Why do we tell our life stories? What is the point of studying narratives? What is the truth of narratives? How are narratives collected and studied by researchers? In this book the voices of teachers, education researchers, student teachers and philosophers join to form a polyphonic voice that attempts to answer these questions. They shed light on the obscure world of narrative research. This book contains both theoretical articles and empirical examples of narrative research. The theoretical articles (...) introduce and develop the basic concepts of narrative research and focus attention on its philosophical foundations. The empirical articles apply the narrative approach in a multi-dimensional way and provide a clear illustration of narrative research in action. The narrative data consists of teachers' stories about teacher education and school practice. (shrink)

Narrated in the first person, Peter Carey’s novel about the life of Australian bushranger Ned Kelly incorporates other aspects of speech derived both from Carey’s personal experience and from the editorial process. Kelly's voice is toned down to some extent by virtue of the latter, introducing expressions Kelly himself would not have used. Identifying these elements, along with the specific attributes of Kelly’s own speech, enjoins a diversity of cultural and social groupings that intersect and, in some instances, compete (...) with or contradict one another. Shifts in speakers might be signalled by textual markers or by adopting different expressive qualities and speech patterns, which may or may not include a change in grammatical person. In this novel, at one instance, a shift in person is apparent, but I want to argue, not necessarily a shift in the identity of the speaker because, although the grammatical voice shifts, its qualitative features are largely unaltered. The shift nonetheless introduces a significant change. Paradoxically, as far as literary theory is concerned, the subjective qualities produced through voice mean that stylisations of speech may be indicative of character point of view, rather than what is understood to be narrative voice, because they might function in narrative as inflections of speech that do not correspond to the established voice of the grammatically instanced speaker—offering a focalised perspective instead. The shift in True History presents problems in these terms, however: the point of view instanced here is clearly that belonging to the speaker, though the voice is Kelly’s, for the narrator’s point of view determines the generality of the descriptive terms where once these were specific and personal. Had the novel been narrated wholly in third person, an unproblematic reading of Kelly’s point of view, suggested by the use of his voice, would be possible. But the shift undermines this—Kelly’s point of view gives way to another, instanced in the shift that takes place in narrative voice. Carey, in other words, inverts the convention. This is not an instance of free indirect style or discourse, where grammatical mood is at odds with the speaker’s position and tenses align with the implicated subject position of another. The same features of voice that might identify character point of view must, in absence of any disparity of mood or tone, function in respect to narrative voice to convey something of its speaker’s subjectivity, and this seems apparent here: the speaker shares Kelly’s subjective emotional and intellectual perspective, but no longer occupies the subject position. Carey’s voicing of the bushranger therefore complicates distinctions between voice and point of view by revealing qualitative features of voice to be important to the question of who is speaking the narrative. (shrink)

Music, as sung and listened to, has been described in many a tale as powerful and transformative. Yet, the important question is not so much if that claim is true or whether it may be verified, but what kind of power and transformation are alluded to in those mythical and literary sources? Taking these symbolic claims and elaborating on their possible meaning, alongside thinkers such as Carolyne Abbate or Roland Barthes, proceeds to find ways in which these claims may suggest (...) different roles that music and singing play in human lives. As much as current musicological and anthropological academic narratives point to the power and its negotiation in society, there is more to singing voices’ charms than this. The author points to an important transformation that happens when the human existential qualities found in the voice’s imperfections (its materiality) are matched with the music’s aesthetic qualities (its beauty, sublimity, its symmetry, its impression) to transform the listener and make her listen. (shrink)

Hannah Arendt is often--but somehow not unfailingly--credited, together with Alasdair MacIntyre, Paul Ricoeur and Charles Taylor, as being one of the central voices in the philosophical turn to the concept of narrative of a generation or more ago. Some have even cited her 1958 The Human Condition as providing a particular impetus for later accounts of narrative. This essay examines what contemporary philosophical accounts of narrative might still owe Arendt, exploring her approach to narrative in theory (...) as well as practice. The first part looks at Arendt's use of philosophical sources from the tradition--Aristotle, Augustine and Hegel--with an eye to how her appropriation of these figures differs from that of contemporary philosophers of narrative. Three of Arendt's typically bold and rich claims about narrative action emerge as important: the notion of action as revealing an agent's own daimon: the condition that such action be revealable within a world or shared public space which has resilience yet vulnerability; and the potential for agents revealed within such a world to discover some form of narrative rebirth in their efforts at storytelling. The second section examines the extent to which Arendt herself allowed those claims to be tested and thought through in her own attempts (in Men in Dark Times, Rahel Varnhagen and elsewhere) at constructing biographical narratives. (shrink)

This thesis is concerned with the ways in which meaning is generically mediated in the novel. In particular it addresses the productive diversity of meanings generated by critical interpretation and asks how, given this diversity, comprehension and consensus might be possible. I argue that the construction of subject, object, space and time is achieved in the novel through different manifestations of four key metaphors: voice, view, setting and event. These metaphors supply meanings that rely on a common experience of (...) embodiment. Embodiment supplies the basis for an intersubjectively established consensus which identifies subjects and objects in terms that correspond to the semiotic, syntagmatic and semantic uses of metaphor. I begin by surveying and reviewing certain constructionist accounts of language and meaning in order to establish the importance of metaphor in conveying meaning in rhetorical, rather than linguistic, terms. I then discuss two examples of continental philosophy on speech: Derrida on voice and Foucault on discourse. I demonstrate how meaning is rhetorically constructed according to the use to which metaphors are put—whether they denote formal, semantic, or functional aspects of meaning—through an explication of Foucault’s theory, reserving Derrida’s grammatology for my analysis of the stabilisation of meaning in the theory of certain narratologists (Gérard Genette and Marie-Laure Ryan). Voice and view are key terms in literary theory, and I examine refinements to these metaphors in Genette and Ryan. The insistence of these narratologists on restricting the rhetorical dimension of meaning undermines the value of the literary work, prompting me to argue for a relaxing of such constraints. I read Peter Carey’s True History of the Kelly Gang for its uses of voice and point of view, many of which expose the limitations of the narratological approach. This is a theoretical thesis, which engages a wide range of perspectives—constructionist, deconstructionist, sociological and structuralist—together with their various accounts of language, metaphor, speech and meaning. In terms of sociological approaches to genre and discourse, I employ the chronotope as a critical tool, examining it in the context of the theme of the country house to demonstrate the role of two of my key metaphors, setting and event, which are important for the construction of space and time in abstract terms. Focusing on novels by Jane Austen, Virginia Woolf, and Kazuo Ishiguro, in which the country house defines the space and the temporality through which thematic and “material” elements are mediated, I reveal how the chronotope supplies an overarching coherence that unites thought and event in narrative. My readings of these novels describe a theory that is concerned with the rhetorical capacities of genre rather than with taxonomic constructions of form. To this end I argue that the metaphorical dimensions of narrative—voice, view, setting and event—be loosely drawn, according to the acknowledged mutability of genre. I also emphasise the constructive effect of metaphor whilst according it a rhetorical versatility consistent with the mutability and instability of genre as a semiotic tool, concluding that consensus is achieved in our readings of novels through the form’s reliance on these four key metaphors of embodiment. These metaphors have ordinary, everyday, widespread usage beyond narrative theory; in appreciating their rhetorical value, it must be noted nonetheless that any confusion that ensues is productive, for it results in the diversities of meaning and form celebrated in the literary work. (shrink)

In my essay “Chasing Waves: Reflection on Southeast Asian Fisherfolk (2021a),” I already featured the less documented experience of the socially marginalized. My essay focused on the personal narratives of Bruneian fishermen of Kampor Ayer, Brunei Darussalam (2016); the fishermen of Mui Ne, Vietnam (2017); and the Intha of Myanmar (2018), with whom I had the fortunate chance to converse with. However, my personal travel experience in the three countries only gave voice to “non-Filipino workers.” That is why in (...) this current essay, I will highlight the unique experience of the Filipinos themselves – in the form of migrant workers in Southeast Asia. I have interacted with and interviewed many Overseas Filipino Workers (OFWs) in Europe, Asia, Australia, and the Pacific; even in other countries where Filipino tourists were unfamiliar or visited, surprisingly happen to have OFWs. With that, it is unsurprising why Filipinos are articulated as globe-trotting people (Perdon 2014) and quasi-wandering people (San Juan 2009) because of their prevalence in the discourse of the global diaspora. In this essay, I will feature the stories of personal experiences of select Filipina workers in Southeast Asia, specifically in Malaysia (2014), Singapore (2014), and Cambodia (2017), extracted from my travel narratives from 2014-2018. (shrink)

This article seeks to contribute to the challenge of presenting the silenced voices of excluded groups in society by means of a philosophic community of inquiry composed primarily of children and young adults. It proposes a theoretical model named ‘enabling identity’ that presents the stages whereby, under the guiding role played by the community of philosophic inquiry, the hegemonic meta-narrative of the mainstream society makes room for the identity of members of marginalised groups. The model is based on the (...) recognition of diverse narratives within a web of communal narratives that does not favour the meta-narrative. It reports on the experiences of moderators and students from weak and excluded sectors of society in two countries whose participation in communities of philosophical inquiry gave them not only a “voice” but also a presence and identity. (shrink)

This paper disputes the notion, endorsed by much of narrative theory, that the reading of literary narrative is functionally analogous to an act of communication, where communication stands for the transfer of thought and conceptual information. The paper offers a basic typology of the sensorimotor effects of reading, which fall outside such a narrowly communication-based model of literary narrative. A main typological distinction is drawn between those sensorimotor effects pertaining to the narrative qua verbal utterance (verbal (...) presence) and those sensorimotor effects pertaining to the imaginary physical world(s) of the story (direct presence). While verbal presence refers to the reader's vicarious perception of the voices of narrators and characters, direct presence refers to the emulated sensorimotor experience of the imaginary worlds that the narrators' and characters' utterances refer to. The paper further elaborates on how, by which kinds of narrative content and structure, direct presence may be prompted. The final section addresses some of the observational and historical caveats that must be attached to any theoretical inquiry made into the sensorimotor effects of reading. As a preliminary for further research, a few ideas about the model's potential for empirical validation are put forward. A brief, tentative history of the sensorimotor benefits of literary narrative reading is then outlined. (shrink)

Unless indigenous languages are revitalized in research and instruction, education itself will become the totalizing machine that will shut off spaces of discourse in the regions. This is due to the fact that language is the primary medium through which education and its cosmopolitan aims are carried out in pedagogical institutions. Knowledge, skills and principles are structurally transmitted in schools that employ the mainstream language either of the national, i.e., Filipino, or the international level, i.e., English, in instruction. But the (...) hegemony of the mainstream language, without discounting the cosmopolitan value of the aims of education, threatens to silence diverse voices of discourses that operate within local and regional spaces. This threat becomes real when the agents of the educational enterprise in the regions embrace the promise of cosmopolitanism at the expense of or to the forgetfulness of their own socio-cultural resources especially their language. (shrink)

Chapter 14. Andrea Timár engages with literary representations of the experience of perpetrators of dehumanization. Her chapter focuses on perpetrators of dehumanization who do not violate laws of their society (i.e., they are not criminals) but exemplify what Simona Forti, inspired by Hannah Arendt, calls “the normality of evil.” Through the parallel examples of Dezső Kosztolányi’s Anna Édes (1926) and Doris Lessing’s The Grass is Singing (1950), Timár first explores a possible clash between criminals and perpetrators of dehumanization, showing literature’s (...) exceptional ability to reveal the gap between ethics and law. Second, she examines novels focalized through perpetrators and the difficult narrative empathy they provoke, arguing that only the critical reading of these novels can make one engage with the potential perpetrator in oneself. As case studies, Timár examines Daniel Defoe’s Robinson Crusoe (1719), which may potentially turn its reader into an accomplice in the process of dehumanization, and J.M. Coetzee’s Foe (1986), which puts on critical display the dehumanizing potentials of both aesthetic representation and sympathy as imaginative violence. Third, she reads Jonathan Littell’s The Kindly Ones [Les Bienveillantes, 2006], which can make the reader question, through the polyphony of the voice of its protagonist, the notions of narrative voice and readerly empathy, only to reveal that the difficulty involved in empathizing with perpetrator characters lies not so much in the characters’ being perpetrators, but rather in their being literary characters. Eventually, Timár briefly touches upon the problem of the aesthetic and the comic via Nabokov’s Lolita (1955) to ask whether one can avoid some necessarily dehumanizing aspects of humor. (shrink)

Gilles Deleuze demonstrated the key role of flashback in dealing with the relationship between actual image and recollection-image when interpreting the temporality of images. He established two criteria for judging whether a flashback implies a recollection-image by stating that: (1) it serves as some kind of prompt in the narrative to make the viewer perceive that the scene has entered a flashback; (2) it relies on fate or forking time. But Deleuze also mentioned that, if the context or condition (...) disappears, the recollection-image represented by the flashback will lose its support, at which point, the pure recollection will also disappear. In this case, the actual image no longer forms a connection with the sensor-motor, but is suspended, which produces a fantasmatic effect. Bi Gan extends this suspension in his film “Long Day’s Journey into Night” by removing the character being referred to in the flashback, stripping it from figure and confining it in the voice-over. The film features an extreme use of several effects in the sensory-motor situations and the flashbacks, as described in Deleuze’s “Cinema 2: Time-Image,” namely recollection, dream, and falsification. Thus, the boundary between flashback and reality is completely broken. In addition, Bi Gan uses doppelgangers in the second part of the film to reconstruct the ambiguity of actual images and recollection-images in the first part, turning them into pure fantasies. This essay will analyze issues relating to the images and characters in “Long Day’s Journey into Night” and show how this film constitutes a typical case of recollection-images transformed into fantasies through the power of falsification. (shrink)

This article deals with women-centred prose texts of the 1990s and 2000s in Russia written by women, and focuses especially on generation narratives. By this term the author means fictional texts that explore generational relations within families, from the perspective of repressed experiences, feelings and attitudes in the Soviet period. The selected texts are interpreted as narrating and conceptualizing the consequences of patriarchal ideology for relations between mothers and daughters and for reconstructing connections between Soviet and post-Soviet by revisiting and (...) remembering especially the gaps and discontinuities between (female) generations. The cases discussed are Liudmila Petrushevskaia’s ‘povest’ Vremia noch [The Time: Night] (1991), Liudmila Ulitskaia’s novel Medeia i ee deti [Medea and her Children] (1996) and Elena Chizhova’s novel Vremia zhenshchin [The Time of Women] (2009). These novels reflect on the one hand the woman-centredness and novelty of representation in women’s prose writing in the post-Soviet period. On the other hand, the author suggests that they reflect the diverse methods of representing the Soviet era and experience through generation narratives. The texts reassess the past through intimate, tactile memories and perceptions, and their narration through generational plots draws attention to the process of working through, which needs to be done in contemporary Russia. The narratives touch upon the untold stories of those who suffered in silence or hid the family secrets from the officials, in order to save the family. The narration delves into the different layers of experience and memory, conceptualizing them in the form of multiple narrative perspectives constructing different generations and traditions. In this way they convey the ‘secrets’ hidden in the midst of everyday life routines and give voice to the often silent resistance of women towards patriarchal and repressive ideology. The new women’s prose of the 1980s–90s and the subsequent trend of women-centred narratives and generation narratives employ conceptual metaphors of reassessing, revisiting and remembering the cultural, experiential, and emotional aspects of the past, Soviet lives. (shrink)

This paper aims at exploring the uses and practices of English as a Foreign Language (EFL) Teachers pedagogical capital in the classroom. It examines how the use and usages of EFL teachers’ pedagogical capital affects the way they deal with their students in the language classroom. The research was grounded within the interpretive research paradigm. The in-depth unstructured interview and observation were the research tools under narrative inquiry design. The data were collected from three different participants and themes were (...) substantiated by Clandinin and Connelly to replicate their voices and experiences. The research finding reveals that teachers’ profound knowledge and skills about their capital are useful to integrate various cultures and content in the classrooms. Pedagogically inbuilt potentials of teachers and their pedagogical capital maximally enhance learners’ learning opportunities and foster students’ potential. However, it contributes to teachers’ education by rationalizing the essence of teachers’ pedagogical knowledge to transform our ELT practice in Nepal. (shrink)

The Philosopher Queen: Feminist Essays on War, Love, and Knowledge. By Chris Cuomo. Lanham, Md.: Rowman and Littlefield Publishers, Inc., 2003. The Philosopher Queen is a powerful illustration of what Cherríe Moraga calls a "theory in the flesh." That is, theorizing from a place where "physical realities of our lives—our skin color, the land or concrete we grow up on, our sexual longings—all fuse to create a politic [and, I would add, an ethics, spirituality, and epistemology] born out of necessity" (...) (Moraga 21). Cuomo's theory in the flesh combines standard philosophical essays with personal narratives and invites us to do philosophy from this joyful and witty place. Readers are invited to reframe and reexamine war, science, gender, sexuality, race, ecology, knowledge, and politics in a voice that is fearless, funny, faithful, and feminist—one that disrupts common understandings of how philosophy ought to be done. Instead philosophy should help us to "negotiate a wild, wicked world, and to provide some understanding of being and existence. The best philosophy aims to promote good and to produce knowledge, and therefore enable flourishing" (xi). Accepted philosophical approaches alone are inadequate. Life's challenges resist formulaic solutions. Knowledge is not always produced through neat deductions: truths are partial, power divides, stomachs growl, hearts are broken, and emotions influence... (shrink)

In the realm of pixels and virtual spaces, the art of placemaking transcends physical confines, weaving a digital mosaic of voices and visions. Feminist digital placemaking emerges as a vibrant brushstroke on this canvas, painting online environments with the hues of inclusion, safety, and empowerment. The "Woman, Life, Freedom" movement in Iran, mirrored in the "Year of Hope" digital exhibition, showcases the transformative power of feminist digital placemaking in amplifying voices, knitting solidarity, and challenging oppressive narratives. The "Woman, Life, Freedom" (...) movement, sparked by the tragic demise of Mahsa (Jina) Amini, unfolds like a poignant narrative, with women scripting the chapters of resistance. This movement, a collage of courage and defiance, has found a digital stage in the "Year of Hope" exhibition, where each artwork tells a story, each pixel a testament to the unyielding spirit of Iranian women. (shrink)

Despite the recent proliferation of scientific, clinical, and narrative accounts of auditory verbal hallucinations, the phenomenology of voice hearing remains opaque and undertheorized. In this article, we outline an interdisciplinary approach to understanding hallucinatory experiences which seeks to demonstrate the value of the humanities and social sciences to advancing knowledge in clinical research and practice. We argue that an interdisciplinary approach to the phenomenology of AVH utilizes rigorous and context-appropriate methodologies to analyze a wider range of first-person accounts (...) of AVH at 3 contextual levels: cultural, social, and historical; experiential; and biographical. We go on to show that there are significant potential benefits for voice hearers, clinicians, and researchers. These include informing the development and refinement of subtypes of hallucinations within and across diagnostic categories; “front-loading” research in cognitive neuroscience; and suggesting new possibilities for therapeutic intervention. In conclusion, we argue that an interdisciplinary approach to the phenomenology of AVH can nourish the ethical core of scientific enquiry by challenging its interpretive paradigms, and offer voice hearers richer, potentially more empowering ways to make sense of their experiences. (shrink)

In this paper, I explore the significance of an intersectional lens when it comes to our conversations surrounding the #MeToo movement, in particular the way that such a lens helps us in recognizing narratives of sexual assault and harassment that are not typically viewed as such. The mainstream discourse on #MeToo in the United States has been quite exclusionary when it comes to women who are non-dominantly situated within societal structures. In particular, this paper looks at how Muslim American women’s (...) issues surrounding sexual assault and harassment are presented as exotic and a function of their religion and culture, further narrowing what is considered worthy of attention within the discourse of the #MeToo movement. I argue that one such instance of sexual harassment that isn’t seen as such, is hijab snatching within particular contexts. Furthermore, I argue that a lack of an intersectional lens results in not only privileging certain harmful voices under the guise of inclusivity, but even when invaluable voices are allowed to enter mainstream discourse, they are often the sort that sidestep issues of Western imperialistic practices, Islamophobia, racialization of Muslims, etc. I highlight the dangers of speaking for others, especially in ways that attribute sexual violence experienced by Muslim women to their cultures and/or their men. I argue that acknowledging these dangers is in itself a crucial part of an inclusive conversation on #MeToo. (shrink)

Mythopoetry, the imagistic voice of the muses which manifests in myth and natural poetry, has been invoked as an impression of ideal curriculum with which to cherish intimate, vital experience (and to oppose its exile from educational life). In this statement, I intend to see through the pleasant surface of the label, mythopoetry, to see what image may lie just out of sight, beyond the "inspired writing" that mythopoetry implies. Beyond words themselves, meaning is found in sound and in (...) expressive representation. “Music, when soft voices die, / Vibrates in the memory” (Shelley). (shrink)

The illness immersion condition prevents patients from enjoying everything worth living life for. In any case, according to Frank, this condition could represent one of the most insightful experiences towards understanding the meaning of life. Using the metaphor of phoenix taken from May, Frank identified four kinds of embodiments through which the phoenix can reveal itself in a patient after an illness immersion experience: the phoenix that could ever be and the phoenix that might have been; the recurrent and cumulative (...) phoenix and the reluctant phoenix. Based on these considerations, a qualitative study was conducted in order to give voice to the different phoenix embodiments focusing on several autobiographies of patients afflicted with severe or terminal illness. The analysis highlights several similarities that the different phoenixes shared ; however, a deep difference emerged in their worldview which proves able to lead them towards different epiphanies. These evidences reveal that every sick person should be understood, stimulated and accompanied throughout his lived experience of illness by an expressly designed and dedicated care. (shrink)

The use of performance feedback in the workplace has gained popularity over the years, yet school heads have been challenged in providing it to teachers. In the initial interview, they shared that evaluation results can impact teachers’ motivation, and that feedback should be done carefully. However, they failed to clearly articulate a specific mechanism that had been applied in this vital role. Also, no studies have provided clear detail on the feedback mechanism used by school heads in the past. For (...) this reason, a study explored the feedback mechanisms employed by school heads in conveying the performance evaluation results to teachers. This study employed a narrative inquiry, and interviews were conducted with five school heads and five teachers who were chosen purposively for this research. Responses were recorded using a voice recorder. These responses were transcribed and analyzed using thematic narrative analysis. Based on transcripts, the study identified six emergent themes, such as conversational (one-on-one), relational, reflective, technical, reinforcing, and properly situated mechanisms in conveying performance evaluation results to teachers. Thus, a new feedback mechanism framework was developed. (shrink)

Statues, monuments, cenotaphs and markers litter the landscape of Plato’s Phaedrus. By drawing together these numerous references and examining the economy of these silent symbols, we can gain an insight into Plato’s project, especially as it relates to questions of narrative, speech and writing. While the examination of the myth of Theuth is familiar to scholars of both Plato and Derrida, what is often overlooked is the way in which writing and speech are represented in the text by monuments, (...) which speak through silence, and more often than not memorialize those who can no longer speak, or whose speech is, like themselves, rendered dead in writing. Like the pharmakon of writing itself, statuary operates within the economy of signs, an economy of reminding, which within the system of metaphysics leads not to the transcendent realm of ideas but ties us to the realm of opinion. However, by examining the role of myth and its relation to statuary in the Phaedrus, a new interpretation emerges, which allows for myth and the silent voices of the dead as a way to initiation. (shrink)

This paper presents the joint journeys, from the East to the West, of three emerging educators, who reflect on their lived experiences in an Asian educational context and their shaped identities through a connection between the motherland and the places to which they immigrated. They have grounded their identities in the inequities they experienced in Asian education and described their experiences through a cultural and social lens as Asian teachers studying in Canadian institutions. They story their lived experiences by using (...) a Photo-voice research method to elicit the narratives of their East-to-West transcultural journeys. The major finding is the reconstructed identity of each of the researchers. The data collected through ‘Photo-voice’ sheds light on the influence on teachers’ mindset of the Three Teachings or Religions—Buddhism, Confucianism, and Taoism — across Asia on teachers' mindset, which are seen to cause inequities among the marginalized. The purpose of this research is an attempt by the authors, who have immersed themselves in each other’s journeys, to discuss how they have reformed their educator identities in a Canadian educational context in which equity, diversity, and inclusion are acknowledged. (shrink)

Even while progressive educators and feminist standpoint theorists defend the value of marginalized perspectives, many marginal-voice texts continue to be deprecated in academic contexts due to their seemingly "unprofessional," engaged, and creative styles. Thus, scholars who seek to defend a feminist and multicultural curriculum need a theory of knowledge that goes beyond current standpoint theory and accounts for the unorthodox format in which many maringal standpoints appear. In response to this challenge, this essay draws on feminist and postcolonial critics (...) of objectivity, including Dorothy Smith, Chandra Mohanty, Barrios de Chungara, and Arhundati Roy to theorize the epistemic value of texts that respond with passion and creativity to marginalized people's struggles. In conclusion, the author distinguishes ethically oriented engagement with such texts from mere "politicized teaching," and she suggests ways to teach such texts that cultivate their critical potential. (shrink)

In this paper, I argue that poet M. Nourbese Philip's Zong! allows us to radically rethink the possibility of historical restitution and recovery. The formal ideas in Zong!, I argue, imply a metaphysical and ontological revolution in the way memory and mnesic traces are to be conceived. The evidentiary status of the voices and narratives that Zong! retrieves cannot be certified by historical-epistemological conceptions of evidence but rather find their warrant in alternative, ontological (or hauntological) registers.

The goal of this thesis is to contribute to the conceptualization of the contemporary Sami struggles for life and land. In doing so, I conduct a philosophical investigation of the emerging concept of “green colonialism.” The former president of the Sami parliament in Norway, Aili Keskitalo, has in multiple occasions invoked the term “green colonialism” to describe the contemporary implementation of wind power plants on Sami reindeer herding land. When considering Sami narratives and lived experiences and processes of meaning making (...) among Sami reindeer herders affected by the implementation of green energy in Norway, the Sami express that their voices are not being heard and that they are not taken equally into account in the decision-making processes concerning the parks. In this thesis, I answer two questions: “What is green colonialism?” and “What is wrong with green colonialism?” I argue that green colonialism is colonialism. (shrink)

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 (...) notion of episodic value readily incorporates the role of narratives into the construction of identity in personal and social contexts. My main contentions are twofold. First, events or experiences from our personal narratives are episodically valuable insofar as they contribute to shaping our narrative identities. Second, when engaged in a collective action, we write a joint narrative with other participants that confers special meanings on the actions of each participant. (shrink)

The deceptive clues in the impossible puzzle film confirm the viewer’s internal expectations and allow retrospective attributing. In the film, a transcendental object negates an internal expectation, causing a retrospective blockage. Retrospectivity does not stop there; the transcendental object reinterpreting deceptive clues in the associative area leads to repeated attribution. This article consists of three parts. First, it discusses impossible puzzle films in the context of complex narrative classification. The following section introduces the Jungian concept of synchronicity and illustrates (...) how it works. The article concludes with a case study of Long Day’s Journey into Night (2018), which contains more complicated puzzles and explains how mind-game narrative techniques create deceptive clues and induce deceptive retrospective attribution. (shrink)

Schönau et al. (2021) identified four dimensions of agency (authenticity, privacy, self–trust, and responsibility) that may be influenced by the use of neurotechnologies, such as deep brain stimulation (DBS) or brain–computer–interfaces (BCI). The Agency Map they proposed depicts the role of each dimension, and indicates how they may interact. The authors emphasize that a strength of their approach is that it allows to capture the agency dimensions that were previously seen as disconnected and independent as intricately interwoven parts of the (...) person’s experience. This intended unification may help to understand personal agency more fully in various contexts important in neuroethical considerations. However, what is missing in Schönau et al.’s analysis is the mechanism—the very link— by which these various dimensions can come together. As Zawadzki (2020) points out discussing his account of the self (PTS–moral aspects)—which also includes the agency dimensions indicated by Schönau et al. (both authenticity, and responsibility, but also autonomy)—what is crucial in order to unify these various dimensions is narrative. (shrink)

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)

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 (...) from this work, there appear to be a variety of ways in which we can think of the narrative construction of the self and the relationship between the narrative self and the embodied agent. I wish to examine two such ways in this paper. The first I shall call the abstract narrative account, this is because its proponents take the narrative self to be an abstraction (Dennett, 1991; Velleman, 2006). Dennett, for example, refers to the self as a centre of narrative gravity, to be thought of as analogous to a mathematical conception of the centre of gravity of an object. The second I shall call the embodied narrative account and this is the view that the self is constituted both by an embodied consciousness whose experiences are available for narration and narratives themselves, which can play a variety of roles in the agent’s psychological life. (shrink)

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 (...) of artifacts in our environment. Lifelogs, photos, videos, journals, diaries, souvenirs, jewelry, books, works of art, and many other meaningful objects trigger and sometimes constitute emotionally-laden autobiographical memories. Autobiographical memory is thus distributed across embodied agents and various environmental structures. To defend this claim, I draw on and integrate distributed cognition theory and empirical research in human-technology interaction. Based on this, I conclude that the self is neither defined by psychological states realized by the brain nor by biological states realized by the organism, but should be seen as a distributed and relational construct. (shrink)

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 narratives.

Several scholars observed that narratives about the human past are evaluated comparatively. Few attempts have been made, however, to explore how such evaluations are actually done. Here I look at a lengthy “contest” among several historiographic narratives, all constructed to make sense of another one—the biblical story of the conquest of Canaan. I conclude that the preference of such narratives can be construed as a rational choice. In particular, an easily comprehensible and emotionally evocative narrative will give way to (...) a complex and mundane one, when the latter provides a more coherent account of the consensually accepted body of evidence. This points to a fundamental difference between historiographic narratives and fiction, contrary to some influential opinions in the philosophy of historiography. Such historiographic narratives have similarities with hypotheses and narrative explanations in natural science. (shrink)

This paper responds to Saul Fisher’s critical note (in the current volume) on Peter Lamarque and Nigel Walter’s ‘The Application of Narrative to the Conservation of Historic Buildings’ (Estetika 1/2019). Walter restates the argument, underlining the context of ‘living' buildings whose identities are still in formation. He then responds to points raised by Fisher, commenting on persistence and identity, Noël Carroll’s views on narrative connection, the usefulness of Carroll's engagement with spatial relations, and addressing some of Fisher’s specific (...) challenges. Lamarque then comments, framing the central question as whether conservation work to a building preserves its character, integrity, and coherence, noting that these are core aspects of narrative, before concluding with some reflections on the application of metaphor, including the metaphorical personification of buildings. (shrink)

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 (...) govern how we interact with our memory ecology, namely creating, editing, and using resources in our memory ecology. It also conceptualises how identity-relevant information in objects and (family) stories is transmitted vertically, i.e., across different generations of people. Identifying these processes allows us to better understand the cultural information trajectories that constitute our memory ecologies. Thus, what I’ll argue is that our memory ecology distributes our narrative identity and that engineering our memory ecology is a form of narrative niche construction. (shrink)

This volume aimed to highlight narrative identities of European cities or city neighbourhoods that have been overlooked, such as mid-sized cities. These cities are neither small towns nor metropolises, cities that are now unveiling their appeal or specificity. The present special issue thus covers a range of representations of cities. The articles investigate more systematically how different texts deal with various cities from different experiential and fictional perspectives. The issue covers the geographical scope across Europe, from east to west (...) or vice versa, as well as a range of different works of national literature(s), but with a clear emphasis on mid-sized European cities that have until now been deemed as lesser-known, secondary, peripheral, ‘other’ cities that are in the focus of the research of the COST project Writing Urban Places. New Narratives of the European City, within which this journal issue is being published. (shrink)

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 (...) agency. The narrative value of a life is a simple sum of the values of individual events that comprise it. I claim that this view best explains and support common intuitions about the significance of the shape of a life. (shrink)

Narrative views of the self argue that we constitute our self in self-narratives. Embodied views hold that our self is shaped through embodied experiences. In that case, what is the relation between embodiment and narrativity in the process of self-constitution? The question demands a clear definition of embodiment, but existing studies remains unclear on this point (section 2). We offer a correction to this situation by drawing on Merleau-Ponty’s analysis of the body that highlights its habituality. On this account, (...) the body has an inherent tendency to cultivate an organization of habits through its history of engagement with the world (section 3). Next, we explore its role in narrative self-constitution by distinguishing between two aspects of the narrative self, the narrated I and the narrating I (section 4). We argue on phenomenological grounds that self-narratives are informed by bodily perspectives in both respects. Furthermore, a focus on the habituality of the body allows for a better explanation of self-constitution than those based on implicit self-narratives (section 5). For these phenomenological and theoretical reasons, we conclude that narrative self-constitution is an embodied and embedded practice (section 6). (shrink)

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 (...) situated. A second goal of this paper is to suggest various of such strategies, including lifelogging technologies such as SenseCams, life story books, multimedia biographies, memory boxes, ambient intelligence systems, and virtual reality applications. Such technologies allow dementia patients to remember their personal past in a way that wouldn’t be possible by merely relying on their biological memory, in that way aiding in preserving their narrative identity and positively contributing to their sense of well-being. (shrink)

I reconstruct Kant's derivation of the Categorical Imperative (CI) as an argument that deduces what the voice of conscience must say from how it must sound - that is, from the authority that is metaphorically attributed to conscience in the form of a resounding voice. The idea of imagining the CI as the voice of conscience comes from Freud; and the present reconstruction is part of a larger project that aims to reconcile Kant's moral psychology with Freud's (...) theory of moral development. As I reconstruct it, Kant's argument yields an imperative commanding us to act for reasons whose validity we can consistently will to be common knowledge among all agents. Universalizing a maxim thus turns out to consist in willing, not that there be some universally quantified rule of conduct, but rather that a principle of practical reasoning be common knowledge - as a principle of reasoning ought to be. (shrink)

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 (...) propose to be its four basic varieties. The typology is grounded in the framework of embodied cognition and it is largely compatible with key neuroscientific and other experimental evidence produced within the framework. For each imagery variety, I make some elementary suggestions as to how it may typically be cued by distinct narrative strategies. (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)

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 (...) of one's life narratively facilitates taking on the second-person experience that an audience would have in hearing one's life narrative, mediating how someone from a second-person perspective might perceive oneself and as a result yielding valuable self-understanding. I conclude with some practical implications. (shrink)

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 (...) possibility of a final meaning to our lives, but as determining Dasein as ‘pure unactualizable possibility.’ Ultimately, therefore, narrative is not what constitutes selfhood – but this does not mean that narrative is not relevant to personal identity, because narrative allows identity to be expressed in action. (shrink)

In this entry, we survey key discussions on the role of narrative in theology and philosophy of religion. We begin with epistemological questions about whether and how narrative offers genuine understanding of reality. We explore how narrative intersects with the problems of evil and divine hiddenness. We discuss narrative's role in theological reflection and practice in general, and in black and feminist theologies specifically. We close by briefly exploring the role of narrative in theorization about (...) life's meaning. (shrink)

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, (...) situate people as agents within history and orient them to create the future. (shrink)

Narratives structure and inform how we understand our experiences and identity, especially in instances of suffering. Suffering in mental disorder (e.g. bipolar disorder) is often uniquely distressing as it impacts capacities central to our ability to make sense of ourselves and the world—and the role of narratives in explaining and addressing these effects is well-known. For many with a mental disorder, spiritual/religious narratives shape how they understand and experience it. For most, this is because they are spiritual and/or religious. For (...) others, spiritual/religious narratives still often influence secular approaches to mental disorder, more than approaches to other disabilities (e.g. intellectual, physical) or causes of suffering (e.g. physical disease). Such narratives are often harmful, especially insofar as they ‘over-spiritualize’ mental disorder; and undercut ‘spiritual meaning-making’. Here I address the impact of spiritual/religious narratives that helpfully avoid over-spiritualizing mental disorder while enabling spiritual meaning-making about it. First, I address the role of narratives in meaning-making more generally; then, I present results from my recent empirical study testing the impact of such narratives on participants’ meaning-making about their mental disorder. I conclude by addressing implications and potential worries. (shrink)

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 (...) choice. The chapter explains what analytic narratives are by reviewing the studies of the major book Analytic Narratives (1998), which are concerned with the workings of political institutions broadly speaking, as well as several cases drawn from military and security studies, which form an independent source of the analytic narratives literature. At the same time as it gradually develops a definition of analytic narratives, the chapter investigates how they fulfil one of their main purposes, which is to provide explanations of a better standing than those of traditional history. An important principle that will emerge in the course of the discussion is that narration is called upon not only to provide facts and problems, but also to contribute to the explanation itself. The chapter distinguishes between several expository schemes of analytic narratives according to the way they implement this principle. From all the arguments developed here, it seems clear that the current applications of analytic narratives do not exhaust their potential, and in particular that they deserve the attention of economic historians, if only because they are concerned with microeconomic interactions that are not currently their focus of attention. (shrink)

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 (...) and the theory-laden character of historical facts is introduced. The main conclusion of this paper is that historical case studies are able to provide philosophical claims with some evidential support, but that, due to theory-ladenness, their evidential import is restricted. (shrink)