The five narratives identified by the DEEPEN-project are interpreted in terms of the ancient story of desire, evil, and the sacred, and the modern narratives of alienation and exploitation. The first three narratives of lay ethics do not take stock of what has radically changed in the modern world under the triple and joint evolution of science, religion, and philosophy. The modern narratives, in turn, are in serious need of a post-modern deconstruction. Both critiques express the limits of humanism. They (...) do not imply, however, that these narratives should not be taken seriously. In particular, the enduring presence of three ancient narratives in laypeople’s symbolic thought is highly significant in terms of the role that the logic of the sacred keeps playing in the workings of modern societies. Lay people’s implicit understanding of how modern technology tends towards catastrophe and apocalypse provides the strongest argument for taking these narratives seriously. (shrink)
The difference between an historian and a poet is not that one writes in prose and the other in verse--indeed the writings of Herodotus could be put into verse and yet would still be a kind of history ... The real difference is this, that one tells what happened and the other what might happen. For this reason poetry is something more philosophical and serious than history, because poetry tends to give general truths while history gives particular facts.
Zionism: the idea of a territorial concentration of the Jewish people in an autonomous entity as a solution to the Jewish Question. This definition (and the essay that follows) refers to Zionism as conceived by its first leaders and theoreticians — Leo Pinsker, Theodor Herzl, and Israel Zangwill, that is, to what is generally called “political” Zionism (as opposed to the nationalistic-religious trends that now dominate the so-called official “Zionist ideology in Israel). Detective fiction: one narrative in search of another, (...) the first arising from the discovery (or anticipation) of a crime, the second providing the identity of the criminal, his motivations and the modalities of his act. (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)
Neste artigo, nossa tarefa será estudar a estratégia literária usada na composição da narrativa do encontro de Jesus com a mulher samaritana, famosa passagem do quarto capítulo do evangelho de João. Defenderemos a hipótese de que o autor fez, para a construção desta narrativa sobre Jesus, uso de um enredo arquétipo, uma cena-padrão do Antigo Testamento que era usada todas as vezes que se pretendia contar uma história de casamento. Veremos os elementos que constituem tal enredo padrão e alguns exemplos (...) textuais, para então analisar o evangelho de João demonstrando em detalhes como o evangelista manipulou este gênero literário popular para atingir seus próprios objetivos. Metodologicamente falando, é a análise narrativa ou narratologia que conduzirá nossas reflexões e análises exegéticas, mantendo o foco desta investigação sempre na figura do “leitor implícito” da narrativa bíblica, que é quem deveria surpreender-se ao notar que o texto conduzia Jesus ao próprio casamento, até uma reviravolta criativa do autor no final. Palavras-chave : Exegese; Narratologia; Bíblia; Cristianismo Primitivo; Evangelho de João.In this article, our task will be study the literary strategy used in composition of the narrative of meeting among Jesus and the Samaritan woman, famous episode of fourth chapter of John’s Gospel. We’ll defending the hypothesis that the author made, for to construct this narrative about Jesus, use of a master-plot, a standard scene of the Old Testament that was used all times when someone wished to tell a marriage store. We’ll see the compositional elements of this standard plot and some textual examples, and then, we can to analyze the John’s Gospel and show how the evangelist manipulated the popular literary genre for reach your own objectives. Methodologically speaking, the narrative analysis (or narratology) going to drive our reflections and exegetical analysis, keeping the focus of this research always in “implicit reader” of biblical narrative, who would to feel the surprise through to see the text driving Jesus to the own marriage, until the creative author’s turnaround at the end. Key words : Exegesis; Narratology; Bible; Primitive Christianity; John’s Gospel. (shrink)
This paper undertakes an analysis of the narrativity of a form of discourse which has appeared recently (blogs) within the framework of an emergentist theory of narrativity and its discursive modes. The narrative/discursive characteristics of blogs emerge from a preexistent ground of more basic or less specific communicative practices; and narrative discursivity itself is an emergent phenomenon with respect to other cognitive and experiential phenomena. A number of formal and communicative characteristics of blog writing and of the blogosphere are discussed (...) as emergent modes of experience within the pragmatic context of computer-mediated communication. -/- Note: Downloadable document is in Spanish. (shrink)
Developing MacIntyre’s metaphilosophy, Whitehead’s contention that philosophy ‘is the most effective of all the intellectual pursuits’ is elucidated and defended. It is argued that the narratives through which philosophical ideas are evaluated can refigure the stories constituting societies. In this way philosophical ideas become practically effective and come to be embodied in institutions. This is illustrated by the challenge by process philosophy to scientific materialism in the face of an impending global ecological crisis. It is argued that to be successful, (...) process philosophy must be articulated into a grand narrative to challenge the dominant grand narrative of modernity. (shrink)
This essay provides a close reading of Saul Friedländer’s exceptionally successful comprehensive history of the Holocaust from the theoretical perspective of Hayden White’s philosophy of history. Friedländer’s The Years of Extermination has been celebrated as the first synthetic history of the “Final Solution” that acknowledges the experiences of the victims of Nazi genocide. But Friedländer has not simply added the voices of the victims to a conventional historical account of the Holocaust. Instead, by displacing linear notions of time and space (...) and subtly deconstructing conventional concepts of causality, he has invented a new type of historical prose that performs rather than analyzes the victims’ point of view. Friedländer’s innovation has particularly radical consequences for the construction of historical explanations. On the one hand, Friedländer explicitly argues that anti-Semitism was the single most important cause of the Holocaust. On the other hand, his transnational, multifaceted history of the “Final Solution” provides a wealth of data that escapes the conceptual grasp of his explicit model of causation. Friedländer chooses this radically self-reflexive strategy of historical representation to impress on the reader the existential sense of disbelief with which the victims experienced Nazi persecution. To Friedländer, that sense of disbelief constitutes the most appropriate ethical response to the Holocaust. Thus the narratological analysis of The Years of Extermination reveals that the exceptional quality of the book, as well as presumably its success, is the result of an extraordinarily creative act of narrative imagination. Or, put into terms developed by White, who shares Friedländer’s appreciation of modernist forms of writing, The Years of Extermination is the first modernist history of the Holocaust that captures, through literary figuration, an important and long neglected reality of the “Final Solution.”. (shrink)
We now have a paradoxical situation where the place and status of stories is in decline within the humanities, while scientists are increasingly recognizing their importance. Here the attitude towards narratives of these scientists is defended. It is argued that stories play a primordial role in human self-creation, underpinning more abstract discourses such as mathematics, logic and science. To uphold the consistency of this claim, this thesis is defended by telling a story of the evolution of European culture from Ancient (...) Greece to the present, including an account of the rise of the notion of culture and its relation to the development of history, thereby showing how stories function to justify beliefs, situate people as agents within history and orient them to create the future. (shrink)
My hypothesis is that art reflects and exploits patterns of differential interest shaped by natural selection.Swan Lake demonstrates how little plot material is required for an evening-long work of art. Examination of this and other ballets suggests that the scenario is closer to the core of a production than the more changeable music and dance are. This narrative minimum is composed of different behavioral tendencies familiar to sociobiological inquiry. Set into a matrix of counterpoising forces, these biases generate enormous interest, (...) helping us to account for the ritualistic status of the artistic canon. (shrink)
Models of scientific explanation derived from the physical sciences are often poorly suited to the historical sciences—to the fields William Whewell called the palaetiological sciences. A listing of 27 titles that explore the nature of narrative understanding across a range of scientific disciplines—from cosmology to paleontology to economics—attests to the importance of narrative epistemology in the sciences.
Alors que la narratologie prétendait dévoiler les structures du récit en général, Vincent Descombes, dans son livre sur Proust, affirme qu’une science conséquente de la littérature doit rendre compte de la manière particulière qu’a chaque genre littéraire de produire du sens. Nous présentons dans cet article une approche noétique des genres qui, tentant de dépasser l’opposition entre sémiologie et herméneutique, s’intéresse à la manière dont les structures symboliques créent des modes de pensée particuliers. En remarquant que les fondateurs de la (...) narratologie, sous couvert de fiction, ont en réalité analysé le seul genre romanesque, elle propose de repartir de leur travail pour mettre au jour le fonctionnement des synthèses diachronique et synchronique propres au roman. N’en restant pas à cette analyse des structures sémiotiques, la noétique procède à leur interprétation phénoménologique, et montre que le mode de pensée du roman est celui de ce que Hegel appelle l’expérience de la conscience. (shrink)
Starting from the deficiencies of current approaches regarding the description of the hero in medieval narratives, this article aims to functionalise exorbitance as a new category of literary history. Unlike the conceptual and binary typing of the protagonist as ‘hero’ resp. ‘knight’, this category promotes a flexible model that operates relationally and hence enables gradual differentiations between the texts.Examples of medieval epic and romance will show the narrative treatment and stylisation of the exorbitant hero. The focus will be on the (...) varying assessments of his acts: If the epic hero is able to defy social norms and current laws without being penalised, the exorbitance in the romance falls within the scope of ‘ratio’. Thus, exorbitance is on the one hand confined and ‘assessed’, on the other hand excessive acts are rigorously sanctioned and inhibited. Referring to the current manifestations of exorbitance in the socio-political context, the concept of exorbitance emerges as an unchanged productive pattern. Its socio-political relevance encourages a literary-historical, epoch-spanning use of this concept, whose scope is a re-assessment of the history of literature as the history of exorbitance. (shrink)
Recent work on the relation between narrative and selfhood has emphasized embodiment as an indispensable foundation for selfhood. This has occasioned an interesting debate on the relation between embodiment and narrative. In this paper, I attempt to mediate the range of conflicting intuitions within the debate by proposing a scalar approach to narrative and an accompanying concept of a split-self. Drawing on theoretical developments from contemporary narratology, I argue that we need to move away from a binary understanding of (...) narrative as something an entity strictly is or is not; rather, we need to see narrative as an attribute admitting of degrees. I suggest that the relation between narrative and embodiment should be seen along these lines, proposing three levels of the narrativity of embodied experiencing: 1) the unnarratable, 2) the narratable and 3) the narrative. Finally, I discuss the implications this framework has for the general question of the narrative constitution of selfhood. (shrink)