Online research in philosophy

A theory of musical narrative. An introduction to narrative analysis : Chopin's prelude in G major, op. 28, no. 3 ; Perspectives and critiques ; A theory of musical narrative : conceptual considerations ; A theory of musical narrative : analytical considerations ; Narrative and topic -- Archetypal narratives and phases. Romance narratives and Micznik's degrees of narrativity ; Tragic narratives : an extended analysis of Schubert, piano sonata in B flat major, D. 960, first movement ; Ironic narratives : subtypes and phases ; Comic narratives and discursive strategies ; Summary and conclusion.

While narrative has been one of liveliest and most productive areas of research in literary theory, discussions of the nature of emotional responses to art and of the cognitive value of art tend to concentrate almost exclusively on the problem of fiction: How can we emote over or learn from fictions? Narrative, Emotion, and Insight explores what would happen if aestheticians framed the matter differently, having narratives—rather than fictional characters and events—as the object of emotional and cognitive attention. The book thus opens up new possibilities for approaching questions about the ethical, educative, and cultural value of art. The nine essays in this volume introduce the study of narrative to contemporary aesthetics.

Abstract Narrative thinking has a very important role in our ordinary everyday lives?in our thinking about fiction, about the historical past, about how things might have been, and about our own past and our plans for the future. In this paper, which is part of a larger project, I will be focusing on just one kind of narrative thinking: the kind that we sometimes engage in when we think about, evaluate, and respond emotionally to, our own past lives from a perspective that is external to the remembered events. Being able to do this is an essential part of what it is to have a narrative sense of self. Sometimes, I will suggest, we fail to have such responses?we are not able to think and feel as we should about an episode in our lives. On such occasions, there is a gap in our narrative sense of self?a gap which opens up especially where the past is in some sense tragic or traumatic. The desire to close this gap is what I will call a desire for emotional closure.

Although studies in organizational storytelling have dealt extensively with the relationship between narrative, power and organizational change, little attention has been paid to the implications of this for ethics within organizations. This article addresses this by presenting an analysis of narrative and ethics as it relates to the practice of organizational downsizing. Drawing on Paul Ricoeur's theories of narrative and ethics, we analyze stories of organizational change reported by employees and managers in an organization that had undergone persistent downsizing. Our analysis maintains that the presence of a dominant story that seeks to legitimate organizational change also serves to normalize it, and that this, in turn, diminishes the capacity for organizations to scrutinize the ethics of their actions. We argue that when organizational change narratives become singularized through dominant forms of emplotment, ethical deliberation and responsibility in organizations are diminished. More generally, we contend that the narrative closure achieved by the presence of a dominant narrative amongst employees undergoing organizational change is antithetical to the openness required for ethical questioning.

Traditionally, questions about consciousness and subjectivity are treated separately from questions about the self and identity. But sometimes 'the self' is spoken of as 'the subject,' which suggests that the first-person perspective may be constituted in the same way as the self. Narrative provides a powerful model of the self in contemporary psychology, philosophy of mind, and moral psychology. On some versions of narrative theory, narrative is held fundamental not only to self-understanding but to the phenomenology of the first-person point of view, too. I call this approach the narrative self-subject model. I argue that the narrative model does not apply to subjectivity, and that the narrative self should be distinguished from the 'I' of the first- person perspective. Roughly, this is because first-person narratives employ the first-person pronoun 'I' to identify some person, but the distinctive features of subjectivity are marked by a different, non-identifying use of the pronoun 'I'.

This article argues that traditional, regulative principles of research ethics offer insufficient guidance for research in the narrative study of lives. These principles presuppose an implicit epistemology that conceives of research participants as data sources, a conception that is argued not tenable for narrative research. The case is made by drawing on recent discussions of research ethics in the qualitative and narrative research literature. This article shows that narrative ethics is inextricably entwined with epistemological issues--namely, issues of narrative ownership and the multiplicity of narrative meaning. Finally, practical recommendations are made for the ethical treatment of research participants in narrative research. The article concludes by situating our approach with respect to the broad range of contemporary perspectives on research ethics.

This paper uses a study of the life story narratives of former classmates of Dutch and Moluccan descent to argue that the constructionist approach to intersectionality, with its account of identity as a narrative construction rather than a practice of naming, offers better tools for answering questions concerning intersectional identity formation than a more systemic intersectional approach. The case study also highlights the importance of the quest for origins in narratives. It demonstrates that theories of intersectionality are unjustified in subsuming the issue of belonging under the identity marker of ethnicity, when all identities are performatively produced in and through narrative enactments that include belonging. Belongingness is a precarious achievement. The case study illustrates that if narrative accounts of a (singular or collective) life fail to achieve narrative closure regarding roots, attempts to trace routes are seriously hampered.

This article analyzes the concept of narrative.How do we recognize a narrative when we seeone? Which criteria do we or should we apply?The article itself serves as a (possible)example of a narrative, and is thus adiscussion of itself as a narrative product. Ialso discuss the possible narrative structureof the process leading up to the completedarticle. I first discuss two approaches tocategorization and the most commonly referredto criteria for identifying narratives. Next Idiscuss various roles found in narratives andthe roles found in the current article. FinallyI discuss the problems principally involved inpunctuation of sequences and thus in decidingwhich narrative we are dealing with. Itis concluded that the categorization criteriaare too vague to perform the job they areintended to do.

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 eliminates the need for Carroll's condition that narratives must be globally forward-looking.

Narrative is increasingly being recognised as an important tool both to manage and understand organisations. In particular, narrative is recognised to have an important influence on the perception of environmental issues in business, a particularly contested area of modern management. Management literature is, however, only beginning to develop a framework for evaluating the quality and legitimacy of narratives. Due to the highly fluid nature of narratives, the traditional notion of truth as reflecting ' objective reality' is not useful here. In this article, an alternative approach that evaluates a narrative in two stages is developed. First, a horizontal reading investigates the surface of the narrative, its textual features, instrumental devices and its integrity as a text, to assess the quality of a narrative. Second, a more philosophical or vertical reading makes explicit the underlying value assumptions that author and reader bring to the writing and reading of the narrative to assess the narrative's claim to legitimacy. The framework is then tested against a narrative on the relationship between business and environment as espoused by a supply chain manager of a UK-based manufacturing company.