Online research in philosophy

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.

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.

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.

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.

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.

This article develops a theory about the narrative foundations of public policy. Politicians draw on specific types of narratives in order to connect the policies they are proposing, the needs of the public, and their own needs for legitimacy. In particular, politicians are drawn to policy narratives in which they themselves occupy the central and heroic character position, and where they are able to protect the scope of their jurisdictional authority. We demonstrate how this works through a historical analysis of congressional debate about the nonprofit sector in the United States. Two competing narratives framed these debates: (1) a selfless charity narrative, in which politicians try to empower heroic charity workers and philanthropists, and then stay out of the way; and (2) a masquerade narrative, in which fake charities are taking advantage of the nonprofit tax exemption, in order to pursue a variety of noncivic and dangerous activities. Members of Congress quickly adopted the masquerade narrative as the dominant framework for discussing the nonprofit sector because it provided a more powerful and flexible rhetoric for reproducing their political legitimacy. By developing innovative elaborations of the masquerade narrative (i.e., identifying new categories of "false heroes"), while remaining faithful to its underlying narrative format, politicians were able to increase the persuasive impact of their legislative agendas. We argue that the narrative aspects of political debate are a central component of the policy-making process because they link cultural and political interests in a way that involves the mastery of cultural structure as well as the creativity of cultural performance.

. The use of narrative to communicate and convey particular points of view in society has increasingly become the focus of academic attention in recent years. In particular, MacIntyre. (1985, 1988, 1990, 1999) has paid attention to the role of narrative in the conflict between different traditions when developing his virtue approach to ethics. Whilst there has been continued debate about the application of virtue approaches, some arguing that it is incompatible with business, I disagree and have already argued for a form of virtue that will focus business on society’s needs rather than better business itself. Here I continue to develop the argument in two ways. First, I will explore the predominant business narrative and offer some comment on the ‘virtues’ that it promotes. However, rather than accepting this narrative, I want to challenge it with a narrative from the environmental tradition. I consider how adopting the virtues promoted by an environmental narrative it would shape business practices and challenge current business conventions. As a second step, I will focus on how we can change managers’ perceptions of business to reflect these environmentally based virtues.

The purpose of this paper is to discuss rival views of business and business ethics in terms of narrative. I want to show that we can tell various stories about business, and that our worldview narratives shape our accounts of business. These narratives not only involve description, but contain normative ramifications. We can only act within the world that we perceive. To evaluate competing narratives, I suggest dialectical comparison of the narratives with important values. The second part of the paper discusses five distinct genres of worldview narratives and their implications for business: homo economicus, libertarian, conservative, liberal, and religio-philosophical.

The purpose of this paper is to discuss rival views of business and business ethics in terms of narrative. I want to show that we can tell various stories about business, and that our worldview narratives shape our accounts of business. These narratives not only involve description, but contain normative ramifications. We can only act within the world that we perceive. To evaluate competing narratives, I suggest dialectical comparison of the narratives with important values. The second part of the paper discusses five distinct genres of worldview narratives and their implications for business: homo economicus, libertarian, conservative, liberal, and religio-philosophical.

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.