The relation between philosophy and pedagogy is complex and hard to grasp.1 Nonetheless, the tendency within much educational research influenced by the Anglo-American traditions of studying education is for philosophy to become a source from which educational researchers retrieve concepts, ideas, and critical methods for the analysis of empirical material, for formulating criticism of policy, or for developing curriculum theory. Philosophy is simply applied to educational research problems and questions. Such a relation can be prolific, but it risks resulting in (...) a formalistic study of education and an asymmetric relation in which philosophy contributes to pedagogy, but where pedagogy is not given a chance to speak... (shrink)

A patient's experience unfolds through a nurse's personal conversation with herself. Conveyed through three voices, the nurse's dialogue highlights her many internal struggles; those with her conscience on what she understands to be best practice, those important to her as a person, those of an ethical nature that profoundly affect one's search for meaning, and those in the personal–professional realm driven in part by institutional culture. These multivoiced knowledges are confronted in ways that foreground language and understanding as performative acts. (...) At the same time, another journey is co‐constructed with the reader, one that weaves in‐between the symbolic and the real, engaging the imaginary in (inter)play. The nurse's response to the inner conversation with her ‘self/selves’ problematizes practice, illuminates the patient's perspective while highlighting the nurse's sense of her marginal position. Insight into reified and hegemonic assumptions, strategies of how control is maintained through organizational surveillance, trust and moral agency help to foreground personal expectations as the nurse begins to grapple with her own feelings of betrayal. Tackling these insights offers opportunities to rethink oppressive practices in the provision of care. It also enables an alternative appreciation of the everyday dilemmas confronting nurses and offers new meaning to practice. (shrink)

This article proposes a reading of Sarah Polley’s Stories We Tell (2012) through the work of Hannah Arendt and Adriana Cavarero. Far from being a simple homage to her late mother Diane, Polley’s film is a ‘polyphonic tale’, a complex and multi-layered narrative which allows for an exploration of the many functions of (cinematic) storytelling. Highlighting the close link between relating narratives and personal identity, the film sheds light on both the innate desire for biography that characterizes us (...) as human beings and the complex and dynamic relationship between storytellers and listeners. The way we tell stories affects the narrator(s), their audience and the fabric of the story itself in a process that ensures both continuity and change. Referring to Arendt’s notion of political storytelling, I conclude by suggesting that Stories We Tell, like the Greek polis, functions as an ‘organized remembrance’, a community whose purpose is to preserve fragile human deeds and words from oblivion. (shrink)

Can one publish a bioethics case ethically? I suspect that most in bioethics would feel comfortable publishing a case if the subject—the patient—gave explicit permission, the amount of biographical information revealed was under the control of the subject, and the subject fully understood the benefits and risks of publishing the case. Some might add that the subject should have a chance to approve the final representation. I think that the ethics of publishing cases needs to be rethought. And this rethinking (...) needs to be focused not on the way publishing a case might harm a patient (that is, nonmaleficence) but, rather, on how a case presentation does not convey the patient’s own voice in the narrative (that is, respect for autonomy). Bioethics needs a new model of case presentation: the polyphonic case, which demands that the subject be a part of the case’s construction. (shrink)

Some philosophers contend that to effectively address problems such our global environmental crisis, humans must collectively embrace a polyphonic, environmentalist grand narrative, very different from the narratives accepted by modernists. Cultural theorists who write about metamodernism likewise discuss the recent return to a belief in narratives, and contend that our society’s current approach to narratives is very different from that of the modernists. In this paper, I articulate these philosophers’ and cultural theorists’ positions, and I highlight (...) and explore interconnections between them. Additionally, I argue that if the authors I discuss are correct, then we morally ought to embrace a metamodernist, polyphonic, environmentalist grand narrative, in order to effectively address an array of global crises. Such a grand narrative is a necessary ingredient of an adequate global ethics. (shrink)

ABSTRACT In theater, stage directions function as a particular genre in which the author’s voice is inscribed in the text to indicate the paths of representation. In Werewere-Liking Gnepo’s La veuve diyilèm, they play a broader role. There is a narrative function, sometimes author’s, sometimes character’s that, in a dialogic movement of reception/understanding, triggers multiple independent and polyphonic voices and consciences. To verify this statement, we will discuss the Bakhtinian reflections that will be essential for this study. RESUMO No (...) teatro, as didascálias funcionam como um gênero particular em que há a inscrição da voz do autor no texto para indicar os caminhos da representação. Na obra La veuve diyilèm, de Werewere-Liking Gnepo, elas desempenham um papel mais amplo. Há uma função narrativa ora autora, ora personagem que, em um movimento dialógico de recepção/compreensão, desencadeia múltiplas vozes e consciências independentes e polifônicas. Para constatação dessa afirmação, discorreremos sobre as reflexões bakhtinianas que serão imprescindíveis para este estudo. (shrink)

This article studies the narratives of voices identifying the harrowing aftermath of the 1947 partition of India and Pakistan, and the representations of the contemporary effects of partition in Bapsi Sidhwa’s novel Ice Candy Man. The narrative unfolds past experiences through the eyes of different characters and surroundings from different social, political and religious backgrounds. The novel vividly portrays the horror of violence during the partition, as communities that once coexisted peacefully become engulfed in a whirlwind of hatred and (...) bloodshed. Sidhwa’s polyphonic narrative experiences reflect the multifaceted nature of violence, from communal riots to personal tragedies creating a poignant portrayal of human suffering and resilience. The theme of partition, violence, and memory permeates throughout the novel, encapsulating the socio-political upheavals that marked the birth of two nations – India and Pakistan. This paper, therefore, attempts to analyse the novel in order to understand the ideas of the ‘polyphonic narrative’ of Mikhael Bakhtin’s theory and many other postcolonial critic’s ideas. For portraying the human experience amidst a backdrop of partition and historical turmoil in shaping narratives as presented in the text by applying the theoretical framework of Postcolonial theory. (shrink)

By revealing the centrality of stories to action, to social life and to inquiry together with the implicit assumptions in polyphonic stories about the nature of humans, of life and of physical reality, this paper examines the potential of stories to transform civilization. Focussing on the failure of environmentalists so far in the face of the global ecological crisis, it is shown how ethics and political philosophy could be reconceived and radical ecology reformulated and reinvigorated by appreciating and exploiting (...) the potential of stories. This could enable radical ecologists to effect the major social and economic changes necessary to meet the global ecological crisis. What we need, it is argued, is a new, polyphonic grand narrative. (shrink)

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)

In this article, we offer a new conceptualization of intellectuals as carriers of cultural trauma through a case study of the Aum Affair, a series of crimes and terrorist attacks committed by the Japanese new religious movement Aum Shinrikyō. In understanding the performative roles intellectuals play in trauma construction, we offer a new dichotomy between “authoritative intellectuals,” who draw on their privileged parcours and status to impose a distinct trauma narrative, and “dialogical intellectuals,” who engage with local actors dialogically to (...) produce polyphonic and open-ended trauma narratives. We identify three dimensions of dialogical intellectual action: firstly, the intellectuals may be involved in dialogue with local participants; secondly, the intellectual products themselves may be dialogical in content; and thirdly, there might be a concerted effort on the part of the intellectuals to record and to disseminate dialogue between local participants. In the context of the Aum Affair, we analyze the works of Murakami Haruki and Mori Tatsuya as dialogical intellectuals while they sought, with the help of local actors’ experiences, to challenge and to alter the orthodox trauma narrative of Aum Shinrikyō as exclusively a social evil external to Japanese society and an enemy to be excluded from it. Towards the end of the article, we discuss the broader significance of this case study and suggest that in light of recent societal and technological developments, the role and scope of dialogical intellectuals as carriers of trauma are changing and possibly expanding. (shrink)

Proposing his conception of narrative identity in Oneself as Another, Paul Ricoeur holds that human life is comprehensible, once the story of a man’s life has actually been told, and it is the narrative of one’s life which constructs one’s identity. Developing his theory of heteroglossia and the polyphony of human speech, explicated chiefly in Speech Genres and The Dialogic Imagination, Mikhail Bakhtin recognizes the intrinsically intertwining character of utterance and response. According to him, utterance is always addressed to someone (...) and antedates an answer. Bakhtin’s “addressivity,” as well as his view of discourse as fundamentally dialogic, are convergent with Ricoeur’s elucidation both of man’s answerability to the Other and of narrative identity. The dynamic character of narrative identity, as construed by Ricoeur, converges with the dynamic nature of language as viewed by Bakhtin. The aim of this article is to study the intersections of Ricoeur’s narrative theory and Bakhtin’s recognition of the polyphonic nature of speech. I view these as inherently interrelated, and as testifying, respectively, to the philosophical and linguistic aspects of one and the same phenomenological vision. That vision accounts for selfhood, understood as vulnerable and contextualized, while also recognizing that it is conveyed by means of language with its essentially dialogic openness. (shrink)

Proposing his conception of narrative identity in Oneself as Another, Paul Ricœur holds that human life is comprehensible, once the story of a man’s life has actually been told, and it is the narrative of one’s life which constructs one’s identity. Developing his theory of heteroglossia and the polyphony of human speech, explicated chiefly in Speech Genres and The Dialogic Imagination, Mikhail Bakhtin recognizes the intrinsically intertwining character of utterance and response. According to him, utterance is always addressed to someone (...) and antedates an answer. Bakhtin’s “addressivity,” as well as his view of discourse as fundamentally dialogic, are convergent with Ricœur’s elucidation both of man’s answerability to the Other and of narrative identity. The dynamic character of narrative identity, as construed by Ricœur, converges with the dynamic nature of language as viewed by Bakhtin. The aim of this article is to study the intersections of Ricœur’s narrative theory and Bakhtin’s recognition of the polyphonic nature of speech. I view these as inherently interrelated, and as testifying, respectively, to the philosophical and linguistic aspects of one and the same phenomenological vision. That vision accounts for selfhood, understood as vulnerable and contextualized, while also recognizing that it is conveyed by means of language with its essentially dialogic openness. (shrink)

Proposing his conception of narrative identity in Oneself as Another, Paul Ricœur holds that human life is comprehensible, once the story of a man’s life has actually been told, and it is the narrative of one’s life which constructs one’s identity. Developing his theory of heteroglossia and the polyphony of human speech, explicated chiefly in Speech Genres and The Dialogic Imagination, Mikhail Bakhtin recognizes the intrinsically intertwining character of utterance and response. According to him, utterance is always addressed to someone (...) and antedates an answer. Bakhtin’s “addressivity,” as well as his view of discourse as fundamentally dialogic, are convergent with Ricœur’s elucidation both of man’s answerability to the Other and of narrative identity. The dynamic character of narrative identity, as construed by Ricœur, converges with the dynamic nature of language as viewed by Bakhtin. The aim of this article is to study the intersections of Ricœur’s narrative theory and Bakhtin’s recognition of the polyphonic nature of speech. I view these as inherently interrelated, and as testifying, respectively, to the philosophical and linguistic aspects of one and the same phenomenological vision. That vision accounts for selfhood, understood as vulnerable and contextualized, while also recognizing that it is conveyed by means of language with its essentially dialogic openness. (shrink)

Forschungsgeschichte - Handbuch/übergreifende Darstellung.

Background: Electroconvulsive therapy is one of the most effective treatments for major depressive disorder. Recently, there has been increasing attention to evaluate the effect of ECT on resting-state functional magnetic resonance imaging. This study aims to compare rs-fMRI of depressive disorder patients with healthy participants, investigate whether pre-ECT dynamic functional network connectivity network estimated from patients rs-fMRI is associated with an eventual ECT outcome, and explore the effect of ECT on brain network states.Method: Resting-state functional magnetic resonance imaging data were (...) collected from 119 patients with depression or depressive disorder, and 61 healthy participants, with an age mean of 52.25 years old. The pre-ECT and post-ECT Hamilton Depression Rating Scale were 25.59 ± 6.14 and 11.48 ± 9.07, respectively. Twenty-four independent components from default mode and cognitive control network were extracted, using group-independent component analysis from pre-ECT and post-ECT rs-fMRI. Then, the sliding window approach was used to estimate the pre-and post-ECT dFNC of each subject. Next, k-means clustering was separately applied to pre-ECT dFNC and post-ECT dFNC to assess three distinct states from each participant. We calculated the amount of time each subject spends in each state, which is called “occupancy rate” or OCR. Next, we compared OCR values between HC and DEP participants. We also calculated the partial correlation between pre-ECT OCRs and HDRS change while controlling for age, gender, and site. Finally, we evaluated the effectiveness of ECT by comparing pre- and post-ECT OCR of DEP and HC participants.Results: The main findings include depressive disorder patients had significantly lower OCR values than the HC group in state 2, where connectivity between cognitive control network and default mode network was relatively higher than other states, Pre-ECT OCR of state, with more negative connectivity between CCN and DMN components, is linked with the HDRS changes. This means that those DEP patients who spent less time in this state showed more HDRS change, and The post-ECT OCR analysis suggested that ECT increased the amount of time DEP patients spent in state 2.Conclusion: Our finding suggests that dynamic functional network connectivity features, estimated from CCN and DMN, show promise as a predictive biomarker of the ECT outcome of DEP patients. Also, this study identifies a possible underlying mechanism associated with the ECT effect on DEP patients. (shrink)

Within the fields of social medicine and the medical humanities, chronic illness is acknowledged not just as an individually but as a socially transformative experience. The proliferation of published ‘illness narratives’ in recent years attests to the socially compelling nature of this particular story of transformation. Indeed, illness narratives have, in the past decade or so, become a rich source of interest in sociological and medical anthropological work for their capacity to map the material transformation of person to (...) patient, of an assumed to a newly fluid model of subjectivity. Their significance is particularly visible in the cultural context of the west, where more people live both to be diagnosed with chronic illnesses (such as cancer) and to survive them. With a focus on two recently published Australian works, Eating the Underworld: A Memoir in Three Voices (2001), by the psychologist Doris Brett, and Tiger’s Eye: A Memoir (2001), by the historian Inga Clendinnen, this paper will consider how the illness experience marks a transformation of embodied subjectivity that, in turn, triggers transformations of other kinds. These works have quite different intents, but they provide models for exploring how physical and individual transformation through illness becomes the occasion for reconsidering the body of history, and of the resonances of history in social memory. (shrink)

This paper employs Ricoeur’s hermeneutic approach to examine how fundamentalist religious communities shape personal and social identity. His biblical hermeneutics is used to analyze how narrative texts of various genres open a ‘fundamentalist’ world, while also challenging his monolithic emphasis on written texts. I argue that a wider variety of texts as well as rituals and other media must be examined, which all inform and display the fundamentalist world in important ways. Second, I employ his analysis of the formation of (...) identity and action to understand how identity is framed and prescribed by fundamentalist communities for their members. Finally, I draw on Ricoeur’s account of symbolism and move from first to second naïveté to provide an account of how fundamentalist communities respond to modernity and the threat of Enlightenment rationality. I argue that, contra what Ricoeur proposes, earlier mythic language was highly polyphonic and not understood literally. Fundamentalist communities move to more literalist understandings in response to modernity. Thus, while Ricoeur’s hermeneutic approach is richly useful for a philosophical approach to religious fundamentalism, the close examination of this phenomenon enables a broadening of Ricoeur’s work on religion, symbolism and identity. (shrink)

The necessity of reconsidering and rethinking the aesthetics of a literary genre is not a novelty. Now that the traditional distinction between argumentative theory patterns and narrative styles of thinking has blurred, the relationship between philosophy and literature raises a principal question: the definition of philosophy itself and of philosophical activity. Modern literature, and in particular the novel of the last century, embodies a polyphonic, complex cognitive enterprise which includes both original uses of language and sophisticated patterns of moral (...) reflection. Modern literature thus represents a new model of paradigmatic thinking for philosophical activity, and both philosophy and literature can be.. (shrink)

The chapter argues for a more nuanced and empirically based understanding of the discourse on law and socio-cultural norms in Old Icelandic literature on the grounds of a narratological reading of ‘Færeyinga saga’ as a case study. It has often been claimed that Icelandic sources express an ideal of freedom based on communality as guaranteed by the law. By contrast, ‘Færeyinga saga’ represents a cynical discourse on power politics that renders law as an invariable concept obsolete and works solely on (...) the principle that ‘might is right’. This cynicism, however, is presented in a form that leaves the narrative open to interpretation, showing that regardless of its possible dating, narrative literature can serve as a starting point for social discussion. Consequently, the discourse on law in medieval Iceland must be perceived as more polyphonic than has been allowed for by previous unifying readings in scholarship. (shrink)

With the early success of the deep ecology movement in attracting adherents and with the increasing threat of a global ecological catastrophe, one would have expected this movement to have triumphed. We should be in the process of radically transforming society to create a harmonious relationship between humans and the rest of nature. Instead, deep ecology has been marginalized. What has triumphed instead is an alliance of managerialism, transnational corporations and neo-liberalism committed to replacing communities with markets and transforming every (...) facet of nature and society into means for increasing the profitability of corporations and expanding GDP. This outcome is here explained by the failure of deep ecologists to understand the ideological, political and economic forces driving ecological destruction, and thereby what is required to overcome these. To regain the initiative, it is argued, it will be necessary to recover the whole project of the Radical Enlightenment upholding the Renaissance quest for liberty that was subverted by the scientific materialism and possessive individualism of the Moderate Enlightenment. Not only will it be necessary to transform science to develop a comprehensive alternative conception of nature and humanity and its destiny, it will be necessary to revive and develop the institutions of the Radical Enlightenment to subordinate markets to democratically organized communities at multiple levels, as communities of communities committed to augmenting the life of these communities, including the life of ecological communities. Doing so will involve reformulating the grand narrative of emancipation as a dialogic, polyphonic grand narrative to orient individuals, organizations and nations to create a global ecological civilization. -/- . (shrink)

Claiming that individuals and communities get their choices, rhythms and practices biopolitically choreographed by temporal mechanisms that dictate which human experiences are included or excluded, Elizabeth Freeman states that those ‘whose activities do not show up on the official time line, whose own time lines do not synchronize with it, are variously and often simultaneously black, female, queer’. The narrative subject of Bernardine Evaristo's Girl, Woman, Other is black, female and queer in her design of a polyphonic text featuring (...) twelve black women moving through the world in different decades and occupying a temporal dimension that deviates from the linear and teleological modes. I draw on Edelman ; Freeman and Ahmed to analyse Evaristo's novel as a text informed by feminist queer temporality and thus explore these characters’ resistance to chrononormative assumptions like ‘the straight time of domesticated gender, capital accumulation, and national coherence’. In this light, I address her cast of ‘time abjects’ –lesbians, transgender women, feminist killjoys and menopausal females—as characterized ‘chronotopically’ as their racialized and gendered subjectivities coalesce temporally and spatially seeing their pasts and futures interact in a typically transpositional, queer and diasporic continuum. By invoking Freeman's notion of ‘erotohistoriography’ as a distinctive mode of queer time that not only recognizes non-linear chronopolitics, but decidedly prioritizes bodies and pleasures in self-representation, I contend that Evaristo depicts bodies as likewise performing this encounter between past and present in hybrid, carnal and trans-temporal terms. I conclude that in her joining temporality and corporeality, memory and desire, she suggests alternative ways of representing contemporary black British womanhood. (shrink)

ABSTRACT The Russian philosopher Mikhail Bakhtin had given a variety of concepts to appreciate and analyze a novel. In this study, there is an attempt to apply the Bakhtinian intellectual tool of polyphony to unearth the deeper layers of Khaled Hosseini’s novel The Kite Runner. We argue that the novel is polyphonic through and through since it reverberates with multiple voices of various characters, and the novel’s narrative structure also supports this multiplicity of viewpoints. The novel defies the traditional (...) path of having the final word from the author or the narrator. In many situations, the narrator’s voice struggles and fumbles with confusion, but the voices of some of the characters come up clearly and remain firm on certain aspects. This paper will provide a systematic exposition and an analysis of the novel The Kite Runner from the Bakhtinian lens to appreciate the anti-authorial mode where pluralism (polyphony) is celebrated. (shrink)

This paper aims to share reflections produced in the core of a research developed in everyday life of a school located in the city of Rio de Janeiro, in order to think the teacher training process and the child's potentiality in it. Through an investigation from the perspective of research with daily life, making use of narratives produced in the field notebook and of impressions and senses created throughout the investigation, brings two scenes experienced in the daily life of (...) the mentioned public school and, with them, discusses concepts of training and child, defending the latter as a legitimate other in teacher education and training as a singular process and at the same time, collective and polyphonic. Finally, from the proposed problematization, the text invites us to think training with childhood in the quality of training as experience: that one which makes us think and think about ourselves, that is a training that moves us and causes us to inquire about our certainties and crystallized truths, invites us to be already others of ourselves, to rethink our ways of being, to be and to live the teaching experience with the children. Therefore, it is an invitation to think about our place and the place of children, in other words, our relationship in education and teacher's training. (shrink)

Kierkegaard dismissed the quest for the historical Jesus that dominated historical‐critical biblical scholarship in the nineteenth century. Instead of historical reconstructions of the life of Jesus, he embarked on polyphonic rewritings of the story of the life of Jesus from still new perspectives. This chapter investigates how Kierkegaard's different narrations of the “life of Jesus” inscribe the New Testament texts and imitate their narrative art, particularly the role of dramatic irony, in relation to Kierkegaard's metareflections on how to communicate (...) this story in a modern age. (shrink)

RESUMO No teatro, as didascálias funcionam como um gênero particular em que há a inscrição da voz do autor no texto para indicar os caminhos da representação. Na obra La veuve diyilèm, de Werewere-Liking Gnepo, elas desempenham um papel mais amplo. Há uma função narrativa ora autora, ora personagem que, em um movimento dialógico de recepção/compreensão, desencadeia múltiplas vozes e consciências independentes e polifônicas. Para constatação dessa afirmação, discorreremos sobre as reflexões bakhtinianas que serão imprescindíveis para este estudo. ABSTRACT In (...) theater, stage directions function as a particular genre in which the author’s voice is inscribed in the text to indicate the paths of representation. In Werewere-Liking Gnepo’s La veuve diyilèm, they play a broader role. There is a narrative function, sometimes author’s, sometimes character’s that, in a dialogic movement of reception/understanding, triggers multiple independent and polyphonic voices and consciences. To verify this statement, we will discuss the Bakhtinian reflections that will be essential for this study. (shrink)

Milan Kundera is one of the most influential writers in contemporary world literature. In his novels, there are many symbolic metaphors related to numbers, dreams, and animals. Combing through the plots of Kundera’s novels, we can discover that among all the numbers, seven and twenty are used most frequently. These two numbers have rich metaphorical meanings. Besides, there are many other digital metaphors in Kundera’s novels, including 6, 4, etc. Apart from number symbols, Kundera has also inserted various kinds of (...) dream symbols in his artistic creation. For Kundera, dreams are not just an individual’s physical and psychological activities, but also a continuation and supplement of real life. It can be concluded that dream narration is a perfect medium for the author to express his philosophical ideology. In addition, dream symbols also serve as an important medium for Kundera to demonstrate narrative skills and present important themes. In Kundera’s novels, animal symbols are integrated with the plots, revealing the personal traits of the relevant characters, and mirroring their spiritual world at the same time. Besides, Kundera also expressed his ecological ethics through the narration of animals’ death. In conclusion, the metaphorical meanings of different symbols in Kundera’s novels play an active role in highlighting the themes, revealing the inner thoughts of the characters, showing the special features of the characters, and expressing the author’s philosophical thoughts. These symbols help Kundera to break the limitations of time and space, which has become an important part of his polyphonic art. What’s more, Kundera has also tried to expand the original metaphorical meanings of these symbols to create some new poetic meanings. (shrink)

El presente texto efectúa un estudio narratológico de la novela de Jorge Volpi No será la Tierra. Se analiza la estructura contradictoria del libro, la multiplicidad de tramas, el narrador polifónico, el tiempo posapocalíptico, el espacio antiutópico y desencantado y los personajes, coprotagonistas del siglo XX. Todas estas características antes mencionadas contribuyen, en el ámbito de la desterritorialización, a desalojar posturas que tienden a anquilosarse en conceptos fijos y sin movimiento, por lo que los distintos rasgos narratológicos en las novelas (...) híbridas --aquellas que están compuestas por una yuxtaposición de subgéneros-- siempre estarán emparentados con las nociones de heterogeneidad, diversidad y pluralidad, en el marco de la caída de los grandes relatos del siglo XX. This text makes a narrative study of the novel by Jorge Volpi No será la Tierra.We analyze the contradictory structure of the book, the multiple frames, the polyphonic narrator, the post-apocalyptic time, the antiutopic and disenchanted space, and the characters, co-protagonists of the twentieth century. All these features contribute, in the field of deterritorialization, to vacate positions that tend to stiffen in fixed and motionless concepts, so that different narratologic features in hybrid novels --those that consist of a juxtaposition of subgenera-- always be related to the notions of heterogeneity, diversity and plurality, as part of the fall of the great stories of the twentieth century. (shrink)

What challenges does the political participation of children pose to the Philosophy of Childhood? What challenges does the Philosophy of Childhood pose to children's political participation? This text is inspired by the idea that “research is not about enumerating situations, but making researchers lose their sleep”. It is divided into two distinct parts. In the first, we introduce the theoretical framework that orients our research group and our work with children in the philosophical research community. We posit a link between (...) listening to children's voices, the conditions of listening, and the location of their political participation in public space. The second part is comprised of a creative illustrated narrative in the form of a dialogue. From the coast of what could be called the territory of political participation, two characters - Sentinel and Walker - discuss the waves of children that crash onto the territory. To what extent does creating space and time for listening to children open polyphonic movements and enable the construction of new forms of polis: poly(s)phonies? In what ways does the Philosophy of Childhood challenge itself in the creation of poly(s)phonies where the participation of children sets the tone? In what ways does the Philosophy of Childhood in turn challenge us to create poly(s)phonies? (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Surviving American Culture:On Chuck PalahniukEduardo MendietaIn an age in which American culture has become the United States' number one export, along with its weapons, low intensity conflict, carcinogenic cigarettes, its "freedom," and pornography, it is delightful and even a sign of hope that there are writers who have taken on the delicate and perilous task of offering a prognosis of what ails this culture. In the following essay I (...) argue that Chuck Palahniuk's works ought to be read as a mortician's report on American culture. Chuck Palahniuk broke into the literary world by way of the movie version of his first novel: Fight Club (1995). He has gone on to write six other novels: Survivor (1999), Invisible Monsters (2000), Choke (2001), Lullaby (2002), and Diary (2003). He also has published an interesting travel book, Fugitives and Refugees; A Walk in Portland, Oregon (2003), but since this is not properly fiction, I will not discuss it in this essay.1Clearly, Palahniuk has already produced a corpus worthy of careful consideration and analysis. Yet, as a west coast writer, far from the literary circles and brokers of the east coast, indeed far away from the clubs of self-promotion and self-monitoring that censure and hold in tight grip the monopoly of criticism that highlights "worthy literature," Palahniuk has not attracted a lot of critical attention. It is only with his most recent work Choke that he has began to be widely reviewed and commented on. In the following I provide a thematic reconstruction of each one of the six published novels, in chronological sequence. I will argue that Palahniuk is not trying to write the "great American novel," although he is profiling himself as a quintessential "American" writer in the midst of post–Cold War megalomania and celebrated Pax Americana. He has taken on a culture that has become so gargantuan, [End Page 394] fragmented, and differentiated but at the same time so rich, so self-reflexive, so historicized and also so mimicked that one novel cannot tell its story in one narrative with one dramatic thread. Many novels, many short cuts, many vignettes, are necessary: one polyphonic, asynchronous, temporally bi-directional, hyper-textual, and cyber-encyclopedic novel made up of individual novels, where each novel is the Bildungsroman of an American hero but told in reverse. These heroes, I will argue, are testimonies to the resilient power of individuals to resist even the most invasive and persistent onslaughts by culture on the physic life of freedom and individuality. I will also argue that he is neither a commercial nor academic writer; that is, he is not the kind of writer who writes either in order to maintain a living or secure tenure. He is a writer with a mission, a vision, and a very distinctive style. The stories that Palahniuk tells are stories that begin at the end, and end at the beginning: they are turned around Bildungsromans. They are, in other words, about unmaking, uncoupling, and disentangling our selves from the normal self into which we have been socialized. These stories are, thus, about the discovery of moral resources that lay dormant in the very simplicity of human solidarity and trust in our will to survive morally untainted, or at least redeemable. I will conclude by arguing that Palahniuk's novels are about surviving American Culture, and about how deviance is the health of the individual in a sick society.One could characterize Fight Club as the intelligent man's response to Robert Bly's Iron John (1990),2 or the fictionalized version of the Michael Kimmel's Manhood in America: A Cultural History (1996).3 Alternatively, one could argue that Fight Club is the fin-de-sieclé response to Barbara Ehrenreich's prognosis in her The Hearts of Men: American Dreams and the Flight from Commitment (1983) of 1970s and 1980s narcissistic and hedonistic masculinity.4 Chuck Palahniuk's first novel is a biting and poignant look at men in American culture after the end of affluence and the simultaneous "feminization" of masculinity. It is at the same time about the struggle for a viable sense of masculinity in an age in... (shrink)

Despite our common self-conceptions, we philosophers have our myths, heroes, and guiding narratives. Our work may emphasize conceptual clarity and deductive arguments, but these more sober and discursive elements of our work always occurs within the context of a broader, often implicit, and frequently illusive orientation, within the scope of some particular vision of our vocation, our history, and our place within the contemporary world. These visions are meta-philosophical: they precede and frame philosophical work, and they engender the most (...) intractable philosophical disputes. Thus, for the sake of self-knowledge and rational discussion, we should constantly struggle to articulate and scrutinize these myths and narratives. Which predecessors do we continue to read? Why? What repeated stories and anecdotes generate our common and competing identities? What do past episodes in the history of philosophy mean, and how do they direct our current endeavors? Like every community, we philosophers sustain our collective work through stories, through the celebration of our heroes, and through repeated reference to paradigmatic arguments and texts. We should reflect upon these sustaining elements of our community, even if this requires modes of thought that lie beyond conceptual analysis, deductive argument, and the careful interpretation of canonical texts. -/- In this paper, I excavate and criticize the contours of one narrative that still guides us, the common celebration of Kant’s critical philosophy as a radical, farsighted, disruptive, irresistible, and irrevocable break with the religious and metaphysical dogmatism of its age. In Section 2, I briefly sketch two complementary versions of this narrative, the accounts provided by the Hegelian philosopher Eduard Gans and by the poet Heinrich Heine. Drawing various parallels with the French Revolution, these thinkers significantly overemphasize the skeptical, destructive, anti-metaphysical, anti-religious and historically discontinuous aspects of Kant’s critical philosophy, which they portray as the inauguration of a new and robust philosophical movement, one that rapidly vanquished its intellectually beleaguered and reactionary opponents. In Sections 2–4, I then turn to consider three of the more active and vociferous opponents of the Kantian movement: Basilius von Ramdohr, Friedrich Nicolai, and Ludwig Heinrich von Jakob. Contrary to the standard version of events, these men had little sympathy for metaphysics, religion, rationalism, and dogmatic certitude. In fact, they principally opposed the Kantian movement as the unwelcome resurgence of an outdated form of quasi-religious enthusiasm, as a form of philosophical Schwärmerei that threatened to appropriate the banner of reason and hinder the progress of enlightenment. -/- Drawing upon a wide range of late eighteenth-century German texts on the dangers and varied manifestations of Schwärmerei, I reconstruct Ramdohr’s, Nicolai’s, and Jakob’s vision of the Kantian movement. I argue that the charges of philosophical Schwärmerei highlight three meta-philosophical disputes that pitted these anti-Kantians against many proponents of the Kantian movement. These disputes involved: (a) the social role of the philosopher and her relation to the general public; (b) the place of internal and/or private experience within the open and polyphonic domain of public discourse; and (c) the merits of philosophical systematicity, technical neologisms, and more hermetic versions of semantic holism. -/- A consideration of these meta-philosophical disputes allows us to position Kant’s critical philosophy more accurately within its historical context, to highlight its significant continuities with the intellectual assumptions of the Berlin Enlightenment, those assumptions that largely inform Ramdohr’s, Nicolai’s, and Jakob’s attacks on the so-called Kantian movement. These continuities then reveal the meta-philosophical distance between Kant and “the Kantian movement”, between the texts of the critical philosophy and the projects of Karl Leonhard Reinhold and Johann Gottlieb Fichte. This challenges the traditional account. We often celebrate Kant’s critical philosophy as a radical break with the past, as the inauguration of new and fundamentally modern assumptions, which were then developed and elaborated by the post-Kantian Idealists. By contrast, I argue for a series of complex, ambivalent, and often unintended breaks: while occasionally celebrating his intellectual achievements as an epochal “Copernican Revolution”, Kant largely remains true to the guiding assumptions and philosophical values of his age, only occasionally deflecting them in minor but portentous ways. By contrast, while Reinhold and Fichte at least initially proclaimed their fidelity to the “spirit” – if not the letter – of Kant’s philosophy, they nonetheless managed to release a new and strange philosophical spirit, a potent, quasi-secularized, and post-Enlightenment form of Schwärmerei. (shrink)

ABSTRACT Trade unions have been the object of sustained critique coming from across the political spectrum for several decades now. Based on a discourse theoretical analysis of articles in three Dutch-speaking Belgian newspapers, published in two periods of social protest in 2014 and 2016, this article identifies six strands of critique: (1) critiques that label unions as conservative anachronisms that are out of sync with the realities of our times; (2) critiques that psychologize unions as egoistic, irresponsible and child-like actors; (...) (3) critiques that criminalize unions as vandals, hostage takers or terrorists; (4) critiques that oppose unions to a homogenized general interest; (5) metadiscursive critiques of unions’ discursive practices; and (6) metapolitical critiques that problematize unions as polarizing and ‘political’ actors. These six strands of critique get articulated through discursive logics that operate within and across texts, newspapers and voices. Together they constitute a heterogenous but relatively consonant polyphonic discourse that challenges trade unions and their right to strike. This discourse has metapolitical implications for the debate on the mode(s) of politics that can legitimately be practiced by civil society actors. (shrink)