourage instructors to treat storytelling as a genuine philosophical activity that should be rigorously developed. I argue that introductory (...)
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  28. MacIntyre, Narratives, and Environmental Ethics.Arran E. Gare - 1998 - Environmental Ethics 20 (1):3-21.
    While environmental philosophers have been striving to extend ethics to deal with future generations and nonhuman life forms, very little work has been undertaken to address what is perhaps a more profound deficiency in received ethical doctrines, that they have very little impact on how people live. I explore Alasdair MacIntyre’s work on narratives and traditions and defend a radicalization of his arguments as a direction for making environmental ethics efficacious.
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  29. Going Narrative: Schechtman and the Russians.Simon Beck - 2008 - South African Journal of Philosophy 27 (2):69-79.
    Marya Schechtman's The Constitution of Selves presented an impressive attempt to persuade those working on personal identity to give up mainstream positions and take on a narrative view instead. More recently, she has presented new arguments with a closely related aim. She attempts to convince us to give up the view of identity as a matter of psychological continuity, using Derek Parfit's story of the “Nineteenth Century Russian” as a central example in making the case against Parfit's own view, (...)
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  30. Narrative Identity and Diachronic Self-Knowledge.Kevin J. Harrelson - 2016 - Journal of the American Philosophical Association 2 (1):164-179.
    Our ability to tell stories about ourselves has captivated many theorists, and some have taken these developments for an opportunity to answer long-standing questions about the nature of personhood. In this essay I employ two skeptical arguments to show that this move was a mistake. The first argument rests on the observation that storytelling is revisionary. The second implies that our stories about ourselves are biased in regard to our existing self-image. These arguments undercut narrative theories of identity, but (...)
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  31. Narratives and the Ethics and Politics of Environmentalism: The Transformative Power of Stories.Arran Gare - 2001 - Theory and Science 2 (1):1-10.
    By revealing the centrality of stories to action, to social life and to inquiry together with the implicit assumptions in polyphonic stories about the nature of humans, of life and of physical reality, this paper examines the potential of stories to transform civilization. Focussing on the failure of environmentalists so far in the face of the global ecological crisis, it is shown how ethics and political philosophy could be reconceived and radical ecology reformulated and reinvigorated by appreciating and exploiting the (...)
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  32.  89
    Building Narrative Identity: Episodic Value and its Identity-Forming Structure Within Personal and Social Contexts.Huiyuhl Yi - 2020 - Human Affairs 30 (2):281-292.
    In this essay, I develop the concept of episodic value, which describes a form of value connected to a particular object or individual expressed and delivered through a narrative. Narrative can bestow special kinds of value on objects, as exemplified by auction articles or museum collections. To clarify the nature of episodic value, I show how the notion of episodic value fundamentally differs from the traditional axiological picture. I extend my discussion of episodic value to argue that the (...)
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  33. Exemplars, Ethics, and Illness Narratives.Ian Kidd - 2017 - Theoretical Medicine and Bioethics 38 (4):323-334.
    Many people report that reading first-person narratives of the experience of illness can be morally instructive or educative. But although they are ubiquitous and typically sincere, the precise nature of such educative experiences is puzzling—for those narratives typically lack the features that modern philosophers regard as constitutive of moral reason. I argue that such puzzlement should disappear, and the morally educative power of illness narratives explained, if one distinguishes two different styles of moral reason: an inferentialist style that generates the (...)
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  34. Narrative Self-Constitution and Recovery From Addiction.Doug McConnell - 2016 - American Philosophical Quarterly 53 (3):307-322.
    Why do some addicted people chronically fail in their goal to recover, while others succeed? On one established view, recovery depends, in part, on efforts of intentional planning agency. This seems right, however, firsthand accounts of addiction suggest that the agent’s self-narrative also has an influence. This paper presents arguments for the view that self-narratives have independent, self-fulfilling momentum that can support or undermine self-governance. The self-narrative structures of addicted persons can entrench addiction and alienate the agent from (...)
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  35. Narrative and Moral Life.Diana Tietjens Meyers - 2004 - In Cheshire Calhoun (ed.), Setting the Moral Compass: Essays by Women Philosophers. Oxford University Press.
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  36. Agency, Narrative, and Mortality.Roman Altshuler - 2022 - In Luca Ferrero (ed.), Routledge Handbook for the Philosophy of Agency. New York: Routledge. pp. 385-393.
    Narrative views of agency and identity arise in opposition to reductionism in both domains. While reductionists understand both identity and agency in terms of their components, narrativists respond that life and action are both constituted by narratives, and since the components of a narrative gain their meaning from the whole, life and action not only incorporate their constituent parts but also shape them. I first lay out the difficulties with treating narrative as constitutive of metaphysical identity and (...)
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  37.  66
    Narrative, Second-Person Experience, and Self-Perception: A Reason It is Good to Conceive of One's Life Narratively.Grace Hibshman - 2021 - The Philosophical Quarterly 1.
    It is widely held that it is good to conceive of one's life narratively, but why this is the case has not been well established. I argue that conceiving of one's life narratively can contribute to one's flourishing by mediating to oneself a second-person experience of oneself, furnishing one with valuable second-personal productive distance from oneself and as a result self-understanding. Drawing on Eleonore Stump's theory that narratives re-present to their audiences the second-person experiences they depict, I argue that conceiving (...)
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  38. Processing Narrative Coherence: Towards a Top-Down Model of Discourse.Erica Cosentino, Ines Adornetti & Francesco Ferretti - 2013 - Open Access Series in Informatics (OASICS) 32:61-75.
    Models of discourse and narration elaborated within the classical compositional framework have been characterized as bottom-up models, according to which discourse analysis proceeds incrementally, from phrase and sentence local meaning to discourse global meaning. In this paper we will argue against these models. Assuming as a case study the issue of discourse coherence, we suggest that the assessment of coherence is a top-down process, in which the construction of a situational interpretation at the global meaning level guides local meaning analysis. (...)
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  39. The Ethics of Narrative Art: Philosophy in Schools, Compassion and Learning From Stories.Laura D’Olimpio & Andrew Peterson - 2018 - Journal of Philosophy in Schools 5 (1):92-110.
    Following neo-Aristotelians Alasdair MacIntyre and Martha Nussbaum, we claim that humans are story-telling animals who learn from the stories of diverse others. Moral agents use rational emotions, such as compassion which is our focus here, to imaginatively reconstruct others’ thoughts, feelings and goals. In turn, this imaginative reconstruction plays a crucial role in deliberating and discerning how to act. A body of literature has developed in support of the role narrative artworks (i.e. novels and films) can play in allowing (...)
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  40. Narrative and Character Formation.Tom Cochrane - 2014 - Journal of Aesthetics and Art Criticism 72 (3):303-315.
    I defend the claim that fictional narratives provide cognitive benefits to readers in virtue of helping them to understand character. Fictions allow readers to rehearse the skill of selecting and organizing into narratives those episodes of a life that reflect traits or values. Two further benefits follow: first, fictional narratives provide character models that we can apply to real-life individuals (including ourselves), and second, fictional narratives help readers to reflect on the value priorities that constitute character. I defend the plausibility (...)
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  41. Imaginative Resistance, Narrative Engagement, Genre.Shen-yi Liao - 2016 - Res Philosophica 93 (2):461-482.
    Imaginative resistance refers to a phenomenon in which people resist engaging in particular prompted imaginative activities. On one influential diagnosis of imaginative resistance, the systematic difficulties are due to these particular propositions’ discordance with real-world norms. This essay argues that this influential diagnosis is too simple. While imagination is indeed by default constrained by real-world norms during narrative engagement, it can be freed with the power of genre conventions and expectations.
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  42. Analytic Narratives: What They Are and How They Contribute to Historical Explanation.Philippe Mongin - 2019 - In Claude Diebolt & Michael Haupert (eds.), Handbook of Cliometrics. Berlin: Springer.
    The expression "analytic narratives" is used to refer to a range of quite recent studies that lie on the boundaries between history, political science, and economics. These studies purport to explain specific historical events by combining the usual narrative approach of historians with the analytic tools that economists and political scientists draw from formal rational choice theories. Game theory, especially of the extensive form version, is currently prominent among these tools, but there is nothing inevitable about such a technical (...)
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  43. Argument From Personal Narrative: A Case Study of Rachel Moran's Paid For: My Journey Through Prostitution.Katherine Dormandy - 2016 - Res Philosophica 93 (3):601-620.
    Personal narratives can let us in on aspects of reality which we have not experienced for ourselves, and are thus important sources for philosophical reflection. Yet a venerable tradition in mainstream philosophy has little room for arguments which rely on personal narrative, on the grounds that narratives are particular and testimonial, whereas philosophical arguments should be systematic and transparent. I argue that narrative arguments are an important form of philosophical argument. Their testimonial aspects witness to novel facets of (...)
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  44. The Realistic Angel: Pictorial Realism as Hypothetical Verity.Christopher Buckman - 2015 - Aesthetic Investigations 1 (1):49-58.
    My main objective in this paper is to formulate a view of pictorial realism I call ‘hypothetical verity’. It owes much to John Kulvicki but diverges from his view in an important respect: rather than thinking that realistic pictures are true to our conceptions of things, I hold that they are true to what things would be like if they existed. In addition, I agree with Dominic Lopes that different realisms reflect different aspects of reality, but restate the case (...)
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  45. Deeper Into Pictures: An Essay on Pictorial Representation.Flint Schier - 2009 - Cambridge University Press.
    This book presents an original theory of the nature of pictorial representation. The most influential recent theory of depiction, put forward by Nelson Goodman, holds that the relation between depictions and what they represent is entirely conventional. Flint Schier argues to the contrary that depiction involves resemblance to the things depicted, providing a sophisticated defence of our basic intuitions on the subject. Canvassing an attractive theory of 'generativity' rather than resemblance, Dr Schier provides a detailed account of depiction, showing (...)
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  46. Narrative and the Literary Imagination.John Gibson - 2014 - In Allen Speight (ed.), Narrative, Philosophy & Life. Springer. pp. 135-50.
    This paper attempts to reconcile two apparently opposed ways of thinking about the imagination and its relationship to literature, one which casts it as essentially concerned with fiction-making and the other with culture-making. The literary imagination’s power to create fictions is what gives it its most obvious claim to “autonomy”, as Kant would have it: its freedom to venture out in often wild and spectacular excess of reality. The argument of this paper is that we can locate the literary imagination’s (...)
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  47. Narrative Structures, Narratives of Abuse, and Human Rights.Diana Tietjens Meyers - 2009 - In Lisa Tessman (ed.), Feminist Ethics and Social and Political Philosophy: Theorizing the Non- Ideal. Kluwer Academic Publishers.
    This paper explores the relation between victims’ stories and normativity. As a contribution to understanding how the stories of those who have been abused or oppressed can advance moral understanding, catalyze moral innovation, and guide social change, this paper focuses on narrative as a variegated form of representation and asks whether personal narratives of victimization play any distinctive role in human rights discourse. In view of the fact that a number of prominent students of narrative build normativity into (...)
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  48. How Narratives Explain.Paul Roth - 1989 - Social Research: An International Quarterly 56.
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  49.  96
    Ethical Narratives and Oppositional Consciousness.John Proios - 2021 - Apa Newsletter on Feminism and Philosophy 20 (3):11-15.
    The purpose of this paper is to consider the ethical, political, and epistemological dimensions of upward mobility, through higher education, from a personal perspective. I explore some of the contradictions exposed in my experience pursuing aphilosophy Ph.D., in light of scholarship highlighting challenges for low socio-economic status (SES) undergraduate students. I evaluate the proposal from the philosopher Jennifer M. Morton (2019) that low-SES students need ‘clear-eyed ethical narratives’ to navigate higher education. I argue that, in order to develop these narratives, (...)
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  50. The Metaphysics of the Narrative Self.Michael Rea - forthcoming - Journal of the American Philosophical Association:1-18.
    This paper develops a theory of identities, selves, and “the self” that both explains the sense in which selves are narratively constituted and also explains how the self relates to a person’s individual autobiographical identity and to their various social identities. I argue that identities are narratively structured representations, some of which are hosted individually and are autobiographical in form, and others of which are hosted collectively and biographical in form. These identities, in turn, give rise to selves of various (...)
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