ABSTRACT: In this article, we intend to address the role of memory and narrative in the constitution of personal identity, based on Alice Munro’s short story “The Bear Came Over the Mountain” and the theoretical concepts of Paul Ricoeur (especially in Oneself as Another). This movement will allow us to underscore the idea that, contrary to what part of the analytical literature on identity and narrative has held, it is not just what we might call self-narrative that plays (...) a role in maintaining personal identity. Instead, we recover the Ricoeurian idea of a network of narratives or tangled of stories, in which self- and hetero-narratives are entangled, thus providing support to the identities it captures. (shrink)

Ethics and Affects in the Fiction of Alice Munro explores the representation of embodied ethics and affects in Alice Munro's writing. The collection illustrates how Munro's short stories powerfully intersect with important theoretical trends in literary studies, including affect studies, ethical criticism, age studies, disability studies, animal studies, and posthumanism. These essays offer us an Alice Munro who is not the kindly Canadian icon reinforcing small-town verities who was celebrated and perpetuated in acts (...) of national pedagogy with her Nobel Prize win; they ponder, instead, an edgier, messier Munro whose fictions of affective and ethical perplexities disturb rather than comfort. In Munro's fiction, unruly embodiments and affects interfere with normative identity and humanist conventions of the human based on reason and rationality, destabilizing prevailing gender and sexual politics, ethical responsibilities, and affective economies. As these essays make clear, Munro's fiction reminds us of the consequences of everyday affects and the extraordinary ordinariness of the ethical encounters we engage again and again. (shrink)

This article interlaces the story ‘Comfort’ by Alice Munro with Hannah Arendt’s understanding of education as intergenerational passing on. Its principal aim is not to criticise Arendt or the fictional character of Lewis but to work with them towards a richer and more complex understanding of what can go wrong in education in general and teaching in particular. For this purpose, the article does not start from a theoretical framework but from the concrete aesthetic artifact – the story (...) – itself. The departing question is: What can we learn from the literary description for our theoretical understanding of the intergenerational in educational relations? (shrink)

Should ethically serious people seek for unity in their lives, for harmony, for coherence? Is this a requirement on living a good life, a requirement on flourishing or eudaimonia? Should we aim for some kind of self-authorship or narrative self-constitution, as Marya Schechtman and Dan McAdams have suggested? Many think we should. This chapter argues for the opposite view, assembling and reflecting on a dossier of contrary quotations from many sources, including Proust, Montaigne, Alice Munro, Georges Perec, and (...) Keats. (shrink)

"Alternative Selves" and Authority in the Fiction of Jane Urquhart The article engages with "alternative selves," a concept found in The Stone Carvers by a Canadian writer, Jane Urquhart. Her fiction is first seen in the context of selected texts by Lucy Maud Montgomery, Margaret Laurence and Alice Munro, who explore the clash between female characters' conventional roles and their "secret" selves. My analysis was inspired by Pamela Sue Anderson's A Feminist Philosophy of Religion, which stresses the need (...) for "reinventing ourselves as other" in the face of biased beliefs and dominant epistemology. In particular, my article refers to Anderson's concern with Kant's imaginary from The Critique of Pure Reason, where "the territory of pure understanding" is projected on the island, while desire, chaos and death are identified with the sea. Seen through the prism of a feminist reading of the philosophical imaginary, the sea becomes the female beyond. Urquhart's three novels: Away, The Stone Carvers and A Map of Glass dissolve the opposition between Kantian island and water, by showing how reason is invaded by desire and death, and how the female protagonist embodies the elements that have been repressed. Urquhart's fiction, which is "landscape driven," provides the image of a dynamic relationship between the qualities that form a static binary opposition in Kantian discourse. Mary in Away, Klara in The Stone Carvers and Sylvia in A Map of Glass all subvert the dominant epistemology by following their desire, which becomes "a positive energy" and not "a deviation from a good rational norm," to refer to another concept by Anderson. Urquhart's Mary, Klara and Sylvia have to contend with power vested in collective beliefs and stereotypical construction of femininity. By venturing into the liminal zone beyond the territory of "pure understanding," the three protagonists regain their voices and discover their authority. The article ends with the analysis of a Homeric intertext in A Map of Glass, where Sylvia identifies with Odysseus "lashed to mast" so that he would not respond to the call of the siren song. Reading Homer's passage on the siren song, one realizes that the use of the Kantian imaginary turns Ithaca into the island of truth, and the sea into the stormy beyond, identified with desire, death and femaleness. While the Odyssey suppresses the dangerous message of the siren song, Urquhart's fiction rewrites it and reclaims it as positive inspiration for the female protagonist. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Sophie, Greta, Cuiyuan, and Feminist DesireStories by Ding Ling, Alice Munro, and Eileen ChangYuhui Bao (bio) and Ian Dennis (bio)Desire has a history and, for a literary criticism inflected by mimetic theory, novelistic prose fiction offers a privileged view of its unfolding. We study novelistic fiction, as opposed to various romance genres, to grasp that history, for what its authors have been able to see, understand, and (...) dramatize—this is the procedural model, indeed the authority established by René Girard and that has largely governed such criticism thereafter.1 But of the three short fictions we consider here—two Chinese and one Canadian—only two are fully novelistic in character, in that they attempt to describe and diagnose—rather than merely express—emergent and changing desires. Students of Girard, of course, recognize here the distinction between the romanesque and romantique. to which one might add the understandings of genre developed by a number of other theorists.2However, we might also concede that all fictions are invariably and to some degree romantic—some desire, necessarily mediated, is always operative, in writers and readers alike, before or even as it is demystified, if indeed it is. Furthermore, a passionate fictional commitment to that which Girard boldly [End Page 131] designated the mensonge romantique may actually reveal or clarify, at least for later readers, that which the author seeks half- or unconsciously to conceal. It is with this possibility in mind that we propose to consider our other subject fiction, "Miss Sophie's Diary" (莎菲女士的日记 sha fei nv shi de ri ji; 1927) by the pioneering Chinese woman writer Ding Ling (丁玲 ding ling).3 "Miss Sophie's Diary," to be clear, is no simple romance; it is at least hybrid, and in its brave if perhaps only partially successful pursuit of the truth of desire, subtly revelatory. Miss Sophie (莎菲 sha fei), chronically ill with tuberculosis and half-separated from a human world she both longs for and despises, with her aggrieved sense of superiority and desperate, shameful longing for those she passionately feels to be her inferiors, with her loquacious rationalizing and constant, perverse reversals of attitude, is a kind of Dostoyevskian "underground woman," afflicted as well with a touch of the "nausea" later made prestigious by J.-P. Sartre.4 She is clearly a harbinger of her own culture's precipitation into the world of internally mediated, indeed, metaphysical desire, what we might also call the market world, the modernity Girard credits the great European novelists from Stendhal onward with diagnosing. This story has long been described as an unprecedented and "frank" revelation "of a Chinese woman's sexual feelings and contempt for conventional views," expressing an "outspoken and unrelenting individualism."5 At the same time, it has been seen as a product of the fatally compromised and ultimately unsuccessful May Fourth literary movement,6 and not necessarily representative of its author's overall fictional production. From an orthodox Girardian critical perspective, however, the crucial interpretative question might be the degree to which Ding Ling is aware of the sources of the newly enfranchised desires her heroine wrestles with, or, as we might also put it, the degree of separation between the author's understanding and that of Miss Sophie. But such a question is perhaps easily enough answered. Ding Ling clearly does not share Girard's "novelistic" perspective on the operation of desire. But from our current perspective, does her best-known work nonetheless offer, however imperfectly, certain now-recognizable insights into historical processes of desire that our other two writers more fully realize?"Miss Sophie's Diary" is famous in China for the delicacy, depth, and explicitness with which those bold and passionate sexual desires of Sophie are exposed, even as such desires are (perhaps reassuringly) defeated, or at least revealed as illusory. Clearly the story reflects a period of cultural and personal crisis. "I was extremely confused at that time," she wrote in a later phase of self-critique. "On one hand, I was radically rebellious, believing blindly in social revolution; on the other hand, I indulged myself in a petty bourgeoisie sense, departing from revolution, so I was trapped in loneliness, struggle and misery [End... (shrink)

This book introduces contemporary writing about difference through the idea of the labour of division.

We present an experiment designed to investigate three different mechanisms to achieve impartiality in distributive justice. We consider a first-person procedure, inspired by the Rawlsian veil of ignorance, and two third-party procedures, an involved spectator and a detached observer. First-person veiled stakeholders and involved spectators are affected by an initially unfair distribution that, in the stakeholders’ case, is to be redressed. We find substantial differences in the redressing task. Detached observers propose significantly fairer redistributions than veiled stakeholders or involved spectators. (...) Risk preferences partly explain why veiled stakeholders propose less egalitarian redistributions. Surprisingly, involved spectators, who are informed about their position in society, tend to favour stakeholders holding the same position as they do after the initial distribution. (shrink)

Nasir-i Khusraw is a major literary figure in medieval Persian culture. He was a Muslim philosopher, poet, travel writer, and Ismaili da'i who lived a thousand years ago in the lands known today as Afghanistan, Iran, and Tajikistan. Although known in the West mainly for his Safarnama, or travelogue, which describes his seven-year journey from Khurasan, in the eastern Islamic lands, to Cairo, the city of the Fatimid imam-caliphs, his poetry and ideas are less familiar. Yet, over the centuries, Persian-speaking (...) lands have consistently ranked him as one of the finest poets of all time. But today, even among those who know Nasir-i Khusraw's poetry, few understand the philosophical and Ismaili concepts the poet expounds. And while mystical and epic genres of Persian poetry are memorized and studied, the genre of philosophical poetry in Persian remains basically unexplored. This collection of studies seeks to redress the balance. Originally presented at a conference at the School of Oriental and African Studies (SOAS), University of London in 2005 to commemorate the millenary of Nasir-i Khusraw's birth, the papers published here examine his poetry both for philosophical meaning and poetic method. They address a variety of topics, ranging from metaphysics, cosmology, and ontology to prophecy, as well as rhythm and structure, and analysis of individual poems and authorship. (shrink)

"In this volume, Gayatri Chakravorty Spivak engages with 16 photographs by photographer Alice Attie as she attempts telepoiesis, a reaching toward the distant other through the empathetic power of the imagination."-- dust jacket.

The author reviews the contents of the ten articles by j l austin which appear in the volume "philosophical papers". She tries to "single out what is unique about his contribution, In particular what features of his procedure, Falling as it does under the general classification 'linguistic analysis', Were so distinctive as to win for it the attention accorded to a new departure." (staff).

The ArgumentThis paper applies the approach developed by the congnitive sciences to a classical field of social anthropology—i.e., the analysis of represetations and behaviors relative to misfortune in “traditional” societies.The initial argument is that the conceptual division and the modes of description and explanation of anthropology suffer from serious weaknesses: these concepts cannot serve to understand empirical phenomena ; they rely on a confused and erroneous conception of the different domains involved and the causalities between them; and they use simplistic (...) hypotheses about the existence and causal status of the entities that usually form the ultima ratio of anthropological reasoning. These entities would directly “cause” other individual representations or behaviors. This simplification also affects the analysis of states of belief in these entities, to which individuals would supposedly “adhere”.I argue here that the cognitivist approach, within a “methodological individualism” framework, provides a more adequate description of phenomena observed in the field. This enables the various levels and domains to be more finely defined. The analysis of “typical” utterances and inferences in a “tranditional” society, the Senufo of the Ivory Coast, is here used to clarify these anthropological problems. Two levels can be distinguished: a priori representations, which are underdetermined, enabling them to occur within valid inferences; perception and/or action, which obeys different cognitive constraints. The existential status of unobservable entities appearing in causal inferences is not equivalent depending on whether they are determined as antecedent or consequent.This paper suggests a theory of interpretive processes and beliefs having flexible references, because they are incomplete and domain-specific. It allows a comparison with facts observed in Western societies. It is also in contrast to the ordinary conception of religious states of belief — i.e., these states would be purely psychological, states of “adherence,” collective, autonomous, obligatory, part of a systemized set of knowledge; collective notions would here logically precede individual representations. (shrink)

In France a difference has been established between cultural popularization and cultural democracy. The former is aimed at spreading works of art in as large a way as possible; the latter emphasizes the participation of the public. From there, we argue that moving from cultural popularization towards cultural democracy can lead to a shift in responsibilities from professionals towards the general public. With reference to the theoretical background of reception, appropriation and participation, we lead a participant observation on three different (...) fields in order to understand what facilitates and what constrains this shift. This leads us to stress the importance of developing an adequate organizational framework. (shrink)

In France a difference has been established between cultural popularization and cultural democracy. The former is aimed at spreading works of art in as large a way as possible; the latter emphasizes the participation of the public. From there, we argue that moving from cultural popularization towards cultural democracy can lead to a shift in responsibilities from professionals towards the general public. With reference to the theoretical background of reception, appropriation and participation, we lead a participant observation on three different (...) fields in order to understand what facilitates and what constrains this shift. This leads us to stress the importance of developing an adequate organizational framework. (shrink)

Das 20. Jahrhundert war durch eine radikale Rückbesinnung auf die Möglichkeiten und Grenzen von Sprache gekennzeichnet. Der neuzeitliche Traum einer restlosen Benennung des Weltganzen wird fraglich, wenn ihr Medium – die propositionale Aussagelogik – unter Verdacht gerät. -/- Der Band wirft die brisante Frage auf, ob der für das Jahrhundert prägende linguistic turn nicht so sehr in einer Hinwendung, als vielmehr in einer »Abwendung« vom Sagen besteht, die sich in der Entsagungsgeste von Melvilles Bartleby emblematisch verkörpert. Einzelanalysen zu literarischen Strategien (...) bei Mallarmé, Wittgenstein, Celan, Foucault, Adorno, Derrida, Lévinas u.a.m. führen vor, wie Unterlassen nicht nur ein kritisches, sondern auch stets ein schöpferisches Moment in sich birgt. (shrink)

Three speakers engaged with theatre in different ways got inspired by the dialogical structure of Brecht’s Buying Brass and staged a similarly structured conversation. This conversation imitated the way how thespians and intellectual met in Brecht’s original text, but it was thematically focused on the current socio-cultural context. The research question was: How can we today make use of Brecht´s dialectic methodology in order to re-think the institutional situation of theatre as a starting point of social transformation? Which contemporary philosophies (...) can help in this re-thinking? Is theatre interested in them and is there any transformational potential in the opposite direction: from the theatre practice to the philosophical accounts of the contemporary world? The fragment collection under the title Buying Brass, unfinished and unedited by Brecht himself, anyhow belongs among the most extensive and sophisticated of Brecht’s treatises on theatre. It questions theatre in its very being, in its social and cultural function and in its epistemological potential. Staging a conversation of agents with different interests, attitudes, desires and functions in the theatrical apparatus, Brecht succeeds to provide a plastic methodology that tackles theatre dilemmas without reducing them to a one-dimensional view. The very format of a dialogue is congenial with theatrical practice and has a history among philosophers since Plato. Philosopher Denis Diderot as well as theatre practitioners Konstantin Stanislavsky and Richard Boleslavsky have presented their ideas for a rejuvenation of theatre in the format of written dialogues. Contradictions and objections are made manifest and also shown as anchored in a specific working role or institutional function. Moreover, the dialogue format allows and recognizes the imperfections, fallacies and misunderstandings of human conversations, as relevant aspects of contingency. And this contingency is of importance when we consider systemic, institutional or networked social situations. Thus, concerning the different background of the three presenters, we found the dialogue between us a relevant format, because it allows the realism of misunderstanding of each other as well as misrepresenting our selves. The three speakers choose different entries to the dialogue format, depending on their respective professional roles. This momentum of role-taking, reductively labeling oneself and each other as representatives of institutional functions, would also add a non-all dimension to the event of performing our dialogue: what was not said was somehow still inferred by suspicion or imagination. This approach has also an ambition to renew the customary way of paper presentations at research conferences and symposiums. (shrink)