While many have suggested that to withdraw medical interventions is ethically equivalent to withholding them, the moral complexity of actually withdrawing life supportive interventions from a patient cannot be ignored. Utilizing interplay between expository and narrative styles, and drawing upon our experiences with patients, families, nurses, and physicians when life supports have been withdrawn, we explore the changeable character of boundaries in end-of-life situations. We consider ways in which boundaries imply differences – for example, between cognition and (...) performance – and how the encounter with boundaries can generate altered meanings important for understanding decisions and actions in these contexts. We conclude that the reliance on mere roles to support the moral weight of withdrawing medical interventions is inadequate. Roles that lead us to such moments are exceeded by the responsibility encountered in such moments. And here, we suggest, is the momentous character of withdrawal: it presents the grave astonishment, the trembling awe, in the not-being-there of the other in death. (shrink)

Descartes’s Meditations on First Philosophy, regarded by many as his masterpiece, has been the subject of significant philosophical debate since its publication in 1641. Yet the Meditations is remarkable not only for its philosophical ideas but also for the style in which it was written. Two of the most notable stylistic elements of the Meditations are the use of temporal markers—a significant departure from analogous philosophical treatises of the same period—and the fact that the text is written in such a (...) way as to invite readers to subsume themselves into the role of the narrator, so as to experience its arguments for themselves. Many commentators have hinted at the importance of the narrator. But there has been little attempt at a sustained engagement. The function of the text as a series of days of meditation has also been insufficiently explored. In order to further investigate the roles of time and narrative within the Meditations, this thesis uses various reading methods provided by narrative theory, with particular focus on Monika Fludernik’s experiential model of narrative. Fludernik’s model allows for a clearer articulation of the role readers play in enacting meaning, and the way in which readers will in a sense “author” a text on their own terms. Reading the Meditations as an experiential narrative also illuminates significant issues to do with Descartes’s distinction between geometric and discursive argument, his conception of time, the specific expression of the Cogito in the Meditations, and the “reorientation” at the heart of the text—which I am calling a sort of conversion. The conversion at the heart of the Meditations will be explored in parallel with Saint Augustine’s Confessions and Saint Ignatius of Loyola’s Spiritual Exercises, two texts which—like the Meditations—can be thought of as experiential narratives designed to bring about some kind of conversion. I argue that such an experiential reading, drawing on the roles of time and narrative in the text, offers to enrich our understanding of the Meditations. (shrink)

Morally unequal treatment of different nonhuman species, like pigs and dogs, can seem troublingly inconsistent. A position Todd May calls moral individualism and relationalism appears to justify the moral discomfit attending such species-differentiated treatment. Yet some of its basic assumptions are challenged by a philosophical style Roger Scruton called narrative philosophy. Expanding upon Christopher Cordner’s discussion of narrative philosophy, this paper develops a narrative-style philosophical critique of Todd May’s moral individualism and relationalism, especially its reductionist understanding of (...) moral reasons, consistency, and relevance. Such criticism opens up the possibility that the unequal treatment of nonhuman species like pigs and dogs is perfectly consistent and even justified. However, the paper then presents a narrative-style argument that such species-differentiated treatment may be morally inconsistent and unjustified after all. (shrink)

Describing a Mundus Novus was a very singular task in the sixteenth century. It was an effort shaped by a permanent inherent tension between novelty and normality, between the immense variety of new facts and the demand of credibility. How did these inner strains affect the narrative style of the first descriptions of the natural world of ‘the Indies’? How were the first European observers of the nature of America able to simultaneously transmit the idea of immensity and regularity, (...) and that of novelty? How did they attempt to describe new worlds knowing that there was a lot – perhaps too much – to tell? This paper focuses not on the much-discussed epistemological issues related to those questions, but on their narrative and stylistic consequences. We argue that the first Europeans meeting the new realities of the Americas or India had to meet new challenges, and these translated into texts with specific characteristics. Thus, their first descriptions are essentially different from the texts about the natural world that were written before or after the ‘discovery’. We show that they adopted very specific discursive approaches, and were deeply influenced by the credibility strategies of the medical profession in which they had been trained. (shrink)

ABSTRACTThe distinction between minimal self and narrative self has gained ground in recent discussions of selfhood. In this article, this distinction is reassessed by analysing Zahavi and Gallagher’s account of selfhood and supplementing it with Husserl’s concept of person. I argue that Zahavi and Gallagher offer two compatible and complementary notions of self. Nevertheless, the relationship between minimal self and narrative self requires further clarification. Especially the embeddedness of self, the interplay between passivity and activity, and the problems (...) of uniqueness and persistence are better understood with Husserl’s analysis of person and its central concepts of position-taking, habitualities, and overall style. The embeddedness of self is elucidated by outlining how person is related to its environment, to other people, and to its past. This relational notion of self is both passively constituted and actively shaped: person mediates between minimal self characterized by perspectival ownership... (shrink)

“The object of this book,” writes William C. Dowling in his preface, “is to make the key concepts of Paul Ricoeur’s _Time and Narrative_ available to readers who might have felt bewildered by the twists and turns of its argument.” The sources of puzzlement are, he notes, many. For some, it is Ricoeur’s famously indirect style of presentation, in which the polarities of argument and exegesis seem so often and so suddenly to have reversed themselves. For others, it is the (...) extraordinary intellectual range of Ricoeur’s argument, drawing on traditions as distant from each other as Heideggerian existentialism, French structuralism, and Anglo-American analytic philosophy. Yet beneath the labyrinthian surface of Ricoeur’s _Temps et récit_, Dowling reveals a single extended argument that, though developed unsystematically, is meant to be understood in systematic terms. __Ricoeur on Time and Narrative_ _presents that argument in clear and concise terms, in a way that will be enlightening both to readers new to Ricoeur and those who may have felt themselves adrift in the complexities of _Temps et récit,_ Ricoeur’s last major philosophical work. Dowling divides his discussion into six chapters, all closely involved with specific arguments in _Temps et récit_: on mimesis, time, narrativity, semantics of action, poetics of history, and poetics of fiction. Additionally, Dowling provides a preface that lays out the French intellectual context of Ricoeur's philosophical method. An appendix presents his English translation of a personal interview in which Ricoeur, having completed _Time and Narrative, _looks back over his long career as an internationally renowned philosopher. __Ricoeur on Time and Narrative___ _communicates to readers the intellectual excitement of following Ricoeur’s dismantling of established theories and arguments—Aristotle and Augustine and Husserl on time, Frye and Greimas on narrative structure, Arthur Danto and Louis O. Mink on the nature of historical explanation—while coming to see how, under the pressure of Ricoeur’s analysis, these ideas are reconstituted and revealed in a new set of relations to one another. "The scholarship in William C. Dowling's __Ricoeur on Time and Narrative____ __is impeccable; Dowling knows Ricoeur inside out. He highlights Ricoeur's most important arguments, presents them in a limpid, concise language, and links them to the relevant nineteenth- and twentieth-century philosophical developments. Dowling's book provides us with a lucid, intelligible version of Ricoeur's major work, one that will be of considerable significance to philosophers, historians, and literary theorists." —_Thomas Pavel, Gordon J. Laing Distinguished Service Professor of French Literature, and the Committee on Social Thought, University of Chicago_ "William C. Dowling's __Ricoeur on Time and Narrative___ _is a subtle and remarkably well-sustained piece of work. It provides a detailed introduction to a major work of philosophy and narrative theory—already a considerable achievement, given the difficulty of Ricoeur's text. However, Dowling also shows us, sometimes explicitly, sometimes simply through the way he conducts his argument, why we should bother with Ricoeur—what we have to gain from knowing him better than we do, however well we may think we know him." —_Michael Wood, Charles Barnwell Straut Class of 1923 Professor of English and Comparative Literature, Princeton University _. (shrink)

Between 1917 and 1935, William Carlos Williams’ poetic style shifted from a focus on color to a verbal grayscale of photorealism. Considering this shift alongside of the historical connection between photography and eugenics raises questions about Williams’ status as a physician during an era when medical discourse was dominated by theories of scientific racism. While one might conclude that Williams move from color to grayscale represents a capitulation to public health anxieties regarding the pathologized bodies of the immigrant poor, I (...) argue that it is precisely through his adoption of black-and-white photorealism that Williams overturns hereditary notions of degeneracy. (shrink)

: Erich Auerbach's famous comparative study of Homer and the Bible, "Odysseus' Scar," argues that their contrastive styles derive from the different possibilities available to oral tradition and literature. In support of this thesis, I invoke two theories of verbal art: Walter Benjamin's description of the storyteller's craft, and Victor Shklovsky's definition of art as "defamiliarization." Through a comparative analysis of the use of type-scenes in Homer and in biblical narrative, I demonstrate how Homer is a traditional storyteller, (...) practicing an "art of the familiar," whereas biblical narrative "defamiliarizes" traditional forms. (shrink)

The expression "analytic narratives" is used to refer to a range of quite recent studies that lie on the boundaries between history, political science, and economics. These studies purport to explain specific historical events by combining the usual narrative approach of historians with the analytic tools that economists and political scientists draw from formal rational choice theories. Game theory, especially of the extensive form version, is currently prominent among these tools, but there is nothing inevitable about such a technical (...) choice. The chapter explains what analytic narratives are by reviewing the studies of the major book Analytic Narratives (1998), which are concerned with the workings of political institutions broadly speaking, as well as several cases drawn from military and security studies, which form an independent source of the analytic narratives literature. At the same time as it gradually develops a definition of analytic narratives, the chapter investigates how they fulfil one of their main purposes, which is to provide explanations of a better standing than those of traditional history. An important principle that will emerge in the course of the discussion is that narration is called upon not only to provide facts and problems, but also to contribute to the explanation itself. The chapter distinguishes between several expository schemes of analytic narratives according to the way they implement this principle. From all the arguments developed here, it seems clear that the current applications of analytic narratives do not exhaust their potential, and in particular that they deserve the attention of economic historians, if only because they are concerned with microeconomic interactions that are not currently their focus of attention. (shrink)

In The Life of a Style, Jonathan Gilmore claims that such narrative developments inhere in the history of art itself.By exploring such topics as the discovery ...

Jean-François Lyotard is generally acknowledged as the theoretical spokesperson for postmodernism. In 1979, his seminal work _The Postmodern Condition_ challenged the presumption and orientation of modern political philosophy. In particular, Lyotard repudiated the notion of grand narratives and promoted a postmodern acceptance of difference and variety and a skepticism towards unifying metatheories. Yet _The Postmodern Condition_ is just one work by a prolific author whose life and work involved close theoretical engagement with Kant, Hegel and Marx and who played a (...) prominent role in the events in Paris of May 1968. This study combines a careful reading of Lyotard's texts with a critical review of his theoretical ploys to demonstrate the incapacity of theory. Lyotard's variety of styles, ranging from the incandescent _Libidinal Economy_ to the economical lucidity of _The Differend_, are recognized as posing questions for those who defend the rationality of the _status quo_ and for those who undertake general critiques of society. In this book, Gary Browning takes issue with Lyotard's approach to Hegel and Marx and his generalized notion of social development as proceeding according to a one-dimensional, instrumentalist logic. Nevertheless, Lyotard is shown to be a disturbing theorist who challenged the assumptions of classic theorists of modernity as well as opposing mainstream attitudes prevalent in contemporary political theory. (shrink)

The Rococo period in the arts, flourishing mainly from about 1710 to about 1750, was stylistically unified, but nevertheless its tremendous productivity and appeal throughout Occidental culture has proven difficult to explain. Having no contemporary theoretical literature, the Rococo is commonly taken to have been a final and degenerate form of the Baroque era or an extravagance arising from the supposed careless frivolity of the elites, including the intellectuals of the Enlightenment. Neither approach adequately accounts for Rococo style. Naming the (...) Rococo raises profound issues for understanding the relations between conception and production in historical terms. Against the many difficulties that the term has involved in accounting for an immense but elusive cultural movement, this thesis argues that some of the chief philosophical conceptions of the period clarify the particular character and significance of Rococo production. Rococo production is here studied chiefly in decor, architecture, and the plastic arts. This thesis also makes an extended general argument for the value of intellectual history. Rococo style is a group of visual effects of which the central character is atectonicity. This is established by a synthesizing overview of Rococo ornamental motifs. Principal theorists of post-Cartesian thought have failed to see how these distinguish Rococo style from both Baroque and Enlightenment culture. The analysis addresses the historical narratives of Benjamin, Adorno, Foucault, Deleuze, and others about Baroque and Enlightenment culture. The core historical claim of this thesis is that Rococo atectonic effects are visual forms of the anti-materialist, idealist ontology of George Berkeley and of the metaphysics and ontology in the early work of Giambattista Vico. Close readings of important passages from works of both philosophers published in 1710 develop the relationship between atectonics and idealist ontology. Both men rejected the Baroque hierarchical cosmology in favor of finitude as the key to human understanding. The readings center on the issue of causality, including Berkeley’s views of the perfect contingency of the world and on Vico’s theories of truth and ingenium. A reading of Diderot’s critique of the Rococo, which led the reaction to it, shows that he recognized the power of idealist ontology in the Rococo cultural production. The larger force in the rejection of Rococo is the emergence of the sublime as a morally fearful feature of physical nature. Montesquieu’s aesthetic work also shows the transition to a more rigidly determined view of existence, which was expressed but constrained in the little-recognized lattice motif in Rococo arts. The result of these readings is the influence during and after the Rococo period of the concept of continuous creation, in which the memory and imagination of the human subject relays God-given powers of creation into the production of culture. Continuous creation also suggested a human capability to animate material nature. Rococo style displays this as pre-cinematic effects that represent the non-material, non-causal deep structure of reality. (shrink)

In Figuig Berber, like in many other Berber languages, it is possible to express the indirect object by a lexical expression and by a pronominal clitic in the same sentence. This construction, called “dative doubling” in the literature, is in variation with constructions that do not have a pronominal clitic. In this article, dative doubling is studied in two corpora, one written corpus (Benamara 2011), and one spoken corpus, collected by the author. It is shown that dative doubling is all (...) but absent in the written corpus, while it is quite frequent in the spoken corpus. In the spoken corpus, there is a clear correlation with information structure. Dative doubling is only rarely found with indirect objects that express new information, while it appears more than half of the times when indirect objects express old information. In addition, it is obligatory when expressing old information with the verb ini ‘to say’. (shrink)

The human world is replete with narratives - narratives of our making that are uniquely appreciated by us. Some thinkers have afforded special importance to our capacity to generate such narratives, seeing it as variously enabling us to: exercise our imaginations in unique ways; engender an understanding of actions performed for reasons; and provide a basis for the kind of reflection and evaluation that matters vitally to moral and self development. Perhaps most radically, some hold that narratives are essential for (...) the constitution of human selves. This volume brings together nine original contributions in which the individual authors advance, develop and challenge proposals of these kinds. They critically examine the place and importance of narratives in human lives and consider the underlying capacities that permit us to produce and utilise these special artifacts. All of the papers are written in a non-technical and accessible style. (shrink)

The human world is replete with narratives – narratives of our making that are uniquely appreciated by us. Some thinkers have afforded special importance to our capacity to generate such narratives, seeing it as variously enabling us to: exercise our imaginations in unique ways; engender an understanding of actions performed for reasons; and provide a basis for the kind of reflection and evaluation that matters vitally to moral and self development. Perhaps most radically, some hold that narratives are essential for (...) the constitution of human selves. This volume brings together nine original contributions in which the individual authors advance, develop and challenge proposals of these kinds. They critically examine the place and importance of narratives in human lives and consider the underlying capacities that permit us to produce and utilise these special artifacts. All of the papers are written in a non-technical and accessible style. (shrink)

From mainstream blockbusters to art house cinema, narrative and narration are the driving forces that organize a film. Yet attempts to explain these forces are often mired in notoriously complex terminology and dense theory. Warren Buckland provides a clear and accessible introduction that explains how narrative and narration work using straightforward language. Narrative and Narration distills the basic components of cinematic storytelling into a set of core concepts: narrative structure, processes of narration, and narrative agents. (...) The book opens with a discussion of the emergence of narrative and narration in early cinema and proceeds to illustrate key ideas through numerous case studies. Each chapter guides readers through different methods that they can use to analyze cinematic storytelling. Buckland also discusses how departures from traditional modes, such as feminist narratives, art cinema, and unreliable narrators, can complicate and corroborate the book's understanding of narrative and narration. Examples include mainstream films, both classic and contemporary; art house films of every stripe; and two relatively new styles of cinematic storytelling: the puzzle film and those driven by a narrative logic derived from video games. Narrative and Narration is a concise introduction that provides readers with fundamental tools to understand cinematic storytelling. (shrink)

PREFACE. THE Author of this very practical treatise on Scotch Loch - Fishing desires clearly that it may be of use to all who had it. He does not pretend to have written anything new, but to have attempted to put what he has to say in as readable a form as possible. Everything in the way of the history and habits of fish has been studiously avoided, and technicalities have been used as sparingly as possible. The writing of this (...) book has afforded him pleasure in his leisure moments, and that pleasure would be much increased if he knew that the perusal of it would create any bond of sympathy between himself and the angling community in general. This section is interleaved with blank shects for the readers notes. The Author need hardly say that any suggestions addressed to the case of the publishers, will meet with consideration in a future edition. We do not pretend to write or enlarge upon a new subject. Much has been said and written-and well said and written too on the art of fishing but loch-fishing has been rather looked upon as a second-rate performance, and to dispel this idea is one of the objects for which this present treatise has been written. Far be it from us to say anything against fishing, lawfully practised in any form but many pent up in our large towns will bear us out when me say that, on the whole, a days loch-fishing is the most convenient. One great matter is, that the loch-fisher is depend- ent on nothing but enough wind to curl the water, -and on a large loch it is very seldom that a dead calm prevails all day, -and can make his arrangements for a day, weeks beforehand whereas the stream- fisher is dependent for a good take on the state of the water and however pleasant and easy it may be for one living near the banks of a good trout stream or river, it is quite another matter to arrange for a days river-fishing, if one is looking forward to a holiday at a date some weeks ahead. Providence may favour the expectant angler with a good day, and the water in order but experience has taught most of us that the good days are in the minority, and that, as is the case with our rapid running streams, -such as many of our northern streams are, -the water is either too large or too small, unless, as previously remarked, you live near at hand, and can catch it at its best. A common belief in regard to loch-fishing is, that the tyro and the experienced angler have nearly the same chance in fishing, -the one from the stern and the other from the bow of the same boat. Of all the absurd beliefs as to loch-fishing, this is one of the most absurd. Try it. Give the tyro either end of the boat he likes give him a cast of ally flies he may fancy, or even a cast similar to those which a crack may be using and if he catches one for every three the other has, he may consider himself very lucky. Of course there are lochs where the fish are not abundant, and a beginner may come across as many as an older fisher but we speak of lochs where there are fish to be caught, and where each has a fair chance. Again, it is said that the boatman has as much to do with catching trout in a loch as the angler. Well, we dont deny that. In an untried loch it is necessary to have the guidance of a good boatman but the same argument holds good as to stream-fishing... (shrink)

This article analyzes narrative illustrations in genetic counseling textbooks as a way of understanding professional habitus--the dispositions that motivate professional behavior. In particular, this analysis shows that there are significant differences in how the textbooks' expository and narrative portions represent Down syndrome, genetic counseling practice, and patient behaviors. While the narrative portions of the text position the genetic counseling profession as working in service to the values of genetic medicine, the expository portions represent genetic counselors (...) as neutral parties. Ultimately, this article argues that this ambiguity is harmful to the production of a professional habitus that is consistent with espoused professional values concerning respect for persons with disabilities and the promotion of psychosocial counseling. (shrink)

As the official UK COVID Inquiry is investigating the response by the government to the 2020 global pandemic, revealing the difficulties that the Johnson administration had to face and the overall lack of adequate preparedness at the top of the UK executive, people are becoming growingly aware of the many challenges that such situations pose in terms of crisis management and public governance. Beyond the somewhat sterile blame game played by leading political actors, this formal accountability forum has also revealed (...) competing narratives about the crisis that might have hampered any coherent political solution. This article proposes to focus on the ‘official’ narratives by the UK government and to analyse critically the way Boris Johnson narrativised his political response to the pandemic in order to examine how his unconventional style of leadership was deployed during a global crisis. Using a typology of crisis management inspired by crisis expert and leadership scholar Arjen Boin, the objective is to examine how ‘crisis narratives’ framed the way the UK government responded to the crisis. (shrink)

Criticism is a phenomenon that exists in all stages and dimensions of life. One of the narrative styles used by the Qur'an, which was sent to guide people from falsehood to truth and from heresy to guidance, is the style of criticism. It is seen that this style aims to enable people to make a constant effort to eliminate their deficiencies and to be cleaned from their mistakes. How does the criticism style take place in the Qur'an? How (...) important is it to its interlocutors? Is it possible to deduce some principles from the criticism style used by the Qur'an? Searching for answers to these and similar questions will help us determine the method of the style in question. In addition, it will help us understand the nature of the effect that this style aims to create on the addressee. In this context, it can be said that the criticisms in the Qur'an towards its addressees took place within the framework of some principles. The Qur'an sometimes criticizes its addressee by warning with kind words, sometimes by warning with wisdom and good advice, and sometimes by asking and answering questions. From this point of view, it is seen that the criticisms in the Qur'an offer a method about its style of criticism, as well as realizing the goal of the Qur'an to guide people. Identifying the principles and features of the Qur'anic criticism will help better understand and convey its message. In this respect, it is obvious that knowing the Qur'anic criticism will make important contributions to the tafsir literature. While the Qur'an presents a system of life to people, it also orders people to apply it to their practical life. The principles, limits, targets and examples shown for human beings in the Qur'an are reference points for transferring them to practical life. When the Qur’anic guidance is ignored, not implemented or deviated from its purpose, the Qur'an criticizes people in a certain way. In this context, many criticism-oriented verses in the Qur'an not only serve to direct people to the life order drawn by the Qur'an, but also offer a set of universal principles about how the criticism style should be. When people criticize each other in their social lives, taking the criticism style of the Qur'an as a model will help criticism to give positive results. The focus of this study is the features and principles of the Qur'anic criticism. Within the framework of this focal point, first of all, the concepts used in the Qur’anic criticism will be analyzed conceptually, and the context and importance of the criticism style in the Qur'an will be emphasized. Finally, the general characteristics and principles of this style will be determined and evaluations will be made about these principles. (shrink)

In this interview, conducted by Gonçalo Marcelo, Richard Kearney recaps his intellectual trajectory, commenting on his early works on imagination and his own narrative style of doing philosophy in order then to make explicit the deep connection between the more recent developments of Carnal Hermeneutics, Reimagining the Sacred and the work done with others in the context of the Guestbook Project. Drawing on some lesser-known aspects of his work, he emphasizes the carnal dimension of recognition and discusses the pitfalls (...) of the Age of Excarnation. Finally, and as part of his ongoing role as a public intellectual, he also comments on Europe’s social and political situation and the dangers it faces arguing for a pedagogy of narrative exchange as a means to foster hospitality and inclusion. (shrink)

One challenge involved in integrating so-called ‘non-Western’ philosophies into ‘Western’ philosophical discourse concerns the fact that non-Western philosophical texts frequently differ significantly in style and approach from Western ones, especially those in contemporary analytic philosophy. But how might one bring texts that are written, for example, in a literary, non-expository style, and which do not clearly advance philosophical positions or arguments, into constructive dialogue with those that do? Also, why might one seek to do this in the first place? (...) This paper addresses these questions by means of a case study involving the Daoist classic, theZhuangzi.L’un des défis posés par l’inclusion des soi-disant philosophies «non-occidentales» dans le discours de la philosophie «occidentale» a trait au fait que plusieurs textes philosophiques non-occidentaux diffèrent de façon significative, en termes de style et d’approche, des textes occidentaux, principalement ceux issus de la philosophie analytique contemporaine. Comment établir un dialogue constructif entre des textes écrits de façon littéraire, qui n’ont pas l’allure d’un exposé et qui n’avancent pas clairement des positions ou des arguments philosophiques et des textes qui, au contraire, prennent la forme d’un exposé avançant des positions ou des arguments? Pourquoi, de prime abord, voudrait-on ouvrir un tel dialogue? Cet article pose ces questions par le biais de l’étude du cas du classique taoïste, leZhuāngzǐ. (shrink)

The article deals with the question of persuasion by comparing two passages taken from a text written by Victor Hugo entitled Claude Gueux The first passage is taken from the first part of the text in which Hugo tells the story of the murder of the director of the Clairvaux prison workshop perpetrated by a prisoner, Claude Gueux, followed by the latter’s trial and execution. The second passage studied is taken from the second part of the text in which Hugo (...) argues against the death penalty. This article begins with an intuitive sense that the styles of these passages are “different”: the second one clearly shows Hugo’s persuasive intention, which is to say his effort to make his position be accepted. That said, does this extract have semantic properties that the descriptive passage does not have? The hypothesis advanced is that the organization of contents is of a similar nature in both passages of Claude Gueux and that it is only in an enunciative way that the passages are distinguishable. This enunciative difference allows the militant passage’s locutor to portray himself in a favorable light and, herewith, to convince the reader to his point of view. It is, hence, but in an indirect manner that Hugo’s persuasive intention appears; as it is without a semantic mark. (shrink)

The objective of this article is twofold. In the first part, I discuss two issues central to any theoretical inquiry into mental imagery: embodiment and consciousness. I do so against the backdrop of second-generation cognitive science, more specifically the increasingly popular research framework of embodied cognition, and I consider two caveats attached to its current exploitation in narrative theory. In the second part, I attempt to cast new light on readerly mental imagery by offering a typology of what I (...) propose to be its four basic varieties. The typology is grounded in the framework of embodied cognition and it is largely compatible with key neuroscientific and other experimental evidence produced within the framework. For each imagery variety, I make some elementary suggestions as to how it may typically be cued by distinct narrative strategies. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Style and the Mole: Domestic Aesthetics in The Wind in the WillowsSeth Lerer (bio)Writing to her husband’s first illustrator, Graham Robertson, in 1931, Elspeth Grahame thanked him for the gift of his recently published memoirs. She called them “entrancing” and goes on to note: “The touch is so light yet so sure that whatever the subject the reading of it would be full of pleasure to any lover of (...) English style.”1 Lovers of English style would have been long familiar with Kenneth Grahame’s Wind in the Willows, originally published in 1908 and, by 1931, available in four different editions (a new one, illustrated by Ernest Shepard would soon appear in that year).2 A. A. Milne’s stage adaptation, Toad of Toad Hall, played to welcoming audiences in 1929, and Sir Arthur Quiller-Couch, perhaps that era’s greatest arbiter of English style, had ensconced Grahame with two selections in his Oxford Book of English Prose, published in 1925.3While The Wind in the Willows is about many things—the nature of friendship, the loss of English pastoral security, the temptations of fashion and fad—it is, first and foremost, an essay in aesthetics. Style governs each and every creature of its woods and mansions, from Mole’s quiet, gentlemanly domesticity to Toad’s manic, aristocratic shows. Style governs, too, the progress of its narrative, and throughout this book, Grahame explores techniques of pictorial description and devices of characterization that would come to epitomize what Elspeth could evoke as “English style.”4Though voiced decades after her husband’s major work had been completed, Elspeth’s judgment chimes with the ideals of the Edwardian aesthetic codified in Quiller-Couch’s anthology.5 Central to that aesthetic was a kind of effortless esprit, as well as an essential “Englishness” that rooted that esprit in local landscape and personal reminiscence. There remains something sweetly nostalgic about the Edwardian idiom, and Quiller-Couch makes clear that, even though his book may brim with “purple patches,” there is nonetheless a “subdued and hallowed emotion” to its selections: “a sense of wonderful history written silently in books and buildings, all [End Page 51] persuading that we are heirs of more spiritual wealth than, may be, we have surmised or hitherto begun to divine.”6 Some of those selections, he claims, hold “the core of true English gentility.” Others are, he reflects, full of “out-of-door matter.”7 He goes on to note that, when Wolfe crossed the St. Lawrence, he is reputed to have “murmured a stanza or two from Gray’s Elegy,” and Quiller-Couch himself has drawn on writers who, he claims, evoked “this imperishable land of ours revived.”8 Such sentiments could not have been far from the mind of Elspeth Grahame, who invites Graham Robertson to their home in the country in her letter of thanks:Do you ever go caring—or if by train we are within an hour of Paddington, and 5 minutes walk from the station here—in an old cottage next the church with a round village lock-up in the garden—so if you would ever propose yourself to come down & see us we should be so glad—and used as you are in Surrey to beauty-spots the river & trees are beautiful in summer-time, that is of course when there is any summer about which has not been the case this year.9The Grahames lived by what Quiller-Couch calls that “green and English country churchyard,” and in his anthology he calls attention to a selection from Charles Reade, “The English Skylark in Australia.” There, in an amazing, paragraph-long sentence, Reade epitomizes the ideals of local pastoralism, and his style—though readers today may find it overwrought—would provide a model for the criticism of Elspeth as well as the writing of her husband:Every time he checked his song to think of its theme, the green meadows, the quiet stealing streams, the clover he first soared from and the Spring he sang so well, a loud sigh from many a rough bosom, many a wild and wicked heart, told how tight the listeners had... (shrink)

The Issue of Abortion in America is an interactive multi-media CD-ROM created by the award winning Carnegie Mellon team that brought us A Right to Die?: The Dax Cowart Case. In this ground breaking CD-ROM, The Issue of Abortion in America gives users an opportunity to see and hear women and couples speak of the emotional struggles and moral dilemmas they face in their consideration of continuing or terminating a pregnancy. It also places the issue of abortion in the larger (...) social context of medical, legal, philosophical, and religious considerations. The information on the CD is presented in three student friendly sections: * Introduction: offers an introduction to the project as well as an overview of the program. * Case Histories: a set of interactive multimedia modules present situations in which women and couples describe their decisions to continue or terminate a pregnancy. * Resources: Reviews the background context that informs the discussion of the issue of abortion in America along with a summary section of the case histories. (shrink)

One way of characterising the present political conjuncture - worldwide, not just in Europe and North America - is to point to the rise to power of politicians best described as demagogues. Trump, Duterte, Putin, Modi, as well as the leaders of Europe's neo-fascist racists have in common not just certain policies and attitudes, but, significantly, a political style: that of the demagogue. Thinking through that term, ‘demagogue', is instructive in helping us to understand this phenomenon, no less historically than (...) politically. (shrink)

Eating disorders can be viewed as “embodied acts” that help to cope with internal and external demands that are perceived as overwhelming. The maintenance of EDs affects the entire identity of the person; the lack of a defined; or valid sense of self is expressed in terms of both physical body and personal identity. According to attachment theory, primary relationships characterized by insecurity, traumatic experiences, poor mirroring, and emotional attunement lead to the development of dysfunctional regulatory strategies. Although the literature (...) shows an association between attachment style or states of mind, trauma, behavioral strategies, and various EDs, the debate is still ongoing and the results are still conflicting. Therefore, we believe it is important to examine and treat EDs by understanding which narrative trajectory intercepts distress in relation to narrative and embodied self-concept. Drawing on clinical observation and a narrative review of the literature, we focus on the construction and organization of bodily and narrative identity. Because bodily representations are the primary tools for generating meaning, organizing experience, and shaping social identity from the earliest stages of life, we focus on the role that bodily interactions and sensorimotor and proprioceptive patterns have played in the development of EDs. We consider the role that lack of attunement, insecure attachment, and relational trauma play in mentalizing, affecting self-representation and emotion regulation strategies. The paper also considers a semantic mode of trauma in EDs that involves a top-down pathway through beliefs and narratives about oneself based on lack of amiability, on devaluation, and on humiliation memories. Finally, we would like to highlight the proposal of an integrated model with multiple access model to psychotherapy that takes into account the complexity of ED patients in whom aspects related to dysregulation, body image disintegration, and post-traumatic symptoms are associated with a suffering sense of self and a retraumatizing narrative. (shrink)

In their article, “The Rise of Citizen Science in Health and Biomedical Research,” Wiggins and Wilbanks (2019) discuss the rising role of a variety of traditional and newer citizen science models i...