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)

These two books on fictional narratives and neuroscience adopt cultural constructivist perspectives that reject the idea of evolved human motives and emotions. Both books contain information that could be integrated with other research in a comprehensive and empirically grounded theory of narrative, but they both fail to construct any such theory. In order to avoid subordinating the humanities to the sciences, Comer and Taggart avoid integrating their separate disciplines: neuroscience (Comer) and narrative theory (Tag­gart). They (...) draw no significant conclusions from the research they summarize. Armstrong subordinates neuroscience to the paradoxes of phenomenology and 4E cognition. His prose develops not by consecutive reasoning but by the repetitive intonation of paradoxical formulas. The failures in theoretical construction displayed by these two books run parallel with weaknesses in the interpretive criticism with which they illustrate their ideas. The different ways in which the books fail are sometimes comical but nonetheless instructive. The failures inadvertently point toward the radical changes in humanist thinking that would be necessary for success in integrating neuroscience and narrative theory. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.2 (2001) 233-250 [Access article in PDF] Narrative Theory and Function: Why Evolution Matters Michelle Scalise Sugiyama I It may seem a strange proposition that the study of human evolution is integral to the study of literature, yet that is exactly what this paper proposes. The reasons for this are twofold. Firstly, the practice of storytelling is ancient, pre-dating not only the advent of (...) writing, but of agriculture and permanent settlement as well. Secondly, narrative is ultimately a product of the mind, which in turn is the product of a long history of evolution by natural selection. Thus, an understanding of why and how humans create and consume narrative requires an understanding of (1) features of ancestral environments and (2) features of the mind that made the emergence of this phenomenon possible.There can be little doubt that narrative emerged in human prehistory. Language, an obvious prerequisite for storytelling, is likely to have emerged by at least 50,000 and possibly 250,000 years ago, depending upon whether one places one's trust in archaeological or anatomical evidence. 1 The most reasonable estimate is offered by Geoffrey Miller, who points out that, given its universality, the language faculty must have emerged by the time ancestral Homo sapiens began migrating out of Africa approximately 100,000 years ago. 2 Although the oldest known written narrative (The Epic of Gilgamesh) dates back only 5,000 years, the written literary traditions of many ancient cultures are known to be rooted in longstanding oral traditions. 3 The fact that many modern foraging peoples have rich and complex oral traditions further suggests that the emergence of narrative is not linked to the development of agriculture 10,000 years ago. Moreover, other forms of symbolic expression, such as the cave paintings, Venus figurines, and engraved bone [End Page 233] and antler that have been found at various sites throughout Europe, date back approximately 30,000 years, and rock paintings in Australia may date back even farther. 4 Since humans were physiologically capable of speech long before they began producing these artifacts, storytelling is likely to be at least as ancient as these other representational forms. Indeed, one scholar situates the "dawn of the oral tradition" within this period (Pfeiffer, p. 189). Given, then, that modern humans (Homo sapiens sapiens) have been in existence for approximately 100,000 years 5 and are the only hominid species or subspecies known for certain to exhibit storytelling behavior, we can safely say that oral narrative is a product of our hunting-and-gathering past, likely to have emerged between 30,000 and 100,000 years ago.The universality of narrative is further testimony to its being an ancient cognitive phenomenon. Literate or not, all known cultures, past and present, practice storytelling. 6 Moreover, all normally developing humans acquire the ability to process and generate stories: studies of Western children indicate that the ability to tell stories emerges spontaneously between the ages of two-and-a-half and three, and children as young as thirty months can distinguish between narrative and non-narrative uses of language. 7 In contrast to reading, writing, and arithmetic, no special education is required for narrative competence to develop, nor is there any evidence that oral literacy is acquired through contact with other cultures; although subject matter is often exchanged between groups, the practice of storytelling itself arises independently among even the most isolated peoples. Nor does any type of culture have a monopoly on narrative sophistication: the stories of hunter-horticulturalist societies are no less observant, insightful, or artful than those of agrarian or industrial societies.As with language, narrative takes the same basic form across cultures, which David Bordwell and Kristin Thompson define as "a chain of events in cause-effect relationship occurring in time." Given the preponderance of human agents in narrative, most narrative theorists would probably modify this barebones description to include character (usually understood to have a human psychology), goal-oriented action, and resolution. Frank Kermode, for example, defines the "proprieties" of narrative as "connexity, closure, and character," and John... (shrink)

This paper explores the ongoing debate concerning the variables that contribute to the formation of a fully realised narrative text. Two primary perspectives dominate this discussion: one emphasises the role of character psychology and mindreading in narrative creation and comprehension, while the other prioritises the importance of plot and the causal-temporal structure of storytelling. By examining recent developments in these theoretical frameworks, we advocate for an integrated approach that reconciles these elements through the concept of “global coherence”, which (...) aligns closely with Paul Ricœur’s notion of “intelligible totality” in narrative theory. (shrink)

This set of volumes sketches the history, breadth, and applicability of narrative theory, thus demonstrating its value as an analytical instrument. The collection includes articles from the leading names of narrative theory, such as Roland Barthes, Mikhail Bakhtin, Tzvetan Todorov and Jean-Françoise Lyotard, as well as lesser-known, though equally important, contributions. Titles already available in this series include _Deconstruction_ (2002, 4 volumes, £450) and _Modernism_ (2002, 5 volumes, £550). Forthcoming titles include _Romanticism_ (2005, 4 volumes, c.£475) (...) and _Structuralism_ (2006, 4 volumes, c.£495). (shrink)

Any comprehensive theory of narrative must accommodate both the justificational and the creative elements of narrative, the activities leading to narrative, and reflections upon the finished product. This examination of four levels of theory reveals the incompleteness of most extant theories, including those of Hayden White and Ricoeur. The four levels are: 1. narrative discourse and temporal language; 2. narrative and historical constructions; 3. narrative objects or stories; and 4. narrative functions (...) and purposes. We remain far from our goal of achieving a comprehensive theory. However, by placing theories and partial theories within a metatheoretical framework, we can see more clearly their nature, ramifications, and limits, thereby differentiating between the contributions and the philosophical fads. (shrink)

We connect Conviction Narrative Theory to an account that views people as intuitive scientists who can flexibly create, evaluate, and modify representations of decision problems. We argue that without understanding how the relevant complex narratives (or indeed any representation, simple to complex) are themselves constructed, we also cannot know when and why people would rely on them to make choices.

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)

As the field of gender studies has diversified with queer theory and trans* studies gaining more ground, it is time to take stock of these developments and to ask what they entail for the study of narrative. Feminist narratology is now a well-established field, but what does it mean to combine narrative theory and narrative studies with queer and trans* concerns? Comprehensive studies on the interface between LGBTQ+ studies and narrative theory are surprisingly (...) rare. This introduction looks into the difficulties but also the affordances of joining queer and narrative theory. While narrative has for a long time been viewed with suspicion in queer theory, more recent research, particularly within queer formalism, has thrown doubt on some of the premises on which this queer criticism of narrative rests, opening up a promising field of investigation for narrative theory and queer or trans* studies alike. This chapter also traces the most important developments in recent research on the intersection of narrative theory and queer, trans*, and gender studies that the authors of this handbook work and (critically) engage with in their individual chapters. (shrink)

Hannah Arendt is often--but somehow not unfailingly--credited, together with Alasdair MacIntyre, Paul Ricoeur and Charles Taylor, as being one of the central voices in the philosophical turn to the concept of narrative of a generation or more ago. Some have even cited her 1958 The Human Condition as providing a particular impetus for later accounts of narrative. This essay examines what contemporary philosophical accounts of narrative might still owe Arendt, exploring her approach to narrative in (...) class='Hi'>theory as well as practice. The first part looks at Arendt's use of philosophical sources from the tradition--Aristotle, Augustine and Hegel--with an eye to how her appropriation of these figures differs from that of contemporary philosophers of narrative. Three of Arendt's typically bold and rich claims about narrative action emerge as important: the notion of action as revealing an agent's own daimon: the condition that such action be revealable within a world or shared public space which has resilience yet vulnerability; and the potential for agents revealed within such a world to discover some form of narrative rebirth in their efforts at storytelling. The second section examines the extent to which Arendt herself allowed those claims to be tested and thought through in her own attempts (in Men in Dark Times, Rahel Varnhagen and elsewhere) at constructing biographical narratives. (shrink)

This paper examines recovery from a narrative perspective. Narrativity theory is the view that life takes the form of a story. Human experience happens within an ongoing storyline. My aim here is not to indulge in disclosure or claim that I developed otherwise unattainable insight through the course of my illness. We will instead be looking at how the process of recovery brings on opportunities for moral understanding in the form of insights into the nature of suffering, increased (...) sensitivity to what is going around you, and appreciation of how certain things can affect the whole of life. (shrink)

. . . I should like to review and summarize the preceding general points: 1. For any particular narrative, there is no single basically basic story subsisting beneath it but, rather, an unlimited number of other narratives that can be constructed in response to it or perceived as related to it.2. Among the narratives that can be constructed in response to a given narrative are not only those that we commonly refer to as "versions" of it but also (...) those retellings that we call "plot summaries," "interpretations," and, sometimes, "basic stories." None of these retellings, however, is more absolutely basic than any of the others.3. For any given narrative, there are always multiple basic stories that can be constructed in response to it because basic-ness is always arrived at by the exercise of some set of operations, in accord with some set of principles, that reflect some set of interests, all of which are, by nature, variable and thus multiple. Whenever we start to cut back, peel off, strip away, lay bare, and so forth, we always do so in accord with certain assumptions and purposes which, in turn, create hierarchies of relevance and centrality; and it is in terms of these hierarchies that we will distinguish certain elements and relations as being central or peripheral, more important or less important, and more basic or less basic.4. The form and feature of any "version" of a narrative will be a function of, among other things, the particular motives that elicited it and the particular interests and functions it was designed to serve. Some versions, such as translation and transcriptions, may be constructed in order to preserve and transmit a culturally valued verbal structure. Others, such as adaptations and abridgements, may be constructed in order to amuse or instruct a specific audience. And some versions, such as "interpretations," "plot summaries," and "basic stories," may be constructed in order to advance the objectives of a particular discipline, such as literary history, folklore, psychiatry—or, of course, narratology. None of these latter versions, however, is any less motivated or, accordingly, formally contingent than any of the other versions constructed to serve other interests or functions. Barbara Herrnstein Smith is professor of English and communications and the director of the Center for the Study of Art and Symbolic Behavior at the University of Pennsylvania, and the author of Poetic Closure and On the Margins of Discourse. "On the Margins of Discourse" was also contributed as an essay to Critical Inquiry in the June 1975 issue. Responses to the present essay are Nelson Goodman's "The Telling and the Told" and Seymour Chatman's "Reply to Barbara Herrnstein Smith". Both appear in the Summer 1981 issue of Critical Inquiry. (shrink)

T.S. Eliot's 1919 concept of the "objective correlative" has long served as the dominant framework for understanding the relationship between literary objects and emotional response. This paper argues that while Eliot's formulation represented a critical advance beyond pure expressionism, it remained fundamentally incomplete: a descriptive mechanism without predictive or engineering capacity. The Bulut Doctrine's Objective Projection (OP) methodology constitutes a structural break (Kuhnian paradigm shift) from the Eliotic tradition, replacing evocation-based aesthetics with a mathematically formalized, probabilistically convergent narrative physics. (...) We demonstrate that OP does not merely extend Eliot but operates within an entirely distinct epistemological register — transforming literary theory from a hermeneutic discipline into an applied physical science. Key contributions include the projS operator, the six-variable spatial-temporal matrix, Narrative Entropy (Sn), and the Universal Biological Interface (UBI) model of cross-cultural response convergence. (shrink)

The Issues at Issue: Heidegger declares metaphor to be a function of metaphysics. Ricoeur's tension theory of metaphor takes the understanding of metaphor beyond metaphysics. Ricoeur's theory of metaphor is a theory of metaphorical statement not of naming. The classical, lexical theory of metaphor focuses on a primary meaning of each metaphor. As such metaphor is merely ornamentation in language. What it names could more appropriately be accomplished in literal language. In contrast, metaphor is understood by (...) Ricoeur to be a semantic event made possible by three kinds of tensions. One may understand symbols to function with the same metaphorical tensions. In the case of symbols, however, these tensions function not at the level of the sentence but rather of the narrative. Metaphor and symbol both have an ‘ontological priority’ over other elements of discourse and experience. They ‘work’ because of the event character of both understanding and experience. Understanding and experience have event as their condition of possibility. Metaphor and symbol both have a ‘temporal priority’, as well, for they serve as the shock to think ‘more’. This can occur, however, because they are part of a circularity that is non-metaphysical, that is, the circularity of the event character of the Being-of beings. Hence, just as metaphors are always ‘larger’ than the sentence, so are symbols always ‘larger’ than the narrative. (shrink)

Education often relies on an implicit assumption that decisions are made rationally, and focuses on situations in which there are correct answers that can be known with certainty. The proposal that decision-making is often narrative, especially in contexts of radical uncertainty, suggests important changes to education practice and new questions for education research.

We propose extrapolating Conviction Narrative Theory (CNT) to clinical psychology and psychiatry. We demonstrate how CNT principles may benefit assessment, therapy, and possibly even modify public health views of neuropsychiatric disorders. Our commentary focuses on hoarding disorder as a model, elaborates on discrepancies in the scientific literature and suggests how the CNT may resolve them.

I am grateful for the responses from Serife Tekin and James Phillips to my paper (Lumsden 2013), for they allow me to clarify my position. Tekin (2013) accurately characterizes me as attempting to salvage the value of narrative theory without accepting the more stringent demands that have been required or implied, notably the necessity for personhood of a whole life narrative. She notes that I attempt to provide an alternative view of the unity of a person, to (...) the degree that there is that unity, by seeing a self as a bundle of narrative threads. She acknowledges my suggestion that the bundling involves connections at both conscious and unconscious levels. She says we are left with a problem, the .. (shrink)

Situating narrative: philosophical and theological context -- Ethical being: the storied self as moral agent -- Reconciled being: narrative and pardon -- Pedagogies of pardon in praxis -- Towards a narrative pedagogy of reconciliation -- Ricoeur's legacy: A Praxis of Peace.

We often turn to comforting stories to distract ourselves from emotionally painful truths. This paper explores a dark side of this tendency. I argue that the way false conspiracy theories are disseminated often involves packaging them as part of narratives that offer comforting alternatives to ugly truths. Furthermore, I argue that the way these narratives arouse and resolve our emotions can be part of what causes people to believe conspiracy theories. This account helps to bring out some general implications about (...) the power of narratives for misleading people into believing misinformation: I argue that narratives can cause intuitive judgements of truth that are especially difficult to dispel through critical reflection. I also sketch some practical implications for how the media can better frame their reports about both conspiracy theories and factual narratives. (shrink)

Introducing the combined perspectives of a cross-disciplinary approach can enhance the study of narrative in the college classroom. While cognitive psychologists have posited that theory of mind, or the functioning of a mirror mechanism to engage empathy, is more likely to occur through literary fiction than through popular fiction, the various iterations and episodes of Star Trek provide ways to experience empathy and respect for difference. To begin to explore the strange new worlds now available to us through (...) the fMRI and the research of neuroscientists, and to apply these ways of knowing to an analysis of narrative can contribute to an enriched understanding of how texts work as cognitive functions worthy of study as such. Further, a consideration of metaphor as a method of bridging differences can occur through an examination of examples from Star Trek. With these interpretive tools, we can introduce new modes of thinking about narrative and difference. (shrink)

In this paper we introduce narrative and hermeneutical perspectives to clinical ethics support services (CESS). We propose a threefold consideration of ‘theory’ and show how it is interwoven with ‘practice’ as we go along. First, we look at theory in its foundational role: in our case ‘narrative ethics’ and ‘philosophical hermeneutics’ provide a theoretical base for clinical ethics by focusing on human identities entangled in stories and on moral understanding as a dialogical process. Second, we consider (...) the role of theoretical notions in helping practitioners to understand their situation in clinical ethics practice, by using notions like ‘story’, ‘responsibility’, or ‘vulnerability’ to make explicit and explain their practical experience. Such theoretical notions help us to interpret clinical situations from an ethical perspective and to foster moral awareness of practitioners. And, thirdly, we examine how new theoretical concepts are developed by interpreting practice, using practice to form and improve our ethical theory. In this paper, we discuss this threefold use of theory in clinical ethics support services by reflecting on our own theoretical assumptions, methodological steps and practical experiences as ethicists, and by providing examples from our daily work. In doing so, we illustrate that theory and practice are interwoven, as theoretical understanding is dependent upon practical experience, and vice-versa. (shrink)

Claude Shannon's 1948 entropy formula H = −Σ pᵢ log pᵢ established the mathematical foundation of information theory, quantifying uncertainty in discrete symbol distributions within communication channels. This paper introduces Narrative Entropy (Sn), a formally distinct but epistemologically related metric developed within the Bulut Doctrine framework, which measures the dynamic accumulation of cognitive resistance and structural uncertainty across the temporal dimension of narrative experience. We demonstrate that while Sn draws its foundational intuition from Shannon's H, the two (...) metrics differ across six critical dimensions: domain, temporal structure, measurement object, operational unit, directionality, and engineering function. Sn is not an application of Shannon entropy to literature — it is a structurally independent metric that addresses phenomena Shannon's framework was not designed to capture. We further demonstrate the relationship between Sn, Narrative Gravity (Ng), and biophysical reader output, and provide benchmark calculations for Crime and Punishment, Moby Dick, and Pulp Fiction. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Fictions of Discourse: Reading Narrative TheoryCarol S. GouldFictions of Discourse: Reading Narrative Theory, by Patrick O’Neill; x & 188 pp. Toronto: University of Toronto Press, 1994, $35.00 paper.Patrick O’Neill serves up a rich stew of narratology, reader-reception theory, and a postmodern theory of truth. Many narratologists have taken the postmodern turn, while others have pursued a reception-theory route. Either path requires careful (...) navigation, and the combined one even more so. Classical narratology focuses on the textual structure with its network of various narratological relations. Reader-reception theory assigns to the reader a leading role in the creation of the text. O’Neill in various ways challenges or at least reformulates the notions of both text and reader, endorsing as he does a postmodern theory of truth which he terms the “Zeno Principle.” This principle is that “narrative discourse is always potentially subversive of the story it would seem to reconstruct” (p. 7). The Zeno Principle is a version of what he understands to be the Heisenberg Principle, namely that “discourse (including theoretical discourse) at least potentially subverts the story it sets out to narrate, and ultimately itself also” (p. 9). O’Neill contends that his narratological project will support the Zeno Principle. If successful, though, his endeavor will of course meet the usual self-destructive fate of such theories. But its self-annihilation seems not to discourage O’Neill, who finds all theories essentially “ludic.” O’Neill’s undertaking is ambitious; I shall focus on just a few of his moves.First of all, it is no surprise to hear that postmodernism is not new nor even that it has a classical pedigree. But it will probably astound—not to say sadden—the reader to see O’Neill locate its origins in the paradoxes of Zeno—the fifth-century Eleatic, the logician so well known for defending the epistemic primacy of reason, one of the uncontested intellectual progenitors of Plato, who remains the explicit target of Derridean fire. This is not simply a persnickety objection to O’Neill’s terminology, but a reflection on the broad implications he draws from his narratological investigations.Plato, working in the Eleatic (Zenoian) tradition, draws our attention to the perspectival nature of literature and would extend this to all empirical discourse. Any empirical narrative—history, biography, or literature—is in principle illusory because merely perspectival. Plato, true intellectual heir of Zeno, anticipates the narratological enterprise in this respect, while demonstrating [End Page 532] the exclusive epistemic integrity of logical thought. One finds this of course in his Republic, but nowhere are his narratological sympathies more evident than in the Symposium, with its many tiers of narration. He prefigures, then, the modern insight that all narrative is, in Wayne Booth’s terms, rhetoric and in narratological terms, focalized.If we grant with Zeno, Plato, and other friends of rationality that empirical discourse is perspectival or focalized, we can see that narrative must place us in some hypothetical vantage point: from another standpoint, the world looks different and assumes new contours and mood. Once we acknowledge that no one point of view is more privileged than another, our perceptions seem less stable. Lolita, for example, told from the viewpoint of the nymphet herself, would be a different story. Moreover, any narrative must be mediated by narrative perspective, and as O’Neill indicates, the narrative vantage point may not be that of the narrator or implied author. As he puts it, “Voice and vision... [may] derive from separate points of origin” (p. 84).In a sense, then, all empirical discourse is subversive. But does it follow that all theoretical discourse is therefore subversive? O’Neill scrutinizes fictional discourse, and helpfully so for us. But the perspectival nature of literary or empirical narrative hardly suffices to cast doubt on the notion of truth per se. The real Zeno Principle is the Platonic one that however arbitrarily empirical perspective might shift, rational intuition does not. If one wants to challenge that view, one must defend the Protagoras Principle, the true classical articulation of postmodernism. Aristotle, after all, wrestles with this in his Metaphysics rather than in his Poetics.O’Neill... (shrink)

Decision theory is a branch of economics concerned with how individuals make choices under conditions of uncertainty. The mathematical models developed in this field are generally accompanied by ‘psychological narratives,’ i.e. accounts of the psychological factors and processes that determine an individual’s choices under uncertainty. This paper makes three contributions. First, it reviews the psychological narratives associated with nine influential models developed since the late 1970s to supersede expected utility theory. Second, it examines the epistemological status of these (...) narratives, arguing that they draw from folk psychology and are best understood as as-if constructs. Third, it explores two main epistemic functions of psychological narratives: they serve as rhetorical devices that enhance a model’s perceived validity; more importantly, and despite their fictional nature, they provide explanations for choice-behavior phenomena. Recognizing this latter function requires abandoning the assumption that truth is a necessary condition for explanation. (shrink)

Theories and Narratives will interest all readers for whom the role of history in the understanding of contemporary civilizations is an essential issue.

The central claim of this paper is that narrative knowledge plays a central epistemic role in contemporary scientific practice, and most specifically in theoretical research in the exact sciences. Traditional history and philosophy of science regard physical theories primarily as mathematical constructs from which numerical predictions for phenomena can be obtained. While this view is not wrong, I believe that it is too limited and that, to appreciate the dynamics of knowledge construction in modern and contemporary science it is (...) helpful to regard theories and concepts not as abstract, disembodied structures, but rather as multi-medial constructs comprising, beside mathematical formulas, also verbal statements, images, procedures, numbers, diagrams or computer code. These diverse elements are connected to each other as parts of an overarching narrative which in scientific practice can be implemented in different versions fitting the specific needs of the moment. In this way, despite the diversities, and even incoherences of its various elements, the theoretical construct can mantain its epistemic unity in the perception of the relevant scientific community. In my paper I will discuss some of the premises of this claim and then present a brief, non-technical example of narrative knowledge in theoretical high energy physics: the concept of spontaneous symmetry breaking. (shrink)

Building on the account of a pattern-theory of self introduced by Shaun Gallagher, this article investigates the unique role of the narrative dimension of the self within the self-pattern. According to a pattern-theory, the self is constituted by a cluster of dimensions that interact with each other. A particular variation of this pattern constitutes a self. This article advances the argument that for selves who narrate, the narrative dimension of the self takes a special role that (...) cuts across the other dimensions. First, the pattern-theory of self is introduced and a conceptual and ethical argument for employing a pattern-theory is developed. Second, the distinct role of the narrative dimension of the self is analysed. Through the narrative dimension of the self, we engage in self-definition, integrate and connect the other dimensions of the self, make them intelligible, and ascribe personal meaning to them. And third, the narrator type of self is characterized. Organizing one’s experiences through a self-narrative changes the self. Narrators constitute a unified self, they can actively plan and lead a life and engage in forensic practices, and they integrate the subjective and objective nature of the self. (shrink)

The concept of personal identity is one of the most sensitive questions in Paul Ricoeur’s oeuvre. In this article we show what makes originality of Ricoeur’s conception of narrative identity by analyzing the way it is presented in Oneself as Another and by pointing out the difference between the ricoeurian concept and the concept of narrative identity, introduced by Alasdair MacIntyre. For this reason we would like to focus on the analysis of configuration and refiguration, studied by Ricoeur (...) in his oeuvre Time and Narrative. We would also include the notion of narrative identity into the conception of hermeneutics and demonstrate that the originality of the ricoerian concept is based on the possibilities offered by the theory of narration explicated in the debates with structuralism and literary theory. This sets the issue of subjectivity, in which the problematic of narrative identity is inscribed. This “philosophy of the first person” makes the key object of the second part of the research. The article shows how the self applies the narrative intrigue to his/her own life by identifying himself with a storyteller or with a character. A reader or a storyteller constructs his/her narrative identity so that the process of self-understanding becomes possible. (shrink)

A theory of musical narrative. An introduction to narrative analysis : Chopin's prelude in G major, op. 28, no. 3 ; Perspectives and critiques ; A theory of musical narrative : conceptual considerations ; A theory of musical narrative : analytical considerations ; Narrative and topic -- Archetypal narratives and phases. Romance narratives and Micznik's degrees of narrativity ; Tragic narratives : an extended analysis of Schubert, piano sonata in B flat major, (...) D. 960, first movement ; Ironic narratives : subtypes and phases ; Comic narratives and discursive strategies ; Summary and conclusion. (shrink)

In this paper, we examine the implications for psychiatry of the view that “we are narrative beings, fashioning our selves from the stuff of stories, locating our biographies and life projects in discursive webs of shared meaning.” We begin with the claim that narrative capacities, skills, practices, and specific content can contribute to the causes, course, and outcomes of psychopathology as well as to processes of coping, resilience, healing, and recovery. One consequence of this claim is that understanding (...) the human capacity to produce, think, and interact with others through narrative must play a central role in psychiatric theory, research and practice. To approach the interactions between cultural discursive formations, narrative practices, and neurobiological mechanisms in psychiatry, we propose an integrative cultural-ecosocial framework mobilizing the paradigms of enactment and embodiment in cognitive science, narrative theories of selfhood and personality, ecological systems theory in social science, and active inference approaches in computational neuroscience. (shrink)

Quantum technologies can be presented to the public with or without introducing a strange trait of quantum theory responsible for their non-classical efficiency. Traditionally the message was centered on the superposition principle, while entanglement and properties such as contextuality have been gaining ground recently. A less theoretical approach is focused on simple protocols that enable technological applications. It results in a pragmatic narrative built with the help of the resource paradigm and principle-based reconstructions. I discuss the advantages and (...) weaknesses of these methods. To illustrate the importance of new metaphors beyond the Schrödinger cat, I briefly describe a non-mathematical narrative about entanglement that conveys an idea of some of its unusual properties. If quantum technologists are to succeed in building trust in their work, they ought to provoke an aesthetic perception in the public commensurable with the mathematical beauty of quantum theory experienced by the physicist. The power of the narrative method lies in its capacity to do so. (shrink)

Marya Schechtman's The Constitution of Selves presented an impressive attempt to persuade those working on personal identity to give up mainstream positions and take on a narrative view instead. More recently, she has presented new arguments with a closely related aim. She attempts to convince us to give up the view of identity as a matter of psychological continuity, using Derek Parfit's story of the “Nineteenth Century Russian” as a central example in making the case against Parfit's own view, (...) and offers a form of narrative theory as a way out of the problem. In this paper I consider this new case, and argue that we should not be persuaded towards the narrative. (shrink)