Epistemologists of testimony have focused almost exclusively on the epistemic dynamics of simple testimony. We do sometimes testify by ways of simple, single sentence assertions. But much of our testimony is narratively structured. I argue that narrative testimony gives rise to a form of epistemic dependence that is far richer and more far reaching than the epistemic dependence characteristic of simple testimony.

Models of discourse and narration elaborated within the classical compositional framework have been characterized as bottom-up models, according to which discourse analysis proceeds incrementally, from phrase and sentence local meaning to discourse global meaning. In this paper we will argue against these models. Assuming as a case study the issue of discourse coherence, we suggest that the assessment of coherence is a top-down process, in which the construction of a situational interpretation at the global meaning level guides local meaning analysis. (...) In support of our hypothesis, we explore the role of executive functions (brain functions involved in planning and organization of goal-oriented behaviors) in coherence’s establishment, discussing the results of several studies on narrative abilities of patients with brain injuries. We suggest that, compared to other models of discourse processing focused on comprehension, our model is a viable candidate for an integrated account of discourse comprehension and production. (shrink)

How do people learn to talk about the causal and temporal relations between events, and the motivation behind why people do what they do? The narrative practice hypothesis of Hutto and Gallagher holds that children are exposed to narratives that provide training for understanding and expressing reasons for why people behave as they do. In this context, we have recently developed a model of narrative processing where a structured model of the developing situation is built up from experienced (...) events, and enriched by sentences in a narrative that describe event meanings. The main interest is to develop a proof of concept for how narrative can be used to structure, organize and describe experience. Narrative sentences describe events, and they also define temporal and causal relations between events. These relations are specified by a class of narrative function words, including “because, before, after, first, finally.” The current research develops a proof of concept that by observing how people describe social events, a developmental robotic system can begin to acquire early knowledge of how to explain the reasons for events. We collect data from naïve subjects who use narrative function words to describe simple scenes of human-robot interaction, and then employ algorithms for extracting the statistical structure of how narrative function words link events in the situation model. By using these statistical regularities, the robot can thus learn from human experience about how to properly employ in question-answering dialogues with the human, and in generating canonical narratives for new experiences. The behavior of the system is demonstrated over several behavioral interactions, and associated narrative interaction sessions, while a more formal extended evaluation and user study will be the subject of future research. Clearly this is far removed from the power of the full blown narrative practice capability, but it provides a first step in the development of an experimental infrastructure for the study of socially situated narrative practice in human-robot interaction. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Narrative Ontology by Axel HutterFrank SchalowHUTTER, Axel. Narrative Ontology. Translated by Aaron Shoichet. Cambridge: Polity Press, 2022. xiii + 296 pp. Cloth $69.95; paper, $26.95Where postmodernism has dominated the language of contemporary philosophy, there is a need to develop an alternative discourse to address perennial philosophical issues. In Narrative Ontology, Axel Hutter proceeds along this path by introducing narration or a form of storytelling to (...) reinscribe "the three ideas that have belonged since time immemorial to the heart of philosophical reflection: freedom, God and immortality." Hutter's defense of his thesis is twofold. First, he distinguishes narration as a temporal enactment embodied in telling a story, the scope of which is sufficiently universal as to found a new understanding of history, its alpha and omega. Second, he appeals to the biblical account of the tribulations of Jacob and Joseph as retold in the narrative style of Thomas Mann's novel Joseph and His Brothers. "The first reason a philosophical enquiry seeks to connect with Thomas Mann is that he himself accommodates a reciprocal illumination of philosophy and literature by situating his own way of thinking and working in explicit proximity to philosophy." "The second reason this philosophical enquiry seeks to connect with Thomas Mann is that he accommodates a narrative ontology of meaning, by contemplating, in his way, the same fundamental question."Along with an introduction, Hutter divides his book into three parts. In Part One ("The Stories of Jacob"), Hutter undertakes a precise explication of Mann's novel, in order to illustrate how ontology can be reconstituted as a narrative event that redefines "being" as a foundational act of history. "Jacob's sentences give expression to the hope that God can preserved the possibility of the future even if it seems to be destroyed in the fire of death." Form (that is, the narrative style) and content (that is, the interwoven meanings of the biblical text of Jacob as told and retold) are united. "This characterizes how Thomas Mann reads the original text.... The manner of his reading is articulated, in fact, in the Joseph novel itself.... Thus, a complex intertwining of narrative levels of meanings emerges: the inner meaning of the original story consists in a narrative ontology in which being is understood—in a sense that is still in need of elucidation—narratively and historically: as (hi)story. For an adequate understanding, this original story is re-narrated by Thomas Mann himself with the explicit intention of raising the original meaning of the story, its narrative ontology, clearly into consciousness."In Part Two ("Time and Meaning"), Hutter explores the thematic and methodological implications of narration as an attempt to infuse meaning into history and, conversely, through its own self-illustration, to chart the course of what is historical, that is, the transmission of future [End Page 143] understanding through the recovery of the past. Thus, storytelling renders history concrete, and, reciprocally, history challenges the narrator to plumb the depths of its greatest mysteries. According to Hutter, the Joseph novel embodies Mann's effort to meet this challenge. Storytelling is a way of preserving the past, but only under the condition of welcoming the promise of the future. "Yet the story that the Joseph novel narrates concretely is the story of Abraham and his blessing that is handed down to his descendants. In the peculiarly timeless omnipresence of this story, the tradition of the figure of Abraham is joined with the prophecy of the blessing that is not only promised to Abraham but to all his heirs."In Part Three ("The Stories of Joseph"), Hutter examines the dynamic of conversion or the transformative movement from self-love to compassion. He appeals to these spiritual elements to check the nihilistic tendency to exalt the individual both as the center of freedom and as the ground of social relations. Another kind of bond is necessary to overcome the abyss of meaninglessness, which is prefigured in ancient times and becomes most evident today in postmetaphysical forms of nihilism. "The 'whole theology' of the Joseph novel revolves around the Abrahamic covenant between God and human being—a covenant that, as already stated, implies a theory of... (shrink)

Towards the end of Percy Bysshe Shelley’s fragment ‘The Triumph of Life’ there are some famous lines which raise most of the questions that will concern me in this essay. Never mind, for the moment, the context: the lines I have in mind are these: “I rose; and, bending at her sweet command, Touched with faint lips the cup she raised, And suddenly my brain became as sand “Where the first wave had more than half erased The track of deer (...) on desert Labrador, Whilst the fierce wolf from which they fled amazed “Leaves his stamp visibly upon the shore Until the second bursts—so on my sight Burst a new Vision never seen before.—1[…]Two kinds of things are happening here which I want to point out. The first is that even as the poem is attempting to represent the mind as passive and the experience of the mind as an empty succession of events, it is also making a quite contrary attempt to represent the mind as active and the succession as a structure. The lines dramatise how a play of mental events, as they are represented in language, may be reprocessed in such a way that some of them come to be classified as interruptions or breaks in the otherwise meaningful sequence composed by the others. As my first paraphrase suggested, it seems to make sense to recast Shelley’s narrative into the story of deer chased by a wolf, a story which is then interrupted by the wave which bursts on the shore and which threatens the coherence of the story by threatening to efface all sin that the deer have passed across the beach, have crossed the mind. 1. Percy Bysshe Shelley, ‘The Triumph of Life,’ in Shelley’s Poetry and Prose, ed. Donald H. Reiman and Sharon B. Powers , II. 403-11. The most illuminating reading of these lines is Paul de Man’s in The Rhetoric of Romanticism , pp. 99-100. John Barrell is professor of English at the University of Sussex and author of a number of books on literature and the visual arts, most recently Poetry, Language and Politics . The Infection of Thomas De Quincey and The Birth of Pandora will be published next year. (shrink)

This project continues our interdisciplinary research into computational and cognitive aspects of narrative comprehension. Our ultimate goal is the development of a computational theory of how humans understand narrative texts. The theory will be informed by joint research from the viewpoints of linguistics, cognitive psychology, the study of language acquisition, literary theory, geography, philosophy, and artificial intelligence. The linguists, literary theorists, and geographers in our group are developing theories of narrative language and spatial understanding that are being (...) tested by the cognitive psychologists and language researchers in our group, and a computational model of a reader of narrative text is being developed by the AI researchers, based in part on these theories and results and in part on research on knowledge representation and reasoning. This proposal describes the knowledge-representation and natural-language-processing issues involved in the computational implementation of the theory; discusses a contrast between communicative and narrative uses of language and of the relation of the narrative text to the story world it describes; investigates linguistic, literary, and hermeneutic dimensions of our research; presents a computational investigation of subjective sentences and reference in narrative; studies children’s acquisition of the ability to take third-person perspective in their own storytelling; describes the psychological validation of various linguistic devices; and examines how readers develop an understanding of the geographical space of a story. This report is a longer version of a project description submitted to NSF. This document, produced in May 2007, is a L ATEX version of Technical Report 89-07 (Buffalo: SUNY Buffalo Department of Computer Science, August 1989), with slightly.. (shrink)

After what has been termed the affective or emotional turn in sociology and many other academic fields, there is still a dearth of methodologies for systematic empirical emotion analysis in sociology. The article addresses this gap and argues that the principles of narrative analysis can be fruitfully extended to the systematic empirical investigation of emotions. A short description of key principles and tools in narrative analysis will serve as the basis for showing how the same concepts can be (...) used to gain access to the emotional side of human experience. To this end the article engages with philosophical debates to develop a specific theoretical notion of emotions—their narrative nature—and discusses the emotional nature of narrative. Specifically, this calls into question any clear-cut distinction between meaning and emotion. Based on this, the text then employs linguistic and some psychological and literary research to demonstrate and systematize key ways in which emotions can be expressed narratively as well as on the level of sentences and words. Together this forms an encompassing methodological framework that can capture the emotionality of human experience in its manifold forms. Specifically, this also addresses the problem of non-conscious emotions. (shrink)

_Time and Narrative_ builds on Paul Ricoeur's earlier analysis, in _The Rule of Metaphor_, of semantic innovation at the level of the sentence. Ricoeur here examines the creation of meaning at the textual level, with narrative rather than metaphor as the ruling concern. Ricoeur finds a "healthy circle" between time and narrative: time is humanized to the extent that it portrays temporal experience. Ricoeur proposes a theoretical model of this circle using Augustine's theory of time and Aristotle's theory (...) of plot and, further, develops an original thesis of the mimetic function of narrative. He concludes with a comprehensive survey and critique of modern discussions of historical knowledge, understanding, and writing from Aron and Mandelbaum in the late 1930s to the work of the Annales school and that of Anglophone philosophers of history of the 1960s and 1970s. "This work, in my view, puts the whole problem of narrative, not to mention philosophy of history, on a new and higher plane of discussion."—Hayden White, _History and Theory _ "Superb.... A fine point of entrance into the work of one of the eminent thinkers of the present intellectual age."—Joseph R. Gusfield, _Contemporary Sociology _. (shrink)

The propositional content of a reference is the proposition attributing to the referent the properties that correspond to the nouns and modifiers in the reference (for example, the propositional content of `Mary' is that the referent is named`Mary'). During language comprehension, the hearer or reader must determine the set of beliefs with respect to which the propositional content of a reference is to be understood. In the prototypical case, this set consists of the propositions that she believes that the speaker (...) or writer believes that she and the speaker or writer mutually believe. This paper identifies two contexts in which the propositional content of a specific reference is not understood with respect to this set--subjective and objective sentences in third-person fictional narrative text--and identifies some implications of this for understanding specific references in these contexts. (shrink)

Three experimental tasks—spontaneous telling of a story, reading, and parsing the story—were used to determine whether empirical data reflect the narrative structure of stories and can be predicted by a plot unit analysis of the stories (Lehnert, 1981). It was found that spontaneous pause durations at sentence breaks were highly correlated with the importance of these breaks as predicted theoretically. Only low correlations were obtained, however, when reading pause durations were correlated with the model. As for parsing values, the (...) value of the correlation coefficients depended on whether stories had sufficient superficial linguistic cues to help the subjects in parsing. It was concluded that spontaneous pausing not only reflects the narrative structure of stories, but can be used as a guide to constructing theories of narrative structure as well as for deciding between competing theories. (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)

In this chapter, I am going to discuss a very interesting case brought to our attention by Saul and references therein: NP-related substitution failure in simple sentences. Whereas it is well known that opacity occurs in intensional contexts and that in such contexts it is not licit to replace an NP with a co-referential one, one would not expect that substitution failure should also be exhibited by simple sentences in the context of stories about Superman. The suggested explanation (...) of these cases is to posit an embedding explicature, that is to say the insertion of structure that ipso facto creates an intensional context capable of blocking substitution. I consider various complications to this story in the light of important objections by García-Carpintero and, finally, I consider how this story fares when one applies constraints on explicatures along the lines of those proposed by Hall in an interesting paper.In general, this chapter exploits interesting considerations by Norrick on the structural similarities between stories and indirect reports. Norrick believes there are important differences, but he is inclined to concede that we could study structural similarities. An important similarity, brought out by the examples discussed by Saul, is that the narrative frame, once it is inserted into the interaction, can be left implicit and, during the act of narrating or referring to the story, one need not repeat the words ‘the story says’ or ‘we are told that…’ every time. Although implicit, these words are heard because they do some work at the structural level, as is shown by this attempt to resolve an otherwise intractable philosophical problem. The explicatures of simple sentences are perceived because they are integrated into the speakers’/hearers’ perception of the overall plan of discourse, as Haugh most interestingly notes:As Haugh and Jaszczolt note, this means that any putative “communicative intention of A is embedded within his higher-order intention”. In other words, to figure out the implicature that evidently arises here, the participants are necessarily making inferences about some kind of overall aim. According to this view, then, inferences about the intended implicature arise concomitant with inferences about the overall aim of the speaker.It follows from the considerations by Haugh that, since the explicature connected with simple sentences depends on the perception of the overall aim or plan of the conversation, it is not easily cancelled. Readers can check by themselves that the explicatures due to simple sentences cannot be cancelled, as cancelling them would involve returning to illogical discourses.. Haugh’s considerations about the overall aim of the discourse are precious in explaining how the embedding explicatures I posit are calculated once and for all for the whole stretch of the discourse framed by the narrative act. (shrink)

Cohn's (2013) theory of “Visual Narrative Grammar” argues that sequential images take on categorical roles in a narrative structure, which organizes them into hierarchic constituents analogous to the organization of syntactic categories in sentences. This theory proposes that narrative categories, like syntactic categories, can be identified through diagnostic tests that reveal tendencies for their distribution throughout a sequence. This paper describes four experiments testing these diagnostics to provide support for the validity of these narrative categories. (...) In Experiment 1, participants reconstructed unordered panels of a comic strip into an order that makes sense. Experiment 2 measured viewing times to panels in sequences where the order of panels was reversed. In Experiment 3, participants again reconstructed strips but also deleted a panel from the sequence. Finally, in Experiment 4 participants identified where a panel had been deleted from a comic strip and rated that strip's coherence. Overall, categories had consistent distributional tendencies within experiments and complementary tendencies across experiments. These results point toward an interaction between categorical roles and a global narrative structure. (shrink)

Offender populations experience their incarceration through different lenses and often as a spiritual journey of suffering. During 2017 and 2018 a study was conducted by the authors with 30 men serving long-term sentences in Correctional Centre A, Zonderwater Management Area in the Gauteng province of South Africa. Following interviews and focus group sessions, the authors report on participants’ representations on how their constructed views of God assist them to find meaning in suffering while incarcerated. Narrative inquiry as a (...) philosophical framework was applied, which presupposes equality between the researcher and the participant, the unmediated representation of words as data, the researcher as auto-ethnographer and respectful submission to subjectivity. Participants’ views of God are thematised according to sets of God-images, firstly, as identified by Van der Ven in his book God Reinvented?, adapted by the authors to suit the contents of the participants’ God talk. Secondly, the ‘God-images in Africa’ were applied. The participants’ constructed God-images are divided into two categories: images that feed on the binary between divine and human and images that function in the dialogical spaces between divine and human where the incarcerated have internalised an external God. Binary images of God are presented by the apathetic God, retributive God, controlling God and the purifying God. However, a significant number of participants expressed their belief in God through the dialogical image of the compassionate God, and the suffering God as co-sufferer. The role of Africanness in constructing these God-images constitutes a special point of inquiry in this article, as reflected in the images of God defined by God the Great Ancestor and Divine Spirit, and God with whom a mystical union is formed. (shrink)

The present study examines the development of complex sentences with non-finite clause combining with particular focus on clause chaining, in narratives of 40 Turkish-speaking 4- to 11-year-olds and six adults elicited by a wordless picture book. Results show a gradual increase by age in the variety of clauses combined, the length of the complex sentences and their frequency of use. Clause chains formed with converbal clauses are the earliest and most frequent type of clause combinations, already present in (...) 4-year-olds’ complex sentences with 1-non-finite clause. Older children’s and adults’ 2- or 3-non-finite clause complex sentences consist of some combinations of adverbial, complement, relative and converbal clauses. Developmentally, clause chains establish first, aspectual-temporal continuity, then temporal-causal continuity. Sentence-internal and cross-sentence-boundary referential continuities are present early, from age 4 onwards. These findings are discussed in terms of the demands of narrative organization as well as the syntactic and semantic complexity of the clause combination devices in Turkish. (shrink)

In this paper I explore in a preliminary way the interconnections among narrative explanation, narrative value, free will, an immortality. I build on the fascinating an suggestive work of David Velleman. I offer the hypothesis that our acting freely is what gives our lives a distinctive kind of value - narrative value. Free Will, then, is connected to the capacity to lead a meaningful life in a quite specific way: it is the ingredient which, when aded to (...) others, enows us with a meaning over an above the cumulative value erived from ading together levels of momentary welfare. In acting freely, we are writing a sentence in the story of our lives, and the value of acting freely is thus a species of the value of artistic creativity or self-expression (understood appropriately). Finally, I contend that the fact that our lives are stories need not entail that they have endings, or that immortality would necessarily be unimaginable or essentially different from ordinary, finite human life. Yes, a certain sort of narrative understanding of our lives as a whole would be impossible in the context of immortality; but much of what we care about, and value, in our stories might remain. (shrink)

This essay examines Martha Nussbaum's prescription fortempering retribution with mercy in the capitalsentencing process. Nussbaum observes that theoperation of retribution in the ancient world resultedin harsh and indiscriminate punishment without regardto the particularities of the offender and his crime. In the interest of mercy, Nussbaum advocates the useof the novel as a model for a more compassionatesentencing process. An examination of Nussbaum's``novel prescription'' reveals that the retribution thatoperates in the modern criminal law, and in theSupreme Court's capital sentencing jurisprudence,already accommodates (...) the values of justice –individuation, particularization, and proportionality– that are characteristic of the mercy tradition. Moreover, the rich narrative approach that Nussbaumfavors is by no means congenial to mercifulpunishment. Because the particularistic detail of thenovel form is not confined to the sympatheticportrayal of the defendant, the emotionalism thatNussbaum urges encompasses as well emotional detailsabout the characteristics of the defendant's victim. Such victim impact evidence is consistent with thenovel form, but is unlikely to promote mercifuljudgment. Instead, the details of victim impactevidence can be expected to exacerbate a sentencingauthority's inclination to judge a capital defendantharshly. The novel thus provides a poor model for thecapital sentencing process because it fosters the sortof unchecked emotionalism that undermines the rationaldecision making that the Supreme Court has sought toachieve. (shrink)

In this article I explore the ways in which legal language, discourses, and narratives construct new dominant identities for women who kill their children. These identities are those of the ‘bad’, ‘mad’, or ‘sad’ woman. Drawing upon and critiquing statutes, case law, and sentencing remarks from England and Wales, I explore how singular narrative identities emerge for the female defendants concerned. Using examples from selected cases, I highlight how the judiciary interpret legislation, use evidence, and draw upon gender stereotypes (...) in carefully constructing macro-narratives which produce gendered identities for filicidal women, thus nullifying the challenge these women pose to appropriate femininity and the motherhood mandate. Each of the narrative identities discussed deny the agency of the female defendants that they are attached to, albeit in subtly different ways, by denying their ability to make any degree of choice in relation to their filicidal actions. Although such identity construction and agency denial may not always be damaging to these filicidal women per se, its pervasiveness within legal discourse reinforces and reproduces damaging gender stereotypes surrounding women and femininity. (shrink)

In this article, we take a novel approach to analysing English sentencing remarks in cases of women who kill. We apply computational, quantitative, and qualitative methods from corpus linguistics to analyse recurrent patterns in a collection of English Crown Court sentencing remarks from 2012 to 2015, where a female defendant was convicted of a homicide offence. We detail the ways in which women who kill are referred to by judges in the sentencing remarks, providing frequency information on pronominal, nominative, and (...) categorising naming strategies. In discussion of the various patterns of preference both across and within these categories, we remark upon the identities constructed through the references provided. In so doing, we: quantify the extent to which members of the judiciary invoke patriarchal values and gender stereotypes within their sentencing remarks to construct female defendants, and identify particular identities and narratives that emerge within sentencing remarks for women who kill. We find that judges refer to women who kill in a number of ways that systematically create dichotomous narratives of degraded victims or dehumanised monsters. We also identify marked absences in naming strategies, notably: physical identification normally associated with narrativization of women’s experiences; and the first person pronoun, reflecting omissions of women’s own voices and narratives of their lived experiences in the courtroom. (shrink)

This article presents the findings of research conducted on ‘forgiveness’ as a spiritual construct, religious survival strategy and meaning-giving tool during incarceration. The research was conducted with 30 men serving long-term sentences in Zonderwater, a correctional centre outside Pretoria, South Africa. A review of literature showed that forgiveness has mainly been seen as something the perpetrator owed the victim and that asking for and granting forgiveness were religious imperatives. However, this study shows that offenders, in the troubled space of (...) incarceration, survived by putting themselves in control of forgiveness. They found peace of mind by granting forgiveness to those who caused them to be incarcerated, whilst at the same time taking responsibility for their own actions. Semi-structured interviews were conducted with the participants. Applying an interpretative phenomenological analysis methodology, the collected data were analysed and the following themes were identified: forgiving those who transgressed against me; the role of politics in forgiveness; God’s role in forgiveness; and the effects of forgiveness on the self.Contribution: This article contributes to an understanding of the construction of forgiveness as experienced by offenders, independent from the traditional victim-offender relations. Living in a troubled, unforgiving space, these men are expected to practice forgiveness by set standards. From their shared narratives, it is illustrated that their spiritual navigation with this phenomenon is not a chronological, time dependent process, but a multi-dimensional, personal journey to self-discovery. (shrink)

This essay examines Martha Nussbaum's prescription for tempering retribution with mercy in the capital sentencing process. Nussbaum observes that the operation of retribution in the ancient world resulted in harsh and indiscriminate punishment without regard to the particularities of the offender and his crime. In the interest of mercy, Nussbaum advocates the use of the novel as a model for a more compassionate sentencing process. An examination of Nussbaum's ``novel prescription'' reveals that the retribution that operates in the modern criminal (...) law, and in the Supreme Court's capital sentencing jurisprudence, already accommodates the values of justice –individuation, particularization, and proportionality – that are characteristic of the mercy tradition. Moreover, the rich narrative approach that Nussbaum favors is by no means congenial to merciful punishment. Because the particularistic detail of the novel form is not confined to the sympathetic portrayal of the defendant, the emotionalism that Nussbaum urges encompasses as well emotional details about the characteristics of the defendant's victim. Such victim impact evidence is consistent with the novel form, but is unlikely to promote merciful judgment. Instead, the details of victim impact evidence can be expected to exacerbate a sentencing authority's inclination to judge a capital defendant harshly. The novel thus provides a poor model for the capital sentencing process because it fosters the sort of unchecked emotionalism that undermines the rational decision making that the Supreme Court has sought to achieve. (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)

We investigate how short and long-range word length correlations evolve in Chinese narrative texts. The results show that, for short-range word length correlations, no significant linear evolutionary trend was found. But for long-range correlations, there are two opposite tendencies for two different regimes: the Hurst exponent of small-scale word length correlations decreases over time, and the exponent of large-scale shows an increasing tendency. The increase of word length is corroborated as an essential regularity of word evolution in written Chinese. (...) Further analyses show that a significant correlation coefficient is obtained between Hurst exponents from the small-scale correlations and mean word length across time. These indicate that word length correlation evolution possesses different self-adaptive mechanisms in terms of different scales of distances between words. We speculate that the increase of word length and sentence length in written Chinese may account for this phenomenon, in terms of both the social-cultural aspects and the self-adapting properties of language structures. (shrink)

There is a great deal of research on the structure of narrative and its mode, and on the narrative positioning and counter positioning of the actor in legal and social contexts. In offender narratives, personal experiences are embedded for observation and analysis of particular realities that contextualize a disposition of the perpetrator being ‘an undergoer’ rather than an ‘effector’ of actions. This is evaluated in the shift from a narrated action to a speaker utterance in prospection and also (...) in anticipation of the criminal act. Using ‘grammatical logic’, it is also possible to demonstrate how the crucial event is not a cause, but an effect of a personal theme that encapsulates pattern of circumstances when the narrative outcome in criminal narrative becomes the product of its discursive practices. This is the ‘story of intentionality’ in crime narratives, characteristically embedded within the 1st the story of crime, the 2nd is the story of investigation [14, 20]. Using techniques from functional grammar and critical stylistics for discourse analysis, I intend to show an effective approach for the search of offender theme that underlies an act of crime. These disciplines provide the analyst with the linguistic material to analyse intersentential cohesion in a chain of semantically linked sentences that explore the ways in which things are ‘made to look’ in the structure and functions of the English language. As a case study, I am using an offender narrative from Tony Parker’s book Life After Life: Interviews with Twelve Murderers showing an effective approach for the search of personal themes underlying the act of crime. Offender theme analyses are also valuable for evaluating the changing nature or development of offender characteristics pre or post crime. (shrink)

Controlled elicitation of linguistic and psycholinguistic experimental data facilitate strong inferences about phonological, syntactic, semantic and pragmatic structures and functions, yet neglect the ecological validity of responses. Ecological validity in this paper refers to whether data gathered under controlled conditions are commensurate with routine problem solving and language use in natural settings. All methods produce "white room" effects that compromise data gathering and analysis. Unexamined folk knowledge and experiences also guide the investigator s interpretation of data from field research, laboratories, (...) testing sessions, and target sentences. Story recall data from children in a combined second-third grade classroom and their narrative responses to cartoons without sound are used to illustrate ecological validity issues. The child's spontaneous, imaginative narratives about the story and cartoons resemble adult folk theory, and their semantic content reveal sociocultural knowledge essential for understanding subjects ' reasoning and information processing skills. (shrink)

Volume 7 of the Tsinghua manuscripts contains multiple historiographical narratives interspersed with punctuation. This article looks into two manuscripts likely prepared in the same workshop and possibly by the same scribe. I examine how punctuation in the manuscripts engages with the structure of the texts, forming a particular reading experience and understanding of the sectioning of the narrative. The article suggests that the use of punctuation in these manuscripts reflects the punctuator’s understanding of the narrative divisions and main (...) points of the texts. Far from merely marking individual sentences, the punctuation selectively marks sections and subsections in the narrative, corresponding to changes of interlocutor, scene and setting, and key information supporting a particular reading of the sense of the texts. The punctuator chose to amplify certain aspects of the narrative—for example, advisors outdoing their superiors—by highlighting certain sections of the text more than others. By examining the ways in which punctuation and nar- rative structure interact in these two case studies, the article aims to understand the complex relation between punctuation and narrative structure. In doing so, it evaluates the potential agency of punctuators in shaping the reading experience of early historiographical narrative texts. (shrink)

In Figuig Berber, like in many other Berber languages, it is possible to express the indirect object by a lexical expression and by a pronominal clitic in the same sentence. This construction, called “dative doubling” in the literature, is in variation with constructions that do not have a pronominal clitic. In this article, dative doubling is studied in two corpora, one written corpus (Benamara 2011), and one spoken corpus, collected by the author. It is shown that dative doubling is all (...) but absent in the written corpus, while it is quite frequent in the spoken corpus. In the spoken corpus, there is a clear correlation with information structure. Dative doubling is only rarely found with indirect objects that express new information, while it appears more than half of the times when indirect objects express old information. In addition, it is obligatory when expressing old information with the verb ini ‘to say’. (shrink)

The idea that fiction may be distinguished from non-fiction on the basis of the notion of make-believe has been the dominant view in aesthetics since Kendall Walton published Mimesis as Make-Believe. With Fiction and Narrative, Derek Matravers aims to debunk make-believe, and replaces the fiction/non-fiction distinction with the distinction between representations and ‘confrontations’. Matravers argues that there are several levels to our engagement with fiction. At the ‘ground level’, so to speak, we have plain understanding of the words and (...) sentences in a narrative, be it fictional or not. At the next level, we engage with that narrative by constructing ‘mental models’ based on that fundamental understanding. Neither of these calls for the imagination. Imagination... © The Author 2016. Published by Oxford University Press on behalf of The Scots Philosophical Association and the University of St Andrews. All rights reserved. For permissions, please e-mail: [email protected]. (shrink)

Forschungsgeschichte - Handbuch/übergreifende Darstellung.

Arthur Danto's discussions of architecture are sparse. This chapter discusses the place, role, and meaning of architecture in Danto's writings and the extent to which Danto has influenced architectural theory and criticism. In addition to architecture being a key influence on his thought, Danto's writings on art and philosophy have permeated architectural theory and allowed for novel approaches to architecture by contemporary scholars. The most relevant contribution to contemporary architectural history may be Danto's conception of history as a process which (...) involves the use of what he termed “narrative sentences” and which culminates with the end of self‐conscious historical meta‐narratives. The considerations of Danto's thought within the fields of architectural theory and the philosophy of architecture seem only to be brief. His preferences toward Kahn and Holl reflect his interest in what could be called a philosophical architecture: one that embodies philosophical meanings and whose creators think philosophically while designing. (shrink)