Online research in philosophy

This presentation explores the narrative personas of Jane Austen's Northanger Abbey and how the narration can affect the readers' perception of the illustrated events, characters, and society. It argues that there are two narrative voices; one voice makes opinionated comments directly to the reader and one voice relates the story objectively. The biased narrative persona can influence the readers and the impartial persona allows readers to gather their own conclusions about events, characters, and society. Northanger Abbey demonstrates the importance of the narrator as a character whose voice acts as a mediator between the reader and the action of any story.

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.

Narrative explanations in evolutionary biology have seemed fundamentally different from other scientific explanations, and similar to historical explanations. This investigation of the structure of narrative explanations in evolutionary biology reveals that narrative explanations do have a deductive-nomological base, but that their structure contains two significant additional elements as well. The additional elements are: the multidimensional recursive connection between the different sub-explanations in a narrative explanation; and a set of generic explanations which make possible the integration of multiple co-existing processes.

In this article, we resituate a long-standing duality of (Western) narrative tradition over living story emergence and more linear narrative. Narrative, with its focus on linear beginning, middle and end coherence, retrospection and monologic, is too easily appropriated into managerialist projects. We focus on the web of living stories as a Derridian deconstructive move, which allows us to say something important about their relation to narrative and to develop a storytelling ethics. Our thesis is that resituating the relationship between narrative and living story invites exploration of the plurality of narratives that treat living stories as supplementary. We claim that this deconstructive move allows us to rethink politics and ethics anew. Storytelling ethics opens new spaces for marginalized other(s) voices and creates an awareness of our complicity and responsibility for others. Further, storytelling ethics allows for a more nuanced and varied understanding of business ethics and its inherent exclusionary truth and morality claims and paves the way for a more reflexive ethics.

In this article, we resituate a long-standing duality of (Western) narrative tradition over living story emergence and more linear narrative. Narrative, with its focus on linear beginning, middle and end coherence, retrospection and monologic, is too easily appropriated into managerialist projects. We focus on the web of living stories as a Derridian deconstructive move, which allows us to say something important about their relation to narrative and to develop a storytelling ethics. Our thesis is that resituating the relationship between narrative and living story invites exploration of the plurality of narratives that treat living stories as supplementary. We claim that this deconstructive move allows us to rethink politics and ethics anew. Storytelling ethics opens new spaces for marginalized other(s) voices and creates an awareness of our complicity and responsibility for others. Further, storytelling ethics allows for a more nuanced and varied understanding of business ethics and its inherent exclusionary truth and morality claims and paves the way for a more reflexive ethics.

The paper describes and defends an eclectic approach to narrative explanation in history and social sciences (as well as in natural history). The view of narrative explanation defended allows combinations of several recent ideas concerning the nature of narrative explanation.The guiding idea is that the explanatory power of narratives consists in their capacity to accommodate various forms of explanations and interpretations. Narrative explanations are seen as theories abouthappenings that may consist of diverse forms of explanations, interpretations and explanation sketches. There is no single form of narrative explanation, rather narrative is seen as a form tor synthesizing various explanations.Several problems concerning explanation and narrative are discussed with relation to the proposed approach: laws in explanations, literary or fictional aspects of narratives, relativism, constructivism and noncognitivism or antirealism. Hayden White’s theory of the explanatory role of “emplotment” is discussed and criticized.The upshot is that the eclectic approach defended does not face any problems unique to it: problems faced are general epistemological problem. The literary aspects of historical narrative are interpreted as normative and rhetorical, making the relevance of these aspects tor narrative explanation depend on the question whether there are legitimate moral explanations.

We enter this energetic debate over causes and consequences of workaholism using autoethnography. Our main contribution is to explore when our autoethnographies of workaholism experiences is narrative, and when it is expressive, living story. The difference in narrative is a re-presentation (following representationalism of a sensory remembrance), where as living story is a matter of reflexivity upon the fragile nature of our life world. We began through analysis of workaholism narratives in our own academic lives, and in the movies of popular culture, the influence of a particular meta-narrative – that of the American Dream. We proceed to juxtapose our own living stories in their struggle with those American Dream narratives.

The title of this paper is 'The Story of the Story'. If its argument is valid, I cannot be speaking to you now, trying to change your view of something without telling a story myself, even about the Story. Over the last two decades there has been an increasing number of people in a variety of disciplines telling us that the story, narrative, is an inescapable feature of human communication. Listen to a few representative voices. from psychology - Theodore Sarbin: 'Human beings think, perceive, imagine, and make moral choices according to narrative structures' (Sarbin, 1986,8); from philosophy' - Alasdair MacIntyre: 'In what does the unity of a human life consist? The answer is that its unity is the unity of a..

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.

The idea of narrative has been widely discussed in the recent health care literature, including nursing, and has been portrayed as a resource for both clinical work and research studies. However, the use of the term 'narrative' is inconsistent, and various assumptions are made about the nature (and functions) of narrative: narrative as a naive account of events; narrative as the source of 'subjective truth'; narrative as intrinsically fictional; and narrative as a mode of explanation. All these assumptions have left their mark on the nursing literature, and all of them (in our view) are misconceived. Here, we argue that a failure to distinguish between 'narrative' and 'story' is partly responsible for these misconceptions, and we offer an analysis that shows why the distinction between them is essential. In doing so, we borrow the concept of 'narrativity' from literary criticism. Narrativity is something that a text has degrees of, and our proposal is that the elements of narrativity can be 'sorted' roughly into a continuum, at the 'high narrativity' end of which we find 'story'. On our account, 'story' is an interweaving of plot and character, whose organization is designed to elicit a certain emotional response from the reader, while 'narrative' refers to the sequence of events and the (claimed) causal connections between them. We suggest that it is important not to confuse the emotional persuasiveness of the 'story' with the objective accuracy of the 'narrative', and to this end we recommend what might be called 'narrative vigilance'. There is nothing intrinsically authentic, or sacrosanct, or emancipatory, or paradigmatic about narrative itself, even though the recent health care literature has had a marked tendency to romanticize it.