Narrative Edited by Jukka Mikkonen (University of Tampere)

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  • Simon Beck, Fiction and Fictions: On Ricoeur on the Route to the Self.
    In reaching his narrative view of the self in Oneself as Another, Paul Ricoeur argues that, while literature offers revealing insights into the nature of the self, the sort of fictions involving brain transplants, fission, and so on, that philosophers often take seriously do not (and cannot). My paper is a response to Ricoeur's charge, contending that the arguments Ricoeur rejects are not flawed in the way he suggests, and that his own arguments are sometimes guilty of the very charges (...)
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  • Jeanette Bicknell (2004). Self-Knowledge and the Limitations of Narrative. Philosophy and Literature 28 (2).
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  • Hugh Bredin (1982). The Displacement of Character in Narrative Theory. British Journal of Aesthetics 22 (4).
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  • Gert Buelens (ed.) (1997). Enacting History in Henry James: Narrative, Power, and Ethics. Cambridge University Press.
    The Jamesian mode of writing, it has been claimed, actively works against an understanding of the way truth, history and power circulate in his texts. In this collection of essays, leading scholars of James analyse the strategies James used to address these crucial issues. Enacting History in Henry James claims that, because the type of knowledge available in James's fiction is never of a cognitive kind, the reader can never know 'truth' in any verifiable sense. James's writing instead promises an (...)
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  • Joseph Carroll (2008). The Cuckoo's History: Human Nature in Wuthering Heights. Philosophy and Literature 32 (2):pp. 241-257.
    Wuthering Heights has proved exceptionally elusive to interpretation. By foregrounding the idea of human nature, Darwinian literary theory provides a framework within which we can assimilate previous insights about Wuthering Heights , delineate the norms Brontë shares with her projected audience, analyze her divided impulses, and explain the generic forms in which those impulses manifest themselves. Brontë herself presupposes a folk understanding of human nature in her audience. Evolutionary psychology converges with that folk understanding but provides explanations that are broader (...)
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  • Noël Carroll (2007). Narrative Closure. Philosophical Studies 135 (1).
    In this article, “Narrative Closure,” a theory of the nature of narrative closure is developed. Narrative closure is identified as the phenomenological feeling of finality that is generated when all the questions saliently posed by the narrative are answered. The article also includes a discussion of the intelligibility of attributing questions to narratives as well as a discussion of the mechanisms that achieve this. The article concludes by addressing certain recent criticisms of the view of narrative expounded by this article.
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  • Peter Caws (2000). Moral Certainty in Tolstoy. Philosophy and Literature 24 (1).
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  • Ted Cohen (1997). Metaphor, Feeling, and Narrative. Philosophy and Literature 21 (2).
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  • Gregory Currie (2007). Both Sides of the Story: Explaining Events in a Narrative. Philosophical Studies 135 (1).
    Our experience of narrative has an internal and an external aspect--the content of the narrative’s representations, and its intentional, communicative aetiology. The interaction of these two things is crucial to understanding how narrative works. I begin by laying out what I think we can reasonably expect from a narrative by way of causal information, and how causality interacts with other attributes we think of as central to narrative. At a certain point this discussion will strike a problem: our judgements about (...)
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  • Gregory Currie (2006). Narrative Representation of Causes. Journal of Aesthetics and Art Criticism 64 (3):309–316.
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  • Gregory Currie (2004). Arts and Minds. Oxford University Press.
    Philosophical questions about the arts go naturally with other kinds of questions about them. Art is sometimes said to be an historical concept. But where in our cultural and biological history did art begin? If art is related to play and imagination, do we find any signs of these things in our nonhuman relatives? Sometimes the other questions look like ones the philosopher of art has to answer. Anyone who thinks that interpretation in the arts is an activity that leaves (...)
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  • Gregory Currie (1995). Unreliability Refigured: Narrative in Literature and Film. Journal of Aesthetics and Art Criticism 53 (1):19-29.
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  • Gregory Currie & Jon Jureidini (2004). Narrative and Coherence. Mind and Language 19 (4):409–427.
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  • E. M. Dadlez (2008). Form Affects Content: Reading Jane Austen. Philosophy and Literature 32 (2):pp. 315-329.
    What does it mean to hold that the significant aspects of a literary passage cannot be captured in a paraphrase? Does a change in the description of an act "risk producing a different act" from the one described? Using Jane Austen as an example, we'll consider whether her use of metaphor and symbol really amounts to calling someone a prick, whether her narrative voice changes what it is that is expressed, and whether comedy can hold just as much significance as (...)
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  • Alan Dagovitz (2008). Moby-Dick 'S Hidden Philosopher: A Second Look at Stubb. Philosophy and Literature 32 (2):pp. 330-346.
    The hard-drinking, joke-cracking second-mate of Melville's Moby Dick doesn't receive much respect from critics. At best Stubb is seen as a comic foil, at worst as a cruel coward and mechanical optimist. Yet this perspective distorts the text and does him an injustice. In fact, Stubb can be read quite fruitfully as an exemplar of wisdom. Using recent scholarship to fill out Melville's conception of fine philosophy, a set of criteria emerges for the true philosopher according to which Stubb fares (...)
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  • Arthur C. Danto (1991). Narrative and Style. Journal of Aesthetics and Art Criticism 49 (3):201-209.
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  • David Davies (2010). Eluding Wilson's “Elusive Narrators”. Philosophical Studies 147 (3).
    George Wilson has defended the thesis that even impersonal third-person fictional narratives should be taken to contain fictional narrations and have fictional narrators. This, he argues, is necessary if we are to explain how readers can take themselves, in their imaginative engagement with fictions, to have knowledge of the things they are imagining. I argue that there is at least one class of impersonal third-person fictional narratives—thought experiments—to which Wilson’s model fails to apply, and that this reveals more general problems (...)
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  • Vincent Descombes (1992). Proust: Philosophy of the Novel. Stanford University Press.
    Through the voice of the narrator of Remembrance of Things Past, Proust observes of the painter Elstir that the paintings are bolder than the artist; Elstir the painter is bolder than Elstir the theorist. This book applies the same distinction to Proust; the Proustian novel is bolder than Proust the theorist. By this the author means that the novel is philosophically bolder, that it pursues further The task Proust identifies as the writer's work: to explain life, to elucidate what has (...)
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  • Jane Duran (2004). Virginia Woolf, Time, and the Real. Philosophy and Literature 28 (2).
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  • Susan L. Feagin (2007). On Noël Carroll on Narrative Closure. Philosophical Studies 135 (1).
    This paper examines various claims by Noël Carroll about narrative closure and its relationship to narrative connections, which are, roughly, causal connections generously conceived to include necessary conditions for sufficient conditions for an effect. I propose supplementing the expanded notion of a cause with Michael Bratman’s notion of a psychological connection to account for the particular role that human agents play in narratives. A novel and a film are used as examples to illustrate how the concept of a psychological connection (...)
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  • Gary D. Fireman, T. E. McVay & Owen J. Flanagan (eds.) (2003). Narrative and Consciousness: Literature, Psychology and the Brain. Oxford University Press.
    We define our conscious experience by constructing narratives about ourselves and the people with whom we interact. Narrative pervades our lives--conscious experience is not merely linked to the number and variety of personal stories we construct with each other within a cultural frame, but is subsumed by them. The claim, however, that narrative constructions are essential to conscious experience is not useful or informative unless we can also begin to provide a distinct, organized, and empirically consistent explanation for narrative in (...)
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  • David Gallop (1999). Jane Austen and the Aristotelian Ethic. Philosophy and Literature 23 (1).
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  • Amihud Gilead (2008). How Few Words Can the Shortest Story Have? Philosophy and Literature 32 (1):pp. 119-129.
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  • Robert Gooding-Williams (1986). Literary Fiction as Philosophy: The Case of Nietzsche's Zarathustra. Journal of Philosophy 83 (11):667-675.
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  • James Harold (2006). On Judging the Moral Value of Narrative Artworks. Journal of Aesthetics and Art Criticism 64 (2):259–270.
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  • James Harold (2005). Narrative Engagement With. Philosophy and Literature 29 (1).
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  • James G. Hart (1989). From Mythos to Logos to Utopian Poetics: An Husserlian Narrative. International Journal for Philosophy of Religion 25 (3).
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  • Daniel Jacobson (1996). Sir Philip Sidney's Dilemma: On the Ethical Function of Narrative Art. Journal of Aesthetics and Art Criticism 54 (4):327-336.
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  • Stewart Justman (2008). Converts, Uncertainty, and the Novel. Philosophy and Literature 32 (2):pp. 359-372.
    In its quest for converts medieval Christendom locked itself into a vicious interpretive circle, pressing unbelievers to join the Christian community and then suspecting them for doing so. Such suspicion drove the Inquisition. An Inquisition whose torture machinery grinds on century after century, as if each execution laid the ground for another, represents a closed system alien to a literary form, the novel, whose English name suggests "the new." As befits a form set in "the present day with all its (...)
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  • Joseph Carroll Jonathan Gottschall John A. Johnson Daniel J. Kruger (2009). Human Nature in Nineteenth-Century British Novels: Doing the Math. Philosophy and Literature 33 (1):pp. 50-72.
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  • Peter Lamarque (2004). On Not Expecting Too Much From Narrative. Mind and Language 19 (4):393–408.
    The paper offers a mildly deflationary account of narrative, drawing attention to the minimal, thus easily satisfied, conditions of narrativity and showing that many of the more striking claims about narrative are either poorly supported or refer to distinct classes of narrative—usually literary or fictional—which provide a misleading paradigm for narration in general. An enquiry into structural, referential, pragmatic, and valuebased features of narrative helps circumscribe the limits of narration and the test case of the narrative definition of the self (...)
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  • Iddo Landau (2005). To Kill a Mandarin. Philosophy and Literature 29 (1).
    IN LE P È R E GO R I O T, Balzac has the main character, Rastignac, ask his friend Bianchon whether he would agree to the killing of a Chinese Mandarin in far-away China if this would yield Bianchon a great fortune. After some joking, Bianchon answers negatively.1 For Rastignac, this thought experiment is connected to a practical dilemma: he is deliberating whether to agree that a man he has never seen, and who has done Rastignac no harm, should (...)
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  • Joshua Landy (2004). Philosophy As Fiction: Self, Deception, and Knowledge in Proust. Oxford University Press.
    Philosophy as Fiction seeks to account for the peculiar power of philosophical literature by taking as its case study the paradigmatic generic hybrid of the twentieth century, Marcel Proust's In Search of Lost Time. At once philosophical--in that it presents claims, and even deploys arguments concerning such traditionally philosophical issues as knowledge, self-deception, selfhood, love, friendship, and art--and literary, in that its situations are imaginary and its stylization inescapably prominent, Proust's novel presents us with a conundrum. How should it be (...)
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  • F. N. Lees (1964). Identification and Emotion in the Novel: A Feature of Narrative Method. British Journal of Aesthetics 4 (2).
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  • Thomas M. Lennon (2007). Proust and the Phenomenology of Memory. Philosophy and Literature 31 (1).
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  • John Lippitt (2007). Getting the Story Straight: Kierkegaard, Macintyre and Some Problems with Narrative. Inquiry 50 (1):34 – 69.
    As part of the widespread turn to narrative in contemporary philosophy, several commentators have recently attempted to sign Kierkegaard up for the narrative cause, most notably in John Davenport and Anthony Rudd's recent collection Kierkegaard After MacIntyre: Essays on Freedom, Narrative and Virtue. I argue that the aesthetic and ethical existence-spheres in Either/Or cannot adequately be distinguished in terms of the MacIntyre-inspired notion of 'narrative unity'. Judge William's argument for the ethical life contains far more in the way of substantive (...)
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  • Eduardo Mendieta (2005). Surviving American Culture: On Chuck Palahniuk. Philosophy and Literature 29 (2).
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  • Jukka Mikkonen (2009). The Realistic Fallacy, Or: The Conception of Literary Narrative Fiction in Analytic Aesthetics. Studia Philosophica Estonica 2:1-18.
    In this paper, my aim is to show that in Anglo-American analytic aesthetics, the conception of narrative fiction is in general realistic and that it derives from philosophical theories of fiction-making, the act of producing works of literary narrative fiction. I shall firstly broadly show the origins of the problem and illustrate how the so-called realistic fallacy – the view which maintains that fictions consist of propositions which represent the fictional world “as it is” – is committed through the history (...)
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  • Jukka Mikkonen (2008). Philosophical Fiction and the Act of Fiction-Making. SATS: Nordic Journal of Philosophy 9 (2):116-132.
    In this paper, I shall sketch a preliminary ground for a cognitivist theory of fiction and argue that theories which align fiction-making with (aesthetically valuable) story-telling consider the act of fiction-making too narrowly. As a paradigmatic example of such anti-cognitivist theories, I shall examine Peter Lamarque and Stein Haugom Olsen’s influential theory of fiction, which suggests that recognizing the author’s fictive and literary intentions manifested in the text would lead to dismissing her aims to make genuine claims and suggestions. I (...)
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  • John Morreall (1994). The Myth of the Omniscient Narrator. Journal of Aesthetics and Art Criticism 52 (4):429-435.
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  • Ira Newman (2008). Learning From Tolstoy: Forgetfulness and Recognition in Literary Edification. Philosophia 36 (1).
    Philosophers have often applied a distinctively epistemic framework to the question of how moral knowledge can be derived from fictional literature, by considering how true propositions, or their argumentative support, can be the cognitive fruits of reading works of fiction. I offer an alternative approach. I focus not on whether readers fail to assent to the truth of a proposition or fail to provide it rational support. Instead, I focus on how readers fail to accord a truth (which they already (...)
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  • Adam Zachary Newton (1995). Narrative Ethics. Harvard University Press.
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  • Patrick O'Neill (1996). Book Review: Fictions of Discourse: Reading Narrative Theory. Philosophy and Literature 20 (2).
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  • Frederick A. Olafson (1988). Moral Relationships in the Fiction of Henry James. Ethics 98 (2):294-312.
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  • Yi-Ping Ong (2009). A View of Life: Nietzsche, Kierkegaard, and the Novel. Philosophy and Literature 33 (1):pp. 167-183.
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  • David Parker (1996). Book Review: Ethics, Theory and the Novel. Philosophy and Literature 20 (1).
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  • George Pattison (1986). Nihilism and the Novel: Kierkegaard's Literary Reviews. British Journal of Aesthetics 26 (2).
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  • Roger Pearson (1993). The Fables of Reason: A Study of Voltaire's "Contes Philosophiques". Oxford University Press.
    This is the first comprehensive study in English of Voltaire's contes philosophiques--the philosophical tales for which he is best remembered and which include his masterpiece Candide. Pearson situates each story in its historical and intellectual context and offers new readings in light of modern critical thinking. He rejects the traditional view that Voltaire's contes were the private expression of his philosophical perplexity, and argues that it is narrative that is Voltaire's essential mode of thought. His book is a witty, lucid, (...)
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  • Richard A. Posner (2000). Orwell Versus Huxley: Economics, Technology, Privacy, and Satire. Philosophy and Literature 24 (1).
    Orwell's novel Nineteen Eighty-Four and Huxley's novel Brave New World have often been thought prophetic commentaries on economic, political, and social matters. I argue, with particular reference to the supposed applicability of these novels to issues of technology and privacy, that the novels are best understood as literary works of art, rather than as social science or commentary, and that when so viewed Orwell's novel in particular reflects a dissatisfaction with everyday life and a nostalgia for Romantic values.
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  • Richard A. Posner (1997). Narrative and Narratology in Classroom and Courtroom. Philosophy and Literature 21 (2).
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