For several decades, research on situated cognition and affectivity has neglected cases in which environmental features in the niche have a negative impact on agents’ cognitive and affective wellbeing. Recently, however, a new research cluster has emerged that explores how things, technologies, and organisational systems across corporate, healthcare, and educational sectors wrongfully harm certain kinds of agents. This article contributes to this research cluster by integrating work on negative niche construction, structural oppression, enculturation, and self-narration. It thereby offers a (...) new perspective on the negative, structurally oppressive impact of the socio-culturally shaped niche on enculturated self-narration. The main argument is that master plots, understood as narrative arrangements that dominate in the socio-culturally shaped niche, contribute to the structural oppression of enculturated self-narrators with systematically undermined socio-cultural identities. An analysis of the influence of pronatalist master plotting on enculturated self-narration serves to illustrate and strengthen the overall argument. (shrink)

Good storytellers reveal their characters’ ‘inner stories’, composed of subjective experiences like feelings, perceptions, and thoughts. In fiction, narrators can faithfully represent their main characters’ thoughts, using techniques like free indirect discourse. But perceptions are fundamentally different from thoughts in that they don’t have a linguistic form for the narrator to reproduce or mimic in a report. We argue that there is in fact a dedicated linguistic category, narrated perception, similar to but distinct from free indirect discourse, that allows narrators (...) to vividly represent perceptual experiences. We propose a discourse semantics analysis of this phenomenon, built on the idea that narrators combine narrated perception and free indirect discourse into coherent discourse segments to provide a more complete representation of a fictional character’s complex mental life. (shrink)

Legal probabilism is the view that juridical fact-finding should be modeled using Bayesian methods. One of the alternatives to it is the narration view, according to which instead we should conceptualize the process in terms of competing narrations of what happened. The goal of this paper is to develop a reconciliatory account, on which the narration view is construed from the Bayesian perspective within the framework of formal Bayesian epistemology.

Narratives produce the ties that bind us. They create community, eliminate contingency and anchor us in being. And yet in our contemporary information society, where everything has become arbitrary and random, storytelling becomes storyselling and narratives lose their binding force. Whereas narratives create community, storytelling brings forth only a fleeting community – the community of consumers. No amount of storytelling could recreate the fire around which humans gather to tell each other stories. That fire has long since burnt out. It (...) has been replaced by the digital screen, which separates people rather than bringing them together. Through storytelling, capitalism appropriates narrative: stories sell. They are no longer a medium of shared experience. The inflation of storytelling betrays a need to cope with contingency, but storytelling is unable to transform the information society back into a stable narrative community. Rather, storytelling as storyselling is a pathological phenomenon of our age. Byung-Chul Han, one of the most perceptive cultural theorists of contemporary society, dissects this crisis with exceptional insight and flair. (shrink)

For several decades, research on situated cognition and affectivity has neglected cases in which environmental features in the niche have a negative impact on agents’ cognitive and affective wellbeing. Recently, however, a new research cluster has emerged that explores how things, technologies, and organisational systems across corporate, healthcare, and educational sectors wrongfully harm certain kinds of agents. This article contributes to this research cluster by integrating work on negative niche construction, structural oppression, enculturation, and self-narration. It thereby offers a (...) new perspective on the negative, structurally oppressive impact of the socio-culturally shaped niche on enculturated self-narration. The main argument is that master plots, understood as narrative arrangements that dominate in the socio-culturally shaped niche, contribute to the structural oppression of enculturated self-narrators with systematically undermined socio-cultural identities. An analysis of the influence of pronatalist master plotting on enculturated self-narration serves to illustrate and strengthen the overall argument. (shrink)

Addiction involves a chronic deficit in self-governance that treatment aims to restore. We draw on our interviews with addicted people to argue that addiction is, in part, a problem of self-narrative change. Over time, agents come to strongly identify with the aspects of their self-narratives that are consistently verified by others. When addiction self-narratives become established, they shape the addicted person’s experience, plans, and expectations so that pathways to recovery appear implausible and feel alien. Therefore, the agent may prefer to (...) enact her disvalued self-narrative because at least it represents who she takes herself to be. To recover, the agent needs to conduct narrative work, adjusting her existing self-narrative so that it better supports recovery-directed narrative projections. Reducing cravings, managing withdrawals, increasing self-control, and developing goals are all important for recovery but those approaches will often be in vain if the influence of self-narrative is ignored. If our analysis is correct, addiction treatment will typically be more effective if it incorporates support for self-narrative change. (shrink)

Novels like Fight Club or American Psycho are said to be instances of unreliable narration: the first person narrator presents an evidently distorted picture of the fictional world. The film adaptations of these novels are likewise said to involve unreliable narration. I resist this extension of the term ‘unreliable narration’ to film. My argument for this rests on the observation that unreliable narration requires a personal narrator while film typically involves an impersonal narrator. The kind of (...) ambiguous story-telling that we find in literary fiction with unreliable narrators, where for certain descriptions it is unclear whether what we’re told is an accurate account of what’s happening in the story world or not, can instead be achieved by conventionalized filmmaking techniques for reporting the contents of mental states, like the point of view shot, but especially the more ambiguous blended perspective shot. (shrink)

Conceptions of evil have changed dramatically over time, and though humans continue to commit acts of cruelty against one another, today we possess a clearer, more moral way of analyzing them. In _Narrating Evil_, María Pía Lara explores what has changed in our understanding of evil, why the transformation matters, and how we can learn from this specific historical development. Drawing on Immanuel Kant's and Hannah Arendt's ideas about reflective judgment, Lara argues that narrative plays a key role in helping (...) societies acknowledge their pasts. Particular stories haunt our consciousness and lead to a kind of examination and dialogue that shape notions of morality. A powerful description of a crime can act as a filter, helping us to draw conclusions about what constitutes a moral wrong, and public debates over these narratives allow us to construct a more accurate picture of historical truth, leading to a better understanding of why such actions are possible. In building her argument, Lara considers Greek tragedies, Shakespeare's depictions of evil, Joseph Conrad's literary metaphors, and movies that portray human cruelty. Turning to such philosophers and writers as Jürgen Habermas, Walter Benjamin, Primo Levi, Giorgio Agamben, and Ariel Dorfman, Lara defines a reflexive relationship between an event, the narrative of the event, and the public reception of the narrative, and she proves that the stories of perpetrators and sufferers are always intertwined. The process of disclosure, debate, and the public fashioning of collective judgment are vital methods through which we make sense not only of new forms of cruelty but of past crimes as well. _Narrating Evil_ describes the steps of this process and why they are a crucial part of our attempt to build a different, more just world. (shrink)

It is widely held in theories of narrative that all works of literary narrative fiction include a narrator who fictionally tells the story. However, it is also granted that the personal qualities of a narrator may be more or less radically effaced. Recently, philosophers and film theorists have debated whether movies similarly involve implicit audio-visual narrators. Those who answer affirmatively allow that these cinematic narrators will be radically effaced. Their opponents deny that audio-visual narrators figure in the ontology of movies (...) at all, and many have argued that the ‘effaced’ literary narrator is an illusion as well. In this paper, I attempt to sort out the central issues that arise in these debates, defending the existence of effaced narrators in both literature and film. (shrink)

This chapter contains sections titled: Agency and Access to the World Speaking and Seeing Imitation Some Resources of Narration The Varieties of Narrative Imitation.

In “Movies, Narrative and Emotion” there is an attempt to suggest the ways in which a certain form of narrative organization, to which we can call “erotetic narration,” This can be co-ordinated with the emotional address of the motion picture in terms of what can be called “criterial prefocusing.” On this view, the primary way in which the emotions are engaged is character-directed, the protagonist’s goals providing grounds which generate the narrative questions that the movie goes on to answer.

The primary narrative problem of the analyst is, then, not how to tell a normative chronological life history; rather, it is how to tell the several histories of each analysis. From this vantage point, the event with which to start the model analytic narration is not the first occasion of thought—Freud's wish-fulfilling hallucination of the absent breast; instead, one should start from a narrative account of the psychoanalyst's retelling of something told by an analysand and the analysand's response to (...) that narrative transformation. In the narration of this moment of dialogue lies the structure of the analytic past, present, and future. It is from this beginning that the accounts of early infantile development are constructed. Those traditional developmental accounts, over which analysts labored so hard, may now be seen in a new light: less as positivistic sets of factual findings about mental development and more as hermeneutically filled-in narrative structures. The narrative structures that have been adopted control the telling of the events of the analysis, including the many tellings and retellings of the analysand's life history. The time is always present. The event is always an outgoing dialogue. Roy Schafer is clinical professor of psychology and psychiatry at Cornell University Medical College, adjunct professor of psychology at New York University, and a supervising and training analyst at Columbia University's Center for Psychoanalytic Training and Research. He is the author of A New Language for Psychoanalysis, Language and Insight, and Narrative Actions in Psychoanalysis: Narratives of Space and Narratives of Time. (shrink)

Autobiographical interviews are a key tool in various social science disciplines. Autobiographical narratives, the product of these interviews, suggest that individuals use self-narration to construct their identity. In addition to remembering, interviewees often engage in parallel additional mental tasks (AMTs), such as action evaluation, counterfactual imagination, and value expression. Although research on autobiographical interviews has highlighted the occurrence of these AMTs, the cognitive processes behind them remain underexplored. In this article, I draw on the theoretical framework of Simulation Theory, (...) which is influential in the psychology and philosophy of memory, to examine the nature of AMTs and their role in identity construction. According to simulationist accounts, remembering personal past events relies on mental simulation as a general mechanism for episodic construction. I argue that this mechanism not only enables recalling information about the past but also supports AMTs that help achieve the agent’s current goals. In autobiographical interviews, the coordinated use of recalling information about the past and engaging in AMTs serves to construct identity through self-narration. AMTs play a key role in reinforcing or altering beliefs about the self by tapping into the malleability of memory and the need for coherence between memories and self-conceptions. (shrink)

Now in its third edition, _Narration and Knowledge_ is a classic work exploring the nature of historical knowledge and its reliance on narrative. Analytical philosopher Arthur C. Danto introduces the concept of "narrative sentences," in which an event is described with reference to later events and discusses why such sentences cannot be understood until the later event happens. Danto compares narrative and scientific explanation and explores the legitimacy of historical laws. He also argues that history is an autonomous and humanist (...) discipline incapable of being reduced to scientific descriptions. Lydia Goehr's new introduction illustrates Danto's main arguments by questioning her very role, first, as an introducer of a book that has not yet been read by readers and, second, as an interpreter of a book written forty years ago. Frank Ankersmit's conclusion revisits the initial impact of the publication of _Narration and Knowledge_ and considers its enduring legacy. (shrink)

Now in its third edition, _Narration and Knowledge_ is a classic work exploring the nature of historical knowledge and its reliance on narrative. Analytical philosopher Arthur C. Danto introduces the concept of "narrative sentences," in which an event is described with reference to later events and discusses why such sentences cannot be understood until the later event happens. Danto compares narrative and scientific explanation and explores the legitimacy of historical laws. He also argues that history is an autonomous and humanist (...) discipline incapable of being reduced to scientific descriptions. Lydia Goehr's new introduction illustrates Danto's main arguments by questioning her very role, first, as an introducer of a book that has not yet been read by readers and, second, as an interpreter of a book written forty years ago. Frank Ankersmit's conclusion revisits the initial impact of the publication of _Narration and Knowledge_ and considers its enduring legacy. (shrink)

Historical narration is a system of mental operations defining the field of historical consciousness. It is poetic in that it is the performance of creative activity by the human mind in the process of historical thinking. The purpose of historical narration is to make sense of the experience of time in order to orient practical life in the course of time. Three elements distinguish an historical narration from other forms of narration: an historical narration is (...) tied to the medium of memory; it organizes the three dimensions of time in a concept of continuity; and it establishes the identity of its authors and listeners. In order to develop the concepts of continuity and the stability of identity, an historical narration must fulfill four functions: affirmation, regularity, negation, and transformation. Four types of historical narration correspond to these four functions: traditional, exemplary, critical, and genetical. There is a natural progression through these four types of narration, with critical narration serving as a catalyst. The four types are present in all historical texts, one dominating, the others secondary. Modern historical studies are unique in being informed by theoretically and methodologically organized empirical research. The articulation of theories in history means a progress in reasoning. This affects the role of the concept of continuity of time, which is no longer a given and has become a subject of discussion. (shrink)

Postcolonial criticism has repeatedly debunked the ostensible neutrality of the ‘world’ of world literature by pointing out that and how the contemporary world – whether conceived in terms of cosmopolitan conviviality or neoliberal globalization – cannot be understood without recourse to the worldly event of Europe’s colonial expansion. While we deem this critical perspective indispensable, we simultaneously maintain that to reduce ‘the world’ to the world-making impact of capital, colonialism, and patriarchy paints an overly deterministic picture that runs the risk (...) of unwittingly reproducing precisely that dominant ‘oneworldness’ that it aims to critique. Moreover, the mere potentiality of alternative modes of world-making tends to disappear in such a perspective so that the only remaining option to think beyond oneworldness resides in the singularity claim. This insistence on singularity, however, leaves the relatedness of the single units massively underdetermined or denies it altogether. By contrast, we locate world literature in the conflicted space between the imperial imposition of a hierarchically stratified world (to which, as hegemonic forces tell us, ‘there is no alternative’) and the unrealized ‘undivided world’ that multiple minor cosmopolitan projects yet have to win. It is precisely the tension between these ‘two worlds’ that brings into view the crucial centrality not of the nodes in their alleged singularity but their specific relatedness to each other, that both impedes and energizes world literature today and renders it ineluctably postcolonial. (shrink)

Dominant psychiatric explanations, i.e., explanations of why mental disorders or specific collections of psychiatric symptoms occur that are popular and widely adopted in a given community or society, can influence the self-narratives of people with psychiatric diagnoses. In this article, I resort to the literature on _master narratives_ to systematically examine how dominant psychiatric explanations shape the self-narratives of people with psychiatric diagnoses and how these self-narratives are valued and perceived. To illustrate my claims, I use biomedical explanations of depression (...) as a case study. When we experience mental ill-health, we may formulate a _psychiatric self-narrative thread_ to understand these experiences, do justice to the changes in our embodied and affective experiences, and make our experiences understandable to others. In daily life, psychiatric explanations are frequently extended into _psychiatric explanatory narratives_ that support claims about the lives of people with psychiatric diagnoses. The explanatory narratives of dominant psychiatric explanations can be characterized as master narratives that shape psychiatric self-narrative threads and how we and others value and perceive them. This characterization provides new insights into the relationship between dominant psychiatric explanatory narratives and two narrative values: the coherence of self-narratives and our ability to imagine possibilities for reducing our mental suffering. Hence, this article sheds new light on how dominant psychiatric explanations in general, and biomedical explanations of depression specifically, influence self-understanding. (shrink)

Byung-Chul Han’s critique of contemporary society is based on a Heideggerian understanding of the history of philosophy. This paper claims that Han’s account takes the shape of a historiographical genre that Rorty calls Geistesgeschichte, characterized by establishing a narrative structure. It is argued that this narrative structure is inherently problematic when accounting for the history of philosophy, for it incurs in an instrumental use of the negative: the very issue Han attributes to the metaphysics of identity that, according to Heidegger, (...) constitutes the bedrock of Western thought. (shrink)

In this article, we suggest that bereavement can produce a crisis of narration: a situation where the bereaved individual needs to narrativize their grieving experience but cannot find suitable narrative resources to do so. We then argue that songwriting can provide effective self-narrative means to handle such a crisis, not only because it addresses the thematic contents of grief—e.g., suffering or longing—but also because it enables the songwriter to find fitting aesthetic form for their ongoing experience. Relatedly, we point (...) towards a critical reconsideration of the functions that narratives have been suggested to perform in relation to grieving. To substantiate our overall proposal, we present detailed case studies of two albums—or records of grieving—that can be seen as direct self-narrative responses to bereavement: Phil Elverum’s A Crow Looked at Me and Nick Cave’s Ghosteen. In focusing not only on the content of these two lyrical narratives but also on their distinctive form and delivery, we highlight how a shift in musical-lyrical style can itself mirror and express the experience of grieving and negotiate its accompanying crisis of narration. We submit that, whereas Elverum’s songwriting functioned to express and ‘exorcise’ the essential brutality of his wife’s death, Cave’s songs enabled him to create a ‘home’ in which to reconnect with his son. Overall, we maintain that the two cases serve as noteworthy exemplars of what self-narrative practices can do in grief and as such open up valuable conceptual space for further philosophical investigations into the matter. (shrink)

ABSTRACT In this comment, I argue that transformative experiences such as experiences of grief often imply a break in one's coherent, non-fictional and biographical narratives and practical identities. The nature of these breaks is of a certain kind, as they interrupt even the process of narration. To insist that the process of narration as well as the narratives themselves belong to one and the same process of adjustment in transformative experiences such as grief might overlook the importance of (...) such breaks, namely that the contain a moment of refusal and revolting against mourning. The tension involved in such breaks might not allow to be circumscribed into narratives nor do they fit into the process of narration as a destabilizing moment; the breaks insist on the incomprehensibility of each loss and they remain part of what it means to survive and to undergo transformative experiences. (shrink)

The Sufyānī narration, which is also referred in some studies carried out today, is mentioned in the early Shiite and Sunnī sources. The anticipated savior perception of the period has an important place in understanding the Sufyānī narrations in the emergence process of which political and sectarian events were effective. Narrations stating that the Mahdī named Muḥammad, one of the descendants of the Prophet Muḥammad (pbuh), would appear in the end of times and establish justice by bringing order to (...) the world where oppression, injustice and inequity have spread, were effective in the political and social life after the Prophet (pbuh). The emergence of the Sufyānī narrations, whose intellectual infrastructure was constituted by the expected Mahdī perception that is effective in the society, was the result of the political conflicts of the period. The death of Muʻāwiya ibn Yazīd (d. 64/684), the third Caliph of the Umayyad State, without leaving a crown behind caused a political crisis. The cousin of the Muʻāwiya II, Marwān bin al-Ḥakam, the experienced politician who turned this moment of crisis into an opportunity and who was from the same dynasty but from a different family, took over the administration and thus the sultanate continued. Although the reign continued from the sons of Umayyad, the administration passed from sons of Sufyān to the sons of Marwān, who were from the same dynasty. This situation caused discomfort in Sufyānīs. Thus, Muʻāwiya II's brother Khālid ibn Yazīd, whose right of administration was seized from him, with the intention of gaining his lost reputation in the society and turning the pessimism towards his family into hope and desire, has been claimed to spread the savior Sufyānī narrations expected from the sons of Sufyān, parallel to the Mahdī narrations expected from the sons of Alī, which was influential in the society. Thus, the Sufyānī came to be expected like the expected Mahdī, who was influential in society and exploited by the Shiite sects in their own belief systems. The rebellions carried out by the sons of Sufyān against the administration in the 2nd century hijrī and afterwards were conceived as the appearance of the Sufyānī expected by the society and the person who led the rebellion was described as Sufyānī. The most important of these rebellions is the revolt of ʻAlī ibn Abdullah ibn Khālid nicknamed Abū ʻAmayṭar, formed by the coalition of sons of ʻAlī and sons of Sufyān who descend from the sons of Umayya. Abū ʻAmayṭar, who is considered to be the Sufyānī and some sections of whose life constitute a source for many narrations on the Sufyānī, declared his caliphate during the period of Abbasī Caliph al-Amīn (d. 198/813) and called for allegiance to himself. The announcement of his caliphate was considered by his supporters as the expected savior. The period of Abū ʻAmayṭar and the sayings about him are extremely important in terms of presenting the expected savior perception in the society, the Sufyānī understanding and the date of his emergence. Sections from Abū ʻAmayṭar's life reflected in the narrations about the Sufyānī in many Shiite and Sunnī sources. In this article, it is tried to examine the emergence of the Sufyānī narrations, its development and particularly its transformation within the Shiite sect, in a detailed manner and especially based on political and sectarian events of the early period. (shrink)

In this paper, I examine how an organization narratively constructs its prototypical disabled employee. Data comprise public narratives of the Government of India, the country’s largest employer of disabled persons. Narratives during 2008–2016 were considered as this timespan witnessed the design of inclusive legislation that emphasized defining disabled persons and their entitlements. Findings indicate that the label of “disadvantage” was consistently used to portray the target employee. Alongside other narrative material suggesting, for example that the target employee was someone who (...) required employment assistance, this label was supplied to external audiences to convert them into potential partners. This supply of narrative material further reinforced the portrayal of the target employee. Consistent use of this expansive label subsumed changing definitions of who is a disabled person, allowed for aggregations with diverse disadvantaged collectives, and accommodated changes in employment entitlements and ecosystem partners, thereby allowing the reading of change in stable narratives. The contributions of this paper lie in highlighting how the consistent use of an expansive label can cast narrative stability and change as complementary, and in suggesting that narrating a prototypical employee entails shaping the setting outside the employing organization toward employee categorization. (shrink)

Fallgeschichten werden seit dem 18. Jahrhundert zunehmend genutzt, um juristisches, psychologisches und medizinisches Wissen einer grösseren Öffentlichkeit zu vermitteln. In den letzten zehn Jahren haben sie auch in den Geistes- und Sozialwissenschaften mehr Aufmerksamkeit erfahren. Die Diskussion über paradigmatische Fälle in diesem Band zielt darauf ab, Fallgeschichten in ihrer Funktion als besonders anschauliche oder lehrreiche Beispiele in verschiedenen historischen Kontexten zu untersuchen und zu vergleichen. Die in diesem Heft versammelten Texte gehen der Frage nach, wie Fälle dazu beitragen, Debatten zu (...) verdichten und Entwicklungen erzählbar zu machen, wie sie über den Einzelfall hinausgehendes Wissen generieren und so paradigmatischen Status erlangen. Neben konzeptuellen Gesichtspunkten widmen sich die Beiträge mehreren Forschungsfeldern, darunter der Rechts- und Medizingeschichte, der Geschichte der Geschichtsschreibung, literarischen Fällen, den Sozialwissenschaften und der Technikgeschichte. (shrink)

Literary narratology has rightly devoted much attention to analysing the source(s) of verbal information about the story world, usually discussed under the label “narration”, and to any agent(s) that present(s) non-verbalized perspectives on it, usually discussed under the label “focalization”. Assessing the identity of narrators and focalizers is crucial for understanding what is going on in the story world. Which narrative agent is in charge? Is the narration and/or focalization layered? If the latter, is there any “colouring” by (...) the higher-level narrative agent of anything said, thought, or experienced by the lower-level agent? Is the information provided trustworthy? Nuanced? Prejudiced? Narration and focalization have supra-medial as well as medium-specific dimensions. Over the past years, the issue of how these concepts function in the medium of comics, which combines visuals and language, has begun to be systematically addressed. This paper aims to show how the visual mode can, on its own or combined with the written-language mode, signal the sources of narration, focalization, and joint narration-and-focalization, as well as distinguish between different levels at which these take place. (shrink)

In his book The Opacity of Narrative, Peter Lamarque criticizes a number of myths associated with narrative, notably that objects and events are created by the narratives that describe them. This article argues that such a critique is justified, but that it is necessary to reconsider his arguments, in particular the concept of narrative opacity, i.e. the idea that we see what is described in the description of it. Following Vincent Descombes’ analysis, we focus on what might be called the (...) “object of the narrative” and the identity of characters. (shrink)

This essay engages the work of Italian feminist philosopher Adriana Cavarero and her concept of the narratable self. Her relational humanism, rooted in our exposure to others, offers an ontology of uniqueness whose critique of abstraction, masculinism, and identity politics still resonates today where the meaning of a unique “you” is negotiated in embodied exchanges that may offer care or wounds. Cavarero develops an altruistic ethics that cultivates this humanism. I argue that her work should be extended to better capture (...) the political purchase of the narratable self that interacts dynamically and often ambiguously with the “we” of collective politics. Putting her work into conversation with the nineteenth‐century abolitionist and women's rights advocate Sojourner Truth, I suggest that Cavarero's work illuminates Truth as a philosopher of the narratable self. Moreover, Truth's work extends Cavarero's concerns with exposure that may do violence or offer care by making explicit the challenges of narration in the context of inequality, especially in terms of race and class. Exposure as an ontological and phenomenological condition then needs to take account of a broader publicity of textual, individual, and collective exposure to others to develop the critical, ethical, and political purchase it offers. (shrink)

The theoretical debate on the nature of narrative has been mainly concerned with literary narratives, whereas forms of non-literary and especially pictorial narrativity have been somewhat neglected. In this paper, however, I shall discuss narrativity specifically with regard to pictorial objects in order to clarify how pictorial storytelling may be based on the activation of mentally stored action and scene schemas. Approaches from cognitive psychology, such as the work of Schank, Roger C. & Robert P. Abelson. 1977. Scripts, plans, goals (...) and understanding. Hillsdale, NJ: Lawrence Erlbaum; Mandler, Jean Matter. 1984. Stories, scripts, and scenes: Aspects of schema theory. London/hillsdale, NJ: Lawrence Erlbaum; Schank, Roger C. 1995. Tell me a story: Narrative and intelligence. Evanston, IL: Northwestern University Press, suggest that cognition crucially depends on the storage and retrieval of action scripts or schemata, that is, narrative structures, which may occur at various levels of abstraction. These schemas incorporate generalized knowledge about event sequences, such as the order in which specific events will take place; causal, enabling, or conventionalized relations between these events, and what kind of events occur in certain action sequences. There also are scene schemas that are characterized by spatial rather than temporal relations. Further kinds of schemas seem also to play a decisive role. Drawing upon considerations from schema and script theory, I will focus on some concrete examples of pictorial narration, more specifically depictions of the Annunciation of the Virgin Mary, where narrative schema structures become involved and, indeed, the comprehensibility of the pictures as such presuppose mental script representations. (shrink)

Radical cities have historically been hotbeds of transformative paradigms, political changes, activism, and social movements, and have given rise to visionary ideas, utopian projects, revolutionary ideologies, and debates. These cities have served as incubators for innovative ideas, idealistic projects, revolutionary philosophies, and lively debates. The streets, squares, and public spaces of radical cities have been the backdrop for protests, uprisings, and social movements that have had both local and global significance. This research project aims to explore and reimagine radical cities (...) and urban activism using a variety of visual and collaborative pedagogical approaches. This project will study and categorize these cities through comparative case studies from different regions, including North America, and Latin America, and beyond, in order to better understand and interpret pivotal societal transitions. (shrink)

No Uma narrativa histórica das heresias e de sua punição Hobbes retrata as disputas de poder pelos líderes cristãos e seu apoio imperial romano para o estabelecimento de uma ortodoxia. Ele procura ressaltar o caráter relativo do que é herege por meio do direito soberano não só nos primeiros séculos do triunfo do cristianismo, mas em seus dias. A questão tem forte impacto sobre a sua própria vida, já que os pontos levantados tocam nas acusações perenes de ateísmo que ele (...) procurou dissolver dado o seu materialismo radical e suas polêmicas contra as tentativas dos poderes eclesiásticos de subverterem a soberania civil. (shrink)

This paper studies emotional inferencing triggered by emotion terms using Pragma-Dialectics and the Argumentum Model of Topics. The corpus, in French, is an excerpt of a video-recorded testimony in which a middle school teacher evokes her experience of being in class the day after the Charlie Hebdo attack, thus presenting a case of argumentation in context. The analysis focuses on the argumentative structure and on the rhetorical strategies that trigger emotional inferencing. The emotional inferencing derives from a Locus of Ontological (...) Implication, which links a situation and an emotion, while the culture-bound elements tend to be part of the endoxon. (shrink)

C’est un acquis de la philosophie de Ricœur : il y a entre l’identité narrative, par laquelle le soi se donne à lui-même une consistance dans le temps, et la question éthico-morale1, dévoilant un soi responsable face à autrui, des liens avérés. Dès Temps et récit, les limites de la notion d’identité narrative coïncident ainsi avec...

What is guilt and how can it be described? With the help of Kierkegaard, Arendt and Ricœur, Lina Hildebrandt-Wackwitz interprets guilt as an existentially stressful experience. In doing so, she shows that a narrative processing of one's own experience of guilt meets the human need for justification in a particularly concise way.