The basic approach to understanding shared agency has been to identify individual intentional states that are somehow “shared” by participants and that contribute to guiding and informing the actions of individual participants. But, as Michael Bratman suggests, there is a problem of stability and depth that any theory of shared agency needs to solve. Given that participants in a joint action might form shared intentions for different reasons, what binds them to one another such that they have some reason for (...) continuing to participate in the joint action in the face of conflicting reasons? This is particularly pressing in cases of joint actions that unfold over long periods of time. There are a variety of ways that the problem of stability and depth of shared intention might be addressed. We review some of those ways in section 1. We do not intend to challenge these approaches. Instead, in this article, we want to suggest that narrative is an additional, perhaps in some cases a predominant, way in which stability and depth are achieved. According to some theories, narrative plays a crucial role in the development of the self. Our suggestion is that the narratives we tell about our joint projects contribute to the development of a stable and deep “we.”. (shrink)

A paradigmatic means of conveying a turningpoint in a narrativeof danger is the line ‘we knew that’s it’. In four tellings of a single narrative about danger during the Holocaust, anarrator varies this line in ways that maintain its collective focus on knowledge, but alter what is ‘known’. An analysis of changes in the ‘we knew [x]’ line reveals its relationship with the changingstructure of the narrative and with the shift toward multi-vocalic means ofexternal evaluation. Also suggested is the relationship (...) of the overall narrative changes to the changing place of Holocaust discourse, narrative and oral history in memory culture, and the larger discourse of resistance and survival. (shrink)

Narrative is rarely mentioned in philosophical discussions of collective intentionality and group identity despite the fact that narratives are often thought important for the formation of action intentions and self-identity in individuals. We argue that the concept of the ‘we-narrative’ can solve several problems in regard to defining the status of the we. It provides the typical format for the attribution of joint agency; it contributes to the formation of group identity; and it generates group stability.

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)

On Friday 17 August 2012, members of the feminist collective Pussy Riot were sentenced to two years in jail after their staging of a musical protest in a Russian Orthodox church. This article analyses Western news media responses to the Pussy Riot affair. It first examines how the event has resonated across various news media, activist, and social media networks. Focusing on the phrase, ‘We are all Pussy Riot’, which became a Twitter hashtag following the incarceration of Pussy Riot members, (...) I argue that narratives of feminist return (Hemmings, 2011) and of US exceptionalism have shaped the eventfulness of the Pussy Riot affair in the West. While not dismissing the activism of Pussy Riot, this article asserts that the discourses of transnational solidarity and feminist renewal that the arrests engendered rely on the perceived whiteness and non-Western identities of the members who were incarcerated. (shrink)

Revisiting Dawkin’s proposal of memes – a piece of thought copied from person to person – raises the question: can narrative, and by extension narratology, be utilized to explore the ‘infecting’, or transferring agent of cultural ideas, identity and the creation of self? Intriguingly, and perhaps even more relevant to the role of emergent models and the shifting divide between engineered and organic constructions, what role does media play in the fabrication of self? This article proposes to examine various attempts (...) to define modes of being using the formative and delimiting lens of narrative. It will investigate the role of media as the carrier agent for memetic modes of being, and their application in creating and sustaining cultural individuation. Jung’s declarative of the collective unconscious and archetypes, as well as Hofstadter’s loops, a common, but neglected field of enquiry that interrogates how memetic transference begins with the stories we tell, will inform the exploration of narrative as a means to define, delineate and bound the self. (shrink)

The Self We Live By confronts the serious challenges facing the self in postmodern times. Taking issue with contemporary trivializations of the self, the book traces a course of development from the early pragmatists who formulated what they called the 'empirical self', to contemporary constructionist views of the storied self. Presenting an institutional context for the increasing complexity and ubiquity of narrative identity, the authors illustrate the 'everyday technology of self construction' and idscuss the resulting moral climate. The book is (...) suitable for advanced undergraduates and graduate students in courses such as Individual in Society, Contemporary American Society, Social Psychology, Social Interaction and Culture & Personality. (shrink)

The normative ideals of democracy, trust and respect are under threat from the forces of populism and extremism. I argue for a recalibration of some basic ideas in the moral and social domains in which each person sees her/himself as one among others. I defend 0093The Principle of Personal Worth0094 which asserts that persons are more valuable than non-persons such as nations, religions, ethnicities, tribes, gangs, and cultures. The 0091collectivist0092 mentality denied by this principle is often held up against a (...) strongly (individualist) or atomistic one. However, these two extremes are not the only possibilities.Collectivism and identity politics link our identities to those associations and institutions with which we identify. This link is based on a confusion between qualitative and quantitative identity. Our actual (numerical) identities are determined by a combination of semantic (conceptual) and deictic (referential) factors, not by our qualitative associations.The Alt-Right combines extremes of individualism and collectivism by way of self-serving narratives that simultaneously elevate the individual over the State, and promote the agendas of specific religious, ethnic, gender and sexuality groups. These impoverished narratives support an impoverished sense of community which functions as an echo chamber for its own ideas, while rejecting those coming from beyond its boundaries. Ultimately, the task of repairing and reconstructing such narratives lies in formal education. Teachers and students need to enact forms of discourse and community which are intellectually, ethically and affectively powerful, both as tools for better teaching and learning, and as preparation for living worthwhile lives. (shrink)

In “Prozac or Prosaic Diaries?”, Ginger Hoffman and Jennifer Hansen examine gendered messages in popular depression memoirs, using narrative self-constitution theory to emphasize the damaging effects such messages can have on women readers. In doing so, they bring a welcome feminist perspective to matters of mental health, as well as raising thought-provoking questions about depression memoirs, a genre that can have a far-reaching impact on public opinions about mental illness. Overall, Hoffman and Hansen do an excellent job of explaining the (...) philosophical concepts that form a basis for their arguments. This work allows even relative newcomers to philosophy to follow along, co-inspecting the... (shrink)

En la obra de Arturo Roig, el lenguaje es entendido como una de las formas de objetivación del ser humano, en su estrecha relación con la vida cotidiana. Los sistemas de símbolos en interacción articulan así toda la experiencia, y es través de las formas de mediaciones simbólicas que comprendemos nuestras experiencias de vida. Por ello es preciso indagar las diversas formas y lenguajes en que se manifiesta una comunidad y así, a partir de su universo discursivo, acceder a la (...) dinámica de sus discursos desde la conflictividad que en ellos se explicita, desde la diversidad de voces y jerarquizaciones axiológicas operadas por los miembros del grupo que en ellos se expresa. El a priori antropológico postulado por Roig, que implica asumirnos como valiosos desde el nosotros en la propia cotidianidad, requiere reconocernos integrados en la naturaleza y compartir con ella la dignidad por la que luchamos desde el nosotros latinoamericano. In the work of Arturo Roig, language is understood as one of the forms of objectification of human beings, in their close relationship with daily life. In interaction, the systems of symbols articulate this way all the experience, and it is through the forms of symbolic mediation that we understand our life experiences. For that reason it is precise to investigate the diverse forms and languages in which a community pronounces itself, and this way, from its discursive universe, to accede to the dynamics of its discourses since the conflict that is explicit in them, from the diversity of voices and axiological hierarchies produced by the members of the group that is in them expressed. The anthropological a priori postulated by Roig, which implies assuming ourselves as valuable from our own commonness, requires to recognize ourselves integrated in nature and sharing with it the dignity for which we fight from Latin America. (shrink)

Many readers will be familiar with the power of stories to stimulate rich, ethically-focussed philosophical enquiry with communities of children and young people. This paper presents a view of the relationship between ethics and narrative that attempts to explain why this is the case. It is not an accident that moral matters are illuminated in stories, nor is the explanation for this fitness for purpose merely pragmatic, or a matter of convention. Narrative is at the heart of learning how to (...) live a good live and living that life. Unlike other forms of organising human experience, such as mathematics or science, narrative represents ethical experience particularly well. This is possible because of the logical structures of human experience that narrative successfully communicates and because of the human faculties that it successfully engages , which are the faculties we use in ethical life. Understood in this way, narrative is both a source, and a method of ethical knowledge and understanding. The implication of this claim is that narrative is is not only useful as a stimulus for ethical enquiry in the way in which delegates may be familiar. According to my account, telling and being told stories and exploring narrative features such as character and setting constitute a form of ethical enquiry in their own right. These activities require us to engage the same faculties at work in ethical life and in doing so, we gain ethically relevant experiences that reinforce, challenge and enlarge what we know and understand about the ethical world. However, we do not strive to grasp propositional knowledge through engaging with narratives as a source and method of knowledge and understanding. Books, plays and films on my account, do not have ‘a moral of the story’ that must be grasped and then internalised. What we learn through engagement with narrative is ethical perceptiveness. Perceptiveness in this sense, is knowing how to read and respond to the ethically salient features of a text or an everyday experience. It is a function of the use of our emotion and imagination in conjunction with the intellect. In light of these claims, I advocate ‘Narrative Ethical Enquiry’, a pedagogy that aims at three things I consider to be constitutive of perceptiveness: Ethical awareness: The active and self-conscious identification of the ethical content in stories. Narrative competence: The encouragement of sophisticated acts of giving and receiving stories, as an integral part of ethics education and not just as the basis for an exploration of issues in some other gear e.g. philosophical, legal, scientific, religious etc. Self-conscious enquiry: The recognition – by learners and teachers – of the potential of narratives and active use of narrative to gain ethical knowledge and understanding. Although ethical enquiry in PwC often begins with a story, this does not mean that narrative has been optimised in that educational encounter. Often in a PwC class that begins with a story, there is a hasty move made from an exploration of the detailed content of the story to the identification of one or two ethical concepts followed by the pursuit of understanding through conceptual analysis, the construction of prima facie axioms, principles and other theoretical constructs. All of which operate at a suitably high level of generality and abstraction. This is what philosophy does well, but in in doing so in ethical enquiry, it overlooks narrative features of a stimulus that can offer ethical illumination. Features such as the time and place in which the story takes place; the intentional and emotional states of certain characters; the contingency of certain events and the necessity of others; the uniqueness of the story as a singular whole including its particular details and simultaneously, the generic patterns of tragedy or parody that it assumes. An intellectualistic philosophical engagement with a story will typically neglect the faculties of emotion and imagination that enable us to fully access the ethical dimension of a story and in turn allow us to navigate the ethical dimension of every day life. I propose an approach to ethical enquiry that draws on the self-conscious and systematic clarity of philosophy and the richness, complexity and immediacy of narrative. Philosophical and narrative modes of understanding can - and often do - complement one another in PwC. In proposing Narrative Ethical Enquiry I simply advocate that this be acknowledged, understood and capitalised upon. (shrink)

In his Ecolinguistics, Stibbe (2020) declares the story of economic growth (the continuous increase in production and consumption) as the ‘master narrative’ that is at the same time the most harmful story we live by. This paper explains where this story of growth comes from and describes how it supplants or suppresses alternatives, such as stories of thrift and sharing. By connecting the biosemiotic model of Funktionskreis (e.g. Uexküll, 1920) as “the primary mechanism of meaning making” (Kull 2020) to cognitive (...) linguistics (e.g. Lakoff, 2009) and critical discourse analysis (e.g. van Leeuwen, 2018), this paper explores how stories of thrift and sharing can be turned into activism that seeks to reframe waste as surplus that can be shared; but they can also hide the old business models of the master narrative. Stories of sharing are often erased to protect corporate interests. Narratives of sharing can be duplicitous, especially in the context of the ‘sharing economy’. Attempts at reframing resources and energy as common wealth owned by everyone are squelched by the master narrative in contexts like resource and energy distribution. Can the new story of shrinking and degrowth become a new alternative to the master narrative and promote new decelerated semiotic habits (Maran, 2023) for a more fulfilling life with less (e.g. Herrmann 2022)? (shrink)

Narrative views of the self argue that we constitute our self in self-narratives. Embodied views hold that our self is shaped through embodied experiences. In that case, what is the relation between embodiment and narrativity in the process of self-constitution? The question demands a clear definition of embodiment, but existing studies remains unclear on this point (section 2). We offer a correction to this situation by drawing on Merleau-Ponty’s analysis of the body that highlights its habituality. On this account, (...) the body has an inherent tendency to cultivate an organization of habits through its history of engagement with the world (section 3). Next, we explore its role in narrative self-constitution by distinguishing between two aspects of the narrative self, the narrated I and the narrating I (section 4). We argue on phenomenological grounds that self-narratives are informed by bodily perspectives in both respects. Furthermore, a focus on the habituality of the body allows for a better explanation of self-constitution than those based on implicit self-narratives (section 5). For these phenomenological and theoretical reasons, we conclude that narrative self-constitution is an embodied and embedded practice (section 6). (shrink)

Narrative imagination, as MarthaNussbaum (1996) discusses it, is ``the abilityto be an intelligent reader of another person'sstory'', an ability tied to being a democraticand cultivated world citizen, one whounderstands the lives of others. Narrativeimagination does not only need knowledge andlogical reasoning but also love and compassion.This article argues that in order to be agenuine tool for democracy, narrativeimagination and consciously taking theperspective of others has to be based on anunderstanding of humans as basicallypluralistic, as homines aperti. Criticalexamination and reflection should (...) be broughtcloser to the lives we live and confront ourhabits and implicit values in order tocultivate us as humans so that we are genuinelyaffected and touched. (shrink)

Crucial components of strategic communication include the audience, which plays a decisive role in how any conflict plays out. Strategic narratives are seen as means by which political actors attempt to construct a shared meaning of international politics to shape the behaviour of domestic and international actors. The article analyzes the news discourse of the Russian media sources RT, Pervyj Kanal, and NTV on Russia’s coronavirus aid to Italy in spring 2020. In the context of media coverage, some methodological (...) questions arise: How should the intentional structuring of narratives, targeting of audiences, and the manipulative intentions of the strategic actor be studied? For this purpose, the article combines strategic narrative theory with Umberto Eco’s concepts of the Model Reader and the Model Author. Analysing the aims and intentionality of the strategic narratives, we postulate the Model Reader as an analytical category that organizes the study of the audience’s interpretation process. The function of the Model Reader is to actualize the codes and intertextual references that the author has strategically planned in the news message, in order to achieve the geopolitical aims of the strategic narratives in question. The analysis of constructing the Model Reader and the Model Author of strategic narratives is complemented by Greimas’ semiotic theory of the narrative and the composition principles of Lotman’s discrete/non-discrete texts. (shrink)

The success of medicine in the treatment of patients brings with it new challenges. More people live on to suffer from functional, chronic or multifactorial diseases, and this has led to calls for more complex analyses of the causal determinants of health and illness. Philosophical analysis of background assumptions of the current paradigmatic model. While these factors do not require a radical paradigm shift, they do give us cause to develop a new narrative, to add to existing narratives that (...) frame our thinking about medical care. In this paper we argue that the increased focus on lifestyle and shared decision making requires a new narrative of agency, to supplement the narrative of “the patient”. This narrative is conceptually linked to the developing philosophy of person-centred care. If patients are seen also as “agents” this will result in a substantial shift in practical decisions: The development and adoption of this narrative will help practitioners work with patients to their mutual benefit, harnessing the patients’ motivation, shifting the focus from treatment to prevention and preventing unnecessary and harmful treatments that can come out of our preoccupation with the patient narrative. It will also help to shift research efforts, conceptual and empirical, from “treating” and “battling” diseases and their purported “mechanisms” to understanding complex contributing factors and their interplay. (shrink)

Is the self narratively constructed? There are many who would answer yes to the question. Dennett (1991) is, perhaps, the most famous proponent of the view that the self is narratively constructed, but there are others, such as Velleman (2006), who have followed his lead and developed the view much further. Indeed, the importance of narrative to understanding the mind and the self is currently being lavished with attention across the cognitive sciences (Dautenhahn, 2001; Hutto, 2007; Nelson, 2003). Emerging from (...) this work, there appear to be a variety of ways in which we can think of the narrative construction of the self and the relationship between the narrative self and the embodied agent. I wish to examine two such ways in this paper. The first I shall call the abstract narrative account, this is because its proponents take the narrative self to be an abstraction (Dennett, 1991; Velleman, 2006). Dennett, for example, refers to the self as a centre of narrative gravity, to be thought of as analogous to a mathematical conception of the centre of gravity of an object. The second I shall call the embodied narrative account and this is the view that the self is constituted both by an embodied consciousness whose experiences are available for narration and narratives themselves, which can play a variety of roles in the agent’s psychological life. (shrink)

BackgroundThe success of medicine in the treatment of patients brings with it new challenges. More people live on to suffer from functional, chronic or multifactorial diseases, and this has led to calls for more complex analyses of the causal determinants of health and illness.MethodsPhilosophical analysis of background assumptions of the current paradigmatic model.ResultsWhile these factors do not require a radical paradigm shift, they do give us cause to develop a new narrative, to add to existing narratives that frame our (...) thinking about medical care. In this paper we argue that the increased focus on lifestyle and shared decision making requires a new narrative of agency, to supplement the narrative of “the patient”. This narrative is conceptually linked to the developing philosophy of person-centred care.ConclusionsIf patients are seen also as “agents” this will result in a substantial shift in practical decisions: The development and adoption of this narrative will help practitioners work with patients to their mutual benefit, harnessing the patients’ motivation, shifting the focus from treatment to prevention and preventing unnecessary and harmful treatments that can come out of our preoccupation with the patient narrative. It will also help to shift research efforts, conceptual and empirical, from “treating” and “battling” diseases and their purported “mechanisms” to understanding complex contributing factors and their interplay. (shrink)

I argue against two popular claims. The first is a descriptive, empirical thesis about the nature of ordinary human experience: ‘each of us constructs and lives a “narrative” . . . this narrative is us, our identities’ (Oliver Sacks); ‘self is a perpetually rewritten story . . . in the end, we become the autobiographical narratives by which we “tell about” our lives’ (Jerry Bruner); ‘we are all virtuoso novelists. . . . We try to make all of our (...) material cohere into a single good story. And that story is our autobiography. The chief fictional char- acter . . . of that autobiography is one’s self’ (Dan Dennett). The second is a normative, ethical claim: we ought to live our lives narratively, or as a story; a ‘basic condition of making sense of ourselves is that we grasp our lives in a narrative’ and have an understanding of our lives ‘as an unfolding story’ (Charles Taylor). A person ‘creates his identity [only] by forming an autobiographical narrative – a story of his life’, and must be in possession of a full and ‘explicit narrative [of his life] to develop fully as a person’ (Marya Schechtman). (shrink)

In this article, I outline various ways in which artifacts are interwoven with autobiographical memory systems and conceptualize what this implies for the self. I first sketch the narrative approach to the self, arguing that who we are as persons is essentially our (unfolding) life story, which, in turn, determines our present beliefs and desires, but also directs our future goals and actions. I then argue that our autobiographical memory is partly anchored in our embodied interactions with an ecology of (...) artifacts in our environment. Lifelogs, photos, videos, journals, diaries, souvenirs, jewelry, books, works of art, and many other meaningful objects trigger and sometimes constitute emotionally-laden autobiographical memories. Autobiographical memory is thus distributed across embodied agents and various environmental structures. To defend this claim, I draw on and integrate distributed cognition theory and empirical research in human-technology interaction. Based on this, I conclude that the self is neither defined by psychological states realized by the brain nor by biological states realized by the organism, but should be seen as a distributed and relational construct. (shrink)

Narratives are an integral part of human expression. In the graphic form, they range from cave paintings to Egyptian hieroglyphics, from the Bayeux Tapestry to modern day comic books (Kunzle, 1973; McCloud, 1993). Yet not much research has addressed the structure and comprehension of narrative images, for example, how do people create meaning out of sequential images? This piece helps fill the gap by presenting a theory of Narrative Grammar. We describe the basic narrative categories and their relationship to (...) a canonical narrative arc, followed by a discussion of complex structures that extend beyond the canonical schema. This demands that the canonical arc be reconsidered as a generative schema whereby any narrative category can be expanded into a node in a tree structure. Narrative “pacing” is interpreted as a reflection of various patterns of this embedding: conjunction, left-branching trees, center-embedded constituencies, and others. Following this, diagnostic methods are proposed for testing narrative categories and constituency. Finally, we outline the applicability of this theory beyond sequential images, such as to film and verbal discourse, and compare this theory with previous approaches to narrative and discourse. (shrink)

Decoupling a modestly construed Narrative Self Shaping Hypothesis from Strong Narrativism this paper attempts to motivate devoting our intellectual energies to the former. Section one briefly introduces the notions of self-shaping and rehearses reasons for thinking that self-shaping, in a suitably tame form, is, at least to some extent, simply unavoidable for reflective beings. It is against this background that the basic commitments of a modest Narrative Self-Shaping Hypothesis are articulated. Section two identifies a foundational commitment—the central tenet—of all Strong (...) Narrativist proposals, those that posit a necessary link between narrative self-shaping and narrative self-experience. As will be shown, in the hands of Strong Narrativists the latter notion is unpacked in stronger or weaker ways by appeal to the notion of implicit Narrativizing. Section three reminds the reader of Strawson’s challenge to Strong Narrativism. It is revealed that Strawson’s objections are most effective if they target Strong Narrativism’s central tenet construed as a phenomenological revelation about what is necessary for self-experience and not merely the psychological Narrativity thesis, construed as an empirical hypothesis about typical Narrativizing proclivities. Having set the stage, section four critically examines two different strategies, pursued by Rudd and Schechtman respectively, for escaping the horns Strawson’s dilemma poses for Strong Narrativism. In the end both strategies invoke the notion of implicit Narrativizing at a crucial juncture. Section five reveals that a substantive proposal about what implicit Narrativizing might be is lacking, hence we have no reason to believe that it actually occurs. It is concluded that, as things stand, Strong Narrativism has no way of avoiding the horns of Strawson’s dilemma. Brief concluding remarks in the final section are a reminder why, despite their modesty, softer versions of the NSSH—when coupled with a developmental proposal about the narrative basis of our folk psychological competence—are non-trivial and worthy of further development and investigation. (shrink)

Narrative medicine is one of medicine’s most important internal reforms, and it should be a critical dimension of healthcare debate. Healthcare reform must eventually ask not only how do we pay for healthcare and how do we distribute it, but more fundamentally, what kind of healthcare do we want? It must ask, in short, what are the goals of medicine? Yet, even though narrative medicine is crucial to answering these pivotal and inescapable questions, it is not easy to describe. Many (...) of its core claims go against the grain of common sense thinking about medicine. This article argues that the best way to understand narrative medicine is to tell a story that puts its emergence in historical context. (shrink)

This paper promotes the view that our childhood engagement with narratives of a certain kind is the basis of sophisticated folk psychological abilities —i.e. it is through such socially scaffolded means that folk psychological skills are normally acquired and fostered. Undeniably, we often use our folk psychological apparatus in speculating about why another may have acted on a particular occasion, but this is at best a peripheral and parasitic use. Our primary understanding and skill in folk psychology derives from (...) and has its primary application in special kinds of second-personal engagements. (shrink)

This paper tries to offer a descriptive account of the normative workings of evaluative fallacy charges directed to narratives. In order to do that, I first defend the continuity and mutual dependence, as based on a dynamical conception of argument, between the ‘belief conception’ and the ‘argumentative conception’ of fallacy. Then, I construe a catalogue of ‘fallacy charges’ based on both such a continuity and the variety of counterarguments explored by the theoretical framework of Argument Dialectics. And finally, I (...) apply these ideas and distinctions in the analysis of four examples of published texts in which the charge of ‘fallacious narrative’ is issued by a discursive agent against other discursive agents’ either full-fledged narratives or narrative assumptions. The analyses confirm some of the characteristics mentioned in the catalogue as well as the argumentative nature of fallacy charges, even when the censored discourse does not exactly or explicitly contain an argument. The analyses also help understand the distinction between a rather concrete ‘linguistic’ use of the term narrative and a more abstract and elusive ‘discursive’ one, in which the difficulties of both identifying the object of censorship and the exact meaning of the fallacy charge multiply. (shrink)

Conviction Narrative Theory (CNT) is a theory of choice underradical uncertainty– situations where outcomes cannot be enumerated and probabilities cannot be assigned. Whereas most theories of choice assume that people rely on (potentially biased) probabilistic judgments, such theories cannot account for adaptive decision-making when probabilities cannot be assigned. CNT proposes that people usenarratives– structured representations of causal, temporal, analogical, and valence relationships – rather than probabilities, as the currency of thought that unifies our sense-making and decision-making faculties. According to CNT, (...) narratives arise from the interplay between individual cognition and the social environment, with reasoners adopting a narrative that feels “right” to explain the available data; using that narrative to imagine plausible futures; and affectively evaluating those imagined futures to make a choice. Evidence from many areas of the cognitive, behavioral, and social sciences supports this basic model, including lab experiments, interview studies, and econometric analyses. We identify 12 propositions to explain how the mental representations (narratives) interact with four inter-related processes (explanation, simulation, affective evaluation, and communication), examining the theoretical and empirical basis for each. We conclude by discussing how CNT can provide a common vocabulary for researchers studying everyday choices across areas of the decision sciences. (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)

This paper examines narrative approaches to care within the context of dementia. It reviews the function of stories and explores some of the narrative genres that shape the cultural perceptions of dementia. We argue that narrative intelligence within healthcare is an important element in nurturing communal self‐identity for people living with dementia. Listening and responding to stories and the cultural framework that this encompasses is an embodied action that is not just related to cognitive recall but situates us within a (...) cultural community. People with dementia may have challenges in maintaining narrative legitimacy in the face of fractured stories and incoherent narratives. Health professionals can offer support in reframing and presenting counterstories that maintain identities that can potentially be marginalised, silenced and open to narrative foreclosure. This process requires health professionals to be attentive and responsive to how patients with dementia and their supporters construct and position the stories they tell and the meaning(s) they attach to them. (shrink)

Memories of our personal past are the building blocks of our narrative identity. So, when we depend on objects and other people to remember and construct our personal past, our narrative identity is distributed across our embodied brains and an ecology of environmental resources. This paper uses a cognitive niche construction approach to conceptualise how we engineer our memory ecology and construct our distributed narrative identities. It does so by identifying three types of niche construction processes that govern how we (...) interact with our memory ecology, namely creating, editing, and using resources in our memory ecology. It also conceptualises how identity-relevant information in objects and (family) stories is transmitted vertically, i.e., across different generations of people. Identifying these processes allows us to better understand the cultural information trajectories that constitute our memory ecologies. Thus, what I’ll argue is that our memory ecology distributes our narrative identity and that engineering our memory ecology is a form of narrative niche construction. (shrink)

Name der Zeitschrift: Semiotica Jahrgang: 2015 Heft: 203 Seiten: 123-136.

Critical discourse analysts are being pulled in two directions. On one side, in the age of validity, inter-rater reliability and evidence-based research, it can seem subversive when researchers ‘tell stories’ (rather than ‘write reports’, ‘produce findings’ or ‘demonstrate effectiveness’). On the other side, public relations departments encourage researchers to use ‘storytelling’ techniques to engage public audiences. In this paper, I draw on social and cultural theory to assume that critical discourse analyses are always already narrative. I propose that we embrace (...) (rather than hide) the storytelling qualities of our research. Using similar strategies for all audiences, we undermine traditional power hierarchies between researchers and ‘the public’. Critical discourse analysis then performs its own critical approach. The paper also explores the potential of adopting a ‘carrier bag theory’ of storytelling (Le Guin) rather than telling ‘hero’ stories and reflects on the epistemological, relational and political work done by storytellers in critical discourse studies. (shrink)

The Midrashic literature and biblical translations focus majorly on the verses that describe the gathering in Haman’s house and the preparing of the gallows for Mordechai the Jew (Es 5:14). The goal of this study is to discuss the narrative shaped by the Targum and Midrashic sources and to examine both the realistic domain concerning methods of punishment that were suggested and the theological–educational meaning of the punishment and the type of tree chosen. Targum Rishon develops the contents of the (...) conversation in Haman’s house as to how Mordechai should be executed. While according to the text, the suggestion to hang Mordechai appears to have been the only method agreed upon by all those present at the meeting, Targum Rishon includes several forms of killing and torture that were proposed and considered. While Targum Rishon presents the theological meaning of the choice to kill Mordechai specifically by hanging him from a gallows, a Midrash aggadah attempts to clarify the species of the tree used to prepare Mordechai’s gallows and comes to the surprising conclusion that it was a type of thorn tree. Regarding Haman’s search for a suitable beam on which to hang Mordechai, Midrash Abba Gorion relates that the beam was found in the king’s palace or, according to another opinion, the sawed beam found originated from Noah’s ark.Contribution: The Midrashic sources portray an entire scene that includes discourse, deliberations and choice in Haman’s house and in heaven. It seems that the authors of the Midrash and the Targum not only clarify the text and complement the story by adding missing realistic details, they also enrich the text with new meanings that serve their theological concepts. (shrink)

In this entry, we survey key discussions on the role of narrative in theology and philosophy of religion. We begin with epistemological questions about whether and how narrative offers genuine understanding of reality. We explore how narrative intersects with the problems of evil and divine hiddenness. We discuss narrative's role in theological reflection and practice in general, and in black and feminist theologies specifically. We close by briefly exploring the role of narrative in theorization about life's meaning.

Narratives structure and inform how we understand our experiences and identity, especially in instances of suffering. Suffering in mental disorder (e.g. bipolar disorder) is often uniquely distressing as it impacts capacities central to our ability to make sense of ourselves and the world—and the role of narratives in explaining and addressing these effects is well-known. For many with a mental disorder, spiritual/religious narratives shape how they understand and experience it. For most, this is because they are spiritual (...) and/or religious. For others, spiritual/religious narratives still often influence secular approaches to mental disorder, more than approaches to other disabilities (e.g. intellectual, physical) or causes of suffering (e.g. physical disease). Such narratives are often harmful, especially insofar as they ‘over-spiritualize’ mental disorder; and undercut ‘spiritual meaning-making’. Here I address the impact of spiritual/religious narratives that helpfully avoid over-spiritualizing mental disorder while enabling spiritual meaning-making about it. First, I address the role of narratives in meaning-making more generally; then, I present results from my recent empirical study testing the impact of such narratives on participants’ meaning-making about their mental disorder. I conclude by addressing implications and potential worries. (shrink)

This paper attempts to provide a defence for a narrative theory of the self in the face of criticisms from the anti‐narrative camp. It begins by addressing certain uncontroversial premises that both pro‐ and the anti‐narrative camps might be thought to agree on: the status of humans as homo significans or meaning‐makers, the natural form‐finding tendency and certain desiderata for significance and value that we possess, and the raw material of life and its constituents that we proceed from. Whereas the (...) pro‐narrative camp seeks to provide the narrative theory of the self as a valid argument for how we proceed from the raw material of life and undifferentiated experience and these desiderata and tendencies (i.e.: the premises) to a conception of both selfhood and moral responsibility (i.e.: the conclusion), the anti‐narrative camp holds the conclusion to be false and the narrative theory of the self to be invalid. The Parfitian view holds the conception of the self to be ultimately false, whereas the Strawsonian view holds both the conception of the self and the conception of moral responsibility to be ultimately false. The grounds they provide, however, tend to be metaphysical in nature, demonstrating that they have fundamentally misunderstood how the narrative theory of the self functions as a semantic thesis. I will demonstrate certain defects in the metaphysical arguments that anti‐narrativists like Parfit and Strawson have made against what is essentially a semantic thesis about how we make sense of our lives. I will also attempt to shore up the semantic thesis in other relevant aspects. (shrink)

Critical discourse analysts are being pulled in two directions. On one side, in the age of validity, inter-rater reliability and evidence-based research, it can seem subversive when researchers ‘tell stories’ (rather than ‘write reports’, ‘produce findings’ or ‘demonstrate effectiveness’). On the other side, public relations departments encourage researchers to use ‘storytelling’ techniques to engage public audiences. In this paper, I draw on social and cultural theory to assume that critical discourse analyses are always already narrative. I propose that we embrace (...) (rather than hide) the storytelling qualities of our research. Using similar strategies for all audiences, we undermine traditional power hierarchies between researchers and ‘the public’. Critical discourse analysis then performs its own critical approach. The paper also explores the potential of adopting a ‘carrier bag theory’ of storytelling (Le Guin) rather than telling ‘hero’ stories and reflects on the epistemological, relational and political work done by storytellers in critical discourse studies. (shrink)

Contemporary philosophy of technology, in particular mediation theory, has largely neglected language and has paid little attention to the social-linguistic environment in which technologies are used. In order to reintroduce and strengthen these two missing aspects we turn towards Ricoeur’s narrative theory. We argue that technologies have a narrative capacity: not only do humans make sense of technologies by means of narratives but technologies themselves co-constitute narratives and our understanding of these narratives by configuring characters and events (...) in a meaningful temporal whole. We propose a hermeneutic framework that enables us to categorise and interpret technologies according to two hermeneutic distinctions. Firstly, we consider the extent to which technologies close in on the paradigm of the written text by assessing their capacity to actively configure characters and events into a meaningful whole; thereby introducing a linguistic aspect in the theory of technological mediation. Secondly, we consider the extent to which technologieshave the capacity to abstract from the public narrative time of actual characters and events by constructing quasi-characters and quasi-events, thereby introducing the social in our conception of technological mediation. This leads us to the outlines of a theory of narrative technologies that revolves around four hermeneutic categories. In order to show the merits of this theory, we discuss the categories by analysing paradigmatic examples of narrative technologies: the bridge, the hydroelectric power plant, video games, and electronic money. (shrink)

ABSTRACT‘Self-ambiguity’, we suggest, is best understood as an uncertainty about how strongly a given feature reflects who one truly is. When this understanding of self-ambiguity is applied to a view of the self as having both essential and shapable components, self-ambiguity can be seen to have two aspects: (1) uncertainty about one's essential or relatively unchangeable characteristics, e.g. one's sexuality, and (2) uncertainty about how to shape oneself, e.g. which values to commit to, actions to pursue, or essential features to (...) identify with. We explain how a narrative account of agency can accommodate these forms of self-ambiguity and argue that such an account also reveals another kind of self-ambiguity, namely, (3) uncertainty about whether one's established self-narrative represents who one really is. We illustrate this third form of self-ambiguity in the context of addiction where people's established addiction self-narratives make it difficult to identify with recovery. We argue that recovery will require embracing, especially, our third form of self-ambiguity as a chance for positive self-transformation. Treatment for addiction should, therefore, support people in going through and ultimately narratively resolving the inevitable self-ambiguities of the recovery process. (shrink)

The multiple commons is an important context in a world facing the eco-challenge. The platform for land use negotiation is a perspective concerning the good governance of the multiple commons. Platforms are devices or procedures for social learning and negotiation about effective collective action. They create collective decision making capacity at eco-system levels at which critical ecological services need to be managed. Taking platforms seriously as an option for designing a more sustainable society assumes a belief in the human capacity (...) to engage in collective action. Unfortunately, human thinking about humans is dominated by perspectives that emphasize either technical solutions to given human ends, or perspectives that emphasize the selfish nature of human ends. This article focuses especially on the latter: the strategic narratives that have become dominant as society increasingly becomes designed on economic principles. The paper seeks to explain the dominance of strategic narratives and provides social science evidence for alternative perspectives. It concludes with cornerstones for an alternative narrative. (shrink)

In this paper I explore how and why personal identity might be essentially narrative in nature. My topic is the question of personal identity in the strict sense of identity—the question of which person you are, and how that person is extended in space, time, and quality. In this my question appears to contrast with the question of personal identity in the sense sought by teenagers and sufferers of mid-life crises who are trying to ‘find themselves’. But in fact it (...) will be key to my argument that these questions are not distinct and independent. Whereas Parfit was concerned, in his work on personal identity, with how he was extended over time, the teenager who is finding themselves is concerned with how they are extended in quality. Indeed, the core of my argument is that because narrative is the key to understanding how we are extended in quality, and quality is just one more dimension along which we are extended, along with space and time, narrative must also be the clue as to how we are extended in space and time. You, I will argue, are the protagonist in the best story of your life. (shrink)

While much has been written about verbal narratives, we still lack a clear account of what makes images narrative. I argue that there are narrative characteristics of images and show this with examples of single images. The argument proceeds in three steps. First, I propose that from a semantic perspective, the following two characteristics are necessary for an image to be narrative: a representation of an event and a representation of time. Second, I argue that there are paradigmatic characteristics, (...) such as at least two events, bridging connections, and unifying subjects between these events, characters with intentions, and the representation of goal-directed actions. Third, I show that it is possible to differentiate between narrative and non-narrative images while also accounting for the idea that narrativity is a matter of degree. While I do not provide a full definition of narrative images, my account constitutes a necessary first step in this direction. (shrink)

This paper responds to a proposal for an intersectional approach to the clinical encounter between patient and medical provider. We agree that an intersectional framework offers new insights and information in the clinical encounter. Intersectionality involves awareness of the physician-patient dynamic, and understanding the various privileges and disadvantages of all parties involved, at a micro and macroscopic level. Yet, this analysis alone is insufficient to aid in the clinical encounter and risks harm. We worry about a clinician making assumptions about (...) her patient’s race, gender, economic status, and how these influence the patient’s own views of her life and health. We argue that a narrative supplement is a necessary element of intersectional clinical encounters. Prioritizing patient narrative curtails assumptions, builds trust, and improves care. (shrink)

A story does more than recount events; it recounts events in a way that renders them intelligible, thus conveying not just information but also understanding. We might therefore be tempted to describe narrative as a genre of explanation. When the police invite a suspect to “tell his story,” they are asking him to explain the blood on his shirt or his absence from home on the night of the murder; and whether he is judged to have a “good story” will (...) depend on its adequacy as an explanation. Can we account for the explanatory force of narrative with the models of explanation available in the philosophy of science? Or does narrative convey a different kind of understanding, which requires a different model and perhaps even a term other than ‘explanation’? (shrink)

Heidegger, like Kierkegaard, has recently been claimed as a narrativist about selves. From this Heideggerian perspective, we can see how narrative expands upon the psychological view, adding a vital teleological dimension to the understanding of selfhood while denying the reductionism implicit in the psychological approach. Yet the narrative approach also inherits the neo-Lockean emphasis on the past as determining identity, whereas the self is fundamentally about the future. Death is crucial on this picture, not as allowing for the possibility of (...) a final meaning to our lives, but as determining Dasein as ‘pure unactualizable possibility.’ Ultimately, therefore, narrative is not what constitutes selfhood – but this does not mean that narrative is not relevant to personal identity, because narrative allows identity to be expressed in action. (shrink)

Narrative and the real world are not mutually exclusive. Life is not a structureless sequence of events; it consists of complex structures of temporal configurations that interlock and receive their meaning from within action itself. It is also not true that life lacks a point of view which transforms events into a story by telling them. Our focus of attention is not the past but the future, because we grasp configurations extending into the future. Action involves the adoption of an (...) anticipated future-retrospective point of view on the present. The actions of life can be viewed as the process of telling ourselves stories. The retrospective view of the narrator is an extension and refinement of a viewpoint inherent in action itself. Because storytelling is a social activity, the story of one's life is told as much to others as to oneself. Social human time, like individual human time, is constructed into configured sequences. The practical first-order narrative process that constitutes a person or a community can become a second-order narrative whose subject is unchanged but whose interest is primarily cognitive or aesthetic. (shrink)

The dominant framework for understanding selfhood in contemporary psychology has been one that privileges a highly individualistic conception of self. This is reflected in both the language and approaches of psychotherapy where the influence of contextual factors are given marginal consideration in order to maintain some type of 'objectivity' or 'neutrality' in counseling. We argue that an understanding of selfhood which does not take into account the 'relational' nature of selfhood as well as the cultural or historical context of the (...) client, will likely alienate clients who do not view their self through the individualized lenses of psychology. In order to deal with this problem, we adopt an approach to cultural psychology that views the self as a relational narrative. Such a narrative does not imply an unrestricted freedom to construct our self, but understands the limits to selfhood implied in the web of meanings constitutive of our culture and the web of relations from which our self emerges. 2012 APA, all rights reserved). (shrink)

This study examines how audiovisual brand stories both invite and enable consumers to enact heroic archetypes. Integrating research on the archetypal structure of narratives with research on the event structure of narratives, we distinguish singular plot stories (i.e. stories that show a Hero’s Journey) from embedded plot stories (i.e. stories that not only show but also tell one or more Hero’s Journeys) and develop a conceptual and narratological framework to analyze their structural elements. Application of the framework to (...) 20 brand stories representing 8 different brands reveals meaningful variation in elements between the singular plot stories and embedded plot stories. Differences in the expression of archetypes and event structure are argued to evoke different types of Hero enactment which in turn result in different outcomes. We specifically hypothesize that the enactment of heroic archetypes in singular plot stories primarily results in catharsis (pleasure), whereas the enactment of heroic archetypes in embedded plot stories primarily results in an outcome we describe as phronesis: a form of moral sense making of the self that advances one’s practical wisdom and prudence. The final section of the paper discusses how cathartic and phronetic outcomes of hero enactment may foster the psychological bonding between brand and consumer, and invite consumers to align their moral values with the values that are reflected by heroic character traits. The central aims of the analysis presented are to provide an exploration of narrative phenomena in a reasonably broad range of brand story videos and foremost to provide a conceptual framework with an applicable instrument suited to analyze relevant categories in these brand stories. The present study is interdisciplinary in its approach to a contemporary, developing marketing phenomenon, applying psychological modeling of archetypes and heroic values with narratological insights on perspective-taking and story structure. Its contribution is to systemize, from a narratological viewpoint, how various narrative archetypes in brand video stories may contribute to the development of brand-consumer relations. (shrink)

Narrative fictions have surely become the single most widespread source of entertainment in the world. In their free time, humans read novels and comics, watch movies and TV series, and play video games: they consume stories that they know to be false. Such behaviors are expanding at lightning speed in modern societies. Yet, the question of the origin of fictions has been an evolutionary puzzle for decades: Are fictions biological adaptations, or the by-products of cognitive mechanisms that evolved for another (...) purpose? The absence of any consensus in cognitive science has made it difficult to explain how narrative fictions evolve culturally. We argue that current conflicting hypotheses are partly wrong, and partly right: narrative fictions areby-productsof the human mind, because they obviously co-opt some pre-existing cognitive preferences and mechanisms, such as our interest for social information, and our abilities to do mindreading and to imagine counterfactuals. But humans reap some fitness benefits from producing and consuming such appealing cultural items, making fictionsadaptive. To reconcile these two views, we put forward the hypothesis that narrative fictions are best seen asentertainment technologiesthat is, as items crafted by some people for the proximate goal to grab the attention of other people, and with the ultimate goal to fulfill other evolutionary-relevant functions that become easier once other people’s attention is caught. This hypothesis explains why fictions are filled with exaggerated and entertaining stimuli, why they fit so well the changing preferences of the audience they target, and why producers constantly make their fictions more attractive as time goes by, in a cumulative manner. (shrink)