Though ordinary aesthetics is self-evident as a principle, fruitful as a method, it remains partly undefined. It seems the major difficulty is to mark out its territory, so much so as, after Wittgenstein, it endorses the most part of what used to pertain to ethics. Our hypothesis is that starting from art forms may prove helpful in defining ordinary aesthetics; and the article suggests that short-story writing is a paradigmatic pathway to ordinary aesthetics as it is to the (...) ethical unsaid. (shrink)

This paper examines the current use of the terms ‘story’, ‘narrative’ and ‘voice’ within health care. It argues that the focus on narrative forms is related to nursing's professional development of an alternative epistemology to science, and to nursing theorists' mistrust of ‘Enlightenment’ modes. However, in order for this project to be productively developed it is necessary to distinguish story from narrative: the former is an informal activity, the latter is meditative and theoretical. Both have dierapeutic dimensions.

The author discusses the significance of Jorge Amado's brief but crucial incursion into the world of children's literature: his O Gato Malhado e a Andorinha Sinhá (about a tabby cat and a young lady swallow). This adventure from the pen of the Brazilian author resonates not only in the area of textual genesis in this literary field, or that of illustration, but also in the area of childhood culture, a world which may perhaps be marginal and is only just beginning (...) to claim a place in Portuguese universities. This little work by Jorge Amado is presented as an extremely rich source for the definition of a paradigm that respects the needs of text, illustrations and childhood culture. (shrink)

In this paper I aim to make a comparative study of Chang Yi-mou’s films and the novels of a Taiwanese regionalist novelist— Wang Chen-ho, for both of the two artists reveal great impulse of postcolonialist view in representing history and gender/class, though with different emphasis. Chang. is now one of the most successful movie directors in the Asia-Pacific region, just like Ang Lee, and enjoys high prestige and international fame—a great example of “globalization” and “multiculturalism,” whereas Wang has always been (...) recognized as one of the most successful Taiwanese nativist novelists because of his experimental representation of the hybridized Taiwanese languages by skillfully blending “Chinglish,” Japanese, and other Taiwanese dialects within his story-telling. In other words, in this paper, I intend to make a comparative study of the micropolitics of how Chang’s and Wang ’s works reveal a postcolonial discourse/condition in representing history/gender/class. Critical approaches that will be employed in this project are mainly the micropolitics in the postcolonialist poetics of Homi Bhabha, Said, and Deleuze and Guattari. (shrink)

This book collects several excerpts from the work of each of nine 18th and 19th century Scottish thinkers: Francis Hutcheson, David Hume, Adam Smith, Thomas Reid, Dugald Stewart, Thomas Brown, Sir William Hamilton, James Frederick Foster, and James McCosh. A brief account of each man's life and work accompanies the selections.

This volume first explores the transformation of Chinese Daoism in late imperial period through the writings of prominent literati scholars of the period. In such a cultural context it then launches an in-depth investigation into the Daoist dimensions of the Chinese narrative masterpiece, The Story of the Stone: the inscriptions of Quanzhen Daoism in the infrastructure of its religious framework, the ideological ramifications of the Daoist concepts of chaos, purity, and the natural, as well as the Daoist images of (...) the gourd, fish, and bird. The author demonstrates in an insightful manner the central position of Daoist philosophy both in the ideological structure of the Stone and the literati culture that spawns it. (shrink)

German philosopher Immanuel Kant employs the story of Eve in the Garden of Eden as a way to think about what the development of autonomy in human beings must have involved. In the beginning, our ancestors invariably listened to their instincts, which would have seemed to them, as Kant describes it, like the “voice of God which all animals must obey”. Regardless of whether it has any basis in historical reality, that moment represents for Kant the birth of human (...) autonomy: at some point in our history, our ancestors attained self‐awareness and realized that they could disobey their instincts. There is a limited sense in which the actions that stem from internal sources, whether natural or artificial, are autonomous in the sense of involving internal control. The responsibility is one that every autonomous individual has, for better or worse, whether guest or host, in Westworld or outside of it. (shrink)

ABSTRACT As doctoral students from New Zealand and Australia, advised by supervision teams with a diversity of critical realist experience from limited to none, we came independently to the 2018 Critical Realism conference – primed to seek increased understanding, confidence, motivation, and reassurance. We certainly found these things from the pre-conference, presentations, and individuals within the critical realist community. We also found each other, and a virtual writing group was born. This article is a description of what we did, (...) why, and the outcomes we experienced over the final two years completing our theses. It identifies the structures, contexts, motivations, and mechanisms from which our emotional, critical realist and writing-related outcomes emerged. We outline the roles of serendipitous timing, culture, different disciplinary approaches, administrative structures, and types of interactions on the social learning we developed. We anchor our discussion in recent theoretical literature about the role of writing groups in doctoral education. (shrink)

In this article I demonstrate the significance of a flexible approach to examining the autobiographical in early eighteenth-century womens writing. Using ‘old stories’, existing and developing narrative and literary forms, womens autobiographical writing can be discovered in places other than the more recognizable forms such as diaries and memoirs. Jane Barker and Delarivier Manley‘s works are important examples of the dynamic and creative use of cross-genre autobiographical writing. The integration of themselves in their fictional and poetic works (...) demonstrates the potential of generic fluidity for innovative ways to express and explore the self in textual forms. (shrink)

It is widely agreed that fiction is necessarily incomplete, but some recent work postulates the existence of universal fictions—stories according to which everything is true. Building such a story is supposedly straightforward: authors can either assert that everything is true in their story, define a complement function that does the assertoric work for them, or, most compellingly, write a story combining a contradiction with the principle of explosion. The case for universal fictions thus turns on the intuitive (...) priority we assign to the law of non-contradiction. My goal in this paper is to show that our critical and reflective literary practices set constraints on story-telling which preclude universal fictions. I will raise four stumbling blocks for universal fictionalists: the gap between saying and making true, our actual interpretive reactions to story-level contradictions, the criteria we accept for what counts as a story in our literary practices, and the undesirability of the universal fictionalist’s closure principles. (shrink)

The Story of Oriental Philosophy by Lily Adams Beck offers insights into such Eastern scriptures as the Tibetan Book of the Dead, the teachings of Zen, and Indian sacred writing. Chapters include: The Aryan People of India and the teachings and lore of notable figures as Buddha, Shankara, Confucius, Lao-Tsu, Mencius and many others. The ancient wisdom of Asia awaits those seeking value in thought and knowledge. L. Adam Beck was one of the more well-known and popular novelists (...) and biographers in the 1920s. Beck's fascination with Asian culture and philosophy influenced her to write not only this book but several ""oriental fantasies"" of her era. (shrink)

This paper offers a brief consideration of how narrative, in the form of people’s own stories, potentially figures in health and social care provision as part of the impulse towards patient-centred care. The rise of the epistemological legitimacy of patients’ stories is sketched here. The paper draws upon relevant literature and original writing to consider the ways in which stories can mislead as well as illuminate the process of making individual treatment care plans.

As doctoral students from New Zealand and Australia, advised by supervision teams with a diversity of critical realist experience from limited to none, we came independently to the 2018 Critical Re...

As doctoral students from New Zealand and Australia, advised by supervision teams with a diversity of critical realist experience from limited to none, we came independently to the 2018 Critical Re...

Listening and responding to patients’ stories for over 20 years as an emergency physician has strengthened my appreciation for the many ways that the skills and principles drawn from writing fiction double as necessary clinical skills. The best medicine doesn’t work on the wrong story, and the stories patients tell sometimes feel like first drafts—vital and fragile works-in-progress. Increasingly complex health challenges compounded by social, financial, and psychological burdens make for stories that are difficult to articulate and comprehend. (...) In this essay, I argue that healthcare providers need to think like creative writers and the skills and sensitivities necessary to story construction deserve a vital space in medical education. A thorough understanding of story anatomy and the imaginative flexibility to work stories into open spaces serve as antidotes to the reductive nature of clinical decision making and have implications as patient safety and risk management strategies. The examples that I have selected demonstrate how thinking like a creative writer functions at the bedside, providing tools for clinical excellence and empathy. This approach asks that we re-imagine the importance of story in clinical care: from a vehicle to a diagnosis to its place as a critical destination. (shrink)

In 2006, Bill Crain was a psychology professor and his wife, Ellen, a pediatrician. They purchased a run-down farm in upstate New York, and two years later opened Safe Haven Farm Sanctuary. It is now home to over 170 animals rescued from slaughter. In Animal Stories, Bill writes about how he and Ellen decided to start the sanctuary and tells the stories of 25 animals and their many surprising behaviors. Read about Katie, a hen who cared for a little partridge; (...) Cesar, a little goat who constantly gets into trouble; Reggie, a rooster who instilled fear in all the staff; Milo, a goat who suddenly charged the dominant Duncan to defend his mother; four rambunctious young turkeys who quietly listened to a reverent Girl Scout ceremony; Ducky, a turkey who, despite severe arthritis, walked from her barn to greet a Buddhist monk; Ethel, an elderly cow who assumes the responsibility of a matriarch; and many others. In addition to enjoying the stories, readers will learn a great deal about nonhuman animals. (shrink)

The ninth edition of The Moral of the Story represents 25 years of editions, with the publication year of the first being 1994. It has been a humbling experience for me to contemplate the fact that I have been privileged to teach as well as write about issues that have concerned us for over a quarter of a century-some issues reflecting the changing times and others being timeless discussions about moral issues rooted in our common human nature.

This paper argues that the value of acting freely and responsibly is a species of the value of self-expression. When I act freely, I write a sentence in the story of my life, and this gives my life the shape of a narrative, which, in turn, gives my life a unique sort of meaning and value.

Writing Migration through the Body builds a study of the body as a mutable site for negotiating and articulating the transnational experience of mobility. At its core stands a selection of recent migration stories in Italian, which are brought into dialogue with related material from cultural studies and the visual arts. Occupying no single disciplinary space, and drawing upon an elaborate theoretical framework ranging from phenomenology to anthropology, human geography and memory studies, this volume explores the ways in which (...) the skin itself operates as a border, and brings to the surface the processes by which a sense of place and self are described and communicated through the migrant body. Through investigating key concepts and practices of transnational embodied experience, the book develops the interpretative principle that the individual bodies which move in contemporary migration flows are the primary agents through which the transcultural passages of images, emotions, ideas, memories - and also histories and possible futures - are enacted. (shrink)

The Story of Philosophy is a brand new and highly ambitious survey of the thinkers and ideas that have perplexed humanity from time immemorial. Accessible writing, brilliant scholarship and over 150 colour illustrations combine to form a richly informative and highly entertaining work of narrative history. Starting with the most important figures in the Greek era, including Thales of Miletus - often referred to as the first philosopher - Pythagoras and Plato, the story continues with the great (...) religious thinkers of medieval Europe such as Augustine, Aquinas and Maimonides, key players of the Enlightenment such as Descartes, Hobbes and Voltaire, their successors in the Romantic era such as Marx and Nietzsche, and concluding with a survey of 20th and 21st century philosophy. (shrink)

Mary Livermore'sMy Story of the Waris a valuable piece of travel writing written from the point of view of a nurse who documented her unexpected personal and professional journey to administer the Sanitary Commission of the United States Union Army and provide nursing care during the American Civil War. Although Livermore's pre‐war background had not been solely limited to the domestic sphere, her wartime experience involved a public negotiation between the traditional domestic realm assigned to women and new (...) nursing professional functions that emerged during the war. In a context in which the general access of women to public writing was rather limited and in which nursing was not a formally regulated professional activity, Livermore's triumphal narrative reflects the increasing connection between progressively professional nursing functions that emerged in the context of war and a new women's rights leadership forged during her autobiographical journey. (shrink)

Arguing against the prevailing view that Holocaust survivors have come forward only recently to tell their stories,Writing the Holocaust examines the full history of Holocaust testimony, from the first chroniclers confined to Nazi-enforced ghettos to today's survivors writing as part of collective memory. Zoë Waxman shows how the conditions and motivations for bearing witness changed immeasurably. She reveals the multiplicity of Holocaust experiences, the historically contingent nature of victims' responses, and the extent to which their identities - secular (...) or religious, male or female, East or West European - affected not only what they observed but also how they have written about their experiences. In particular, she demonstrates that what survivors remember is substantially determined by the context in which they are remembering. (shrink)

When discussing dialogue, argumentation researchers rarely draw the distinction between the story world and interactional world. While mediators often help to shape the interactions among agonists in the emerging flow of spoken discourse, writers of postulated dialogues narrate them, constructing a story world that depicts the agonists, depicts their utterances and their circumstances. In this paper, I ask where the agonists of the dialogue model of argument interact, and I show that they often interact in the story (...) world of postulated dialogues. Postulated dialogues are story problem conversations. Common in textbooks, exams, and standardized tests, story problems create hypothetical situations to illustrate formal relationships among variables, and are designed to be read in a theoretical attitude that treats the characters, objects, and circumstances that they depict as given. When argumentation researchers examine postulated dialogues, they tend to adopt a theoretical attitude, limiting their analysis to the conversation between the agonists depicted in the story world. Reading this way makes it easier to overlook the interactional world where the writing and reading of the texts takes place, obscuring the fact that they are narrated dialogues, often written by researchers. Reading this way also makes it easier to confirm the traditional participation framework of the dialogue model of argument. (shrink)

In the beginning I was the typical academic philosophy professor and teacher, whose stock in trade was argumentative essays about abstract issues. It puzzled, or bemused, even distressed me, therefore, when I would sometimes hear my students refer to the assigned readings in my courses as "stories." I attributed this inappropriate nomenclature to their inexperience with anything other than fiction and literature prior to their first philosophy course. But the shoe is now on the other foot. I myself have become (...) the purveyor of stories: I write them, I assign them as reading, and I ask my students to write their own. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Truth in WritingAmandaAn excerpt from my journal during a dark period in my life reads:I am a survivor of sexual mutilation, of coerced gender roles, and of perpetual lies all in the name of normalization. Sometimes I have a hard time even thinking about the true extent of what all happened. It’s like my mind doesn’t have that type of scope, like when I think about the word (...) “eternity.”I wrote this after combing through old medical records, reading comments like “her introitus has healed nicely and looks normal, but my exam suggests that her vagina is shortened,” and “reduction clitoroplasty... removal of testes.” The records go on to say that my “external genitalia is quite satisfactory,” and “on perineal exam, her neovaginal orifice is quite compliant and easily accepts my second and third digits.”My journal continues:I chose this fake hole when I was a teenager because I didn’t know there was another option. I was told from day one to be a female, to be heteronormative, to act like all the other girls, and the only way I could fully accomplish this is by looking the part. A fake hole would be necessary, I thought, to go along with the rest of the lies. Sometimes I think about how the doctors told me to lie about my surgeries and my scars. Sometimes I wonder what my parents would have told the world if I had died during one of surgeries. Maybe they would have said “we were just trying to make her fuckable.”My strength is growing from the stories and experiences I write and share. My journal started about four years ago, when I was in my early 20s, near the beginning of medical school. My initial purpose in writing the journal was to help sort through my feelings and experiences related to a newly discovered sexuality and a changing gender identity. Medical school was thousands of miles away from my previous life, my family, and my friends. Away from my old social network, I was free to self–discover on my own terms. In the first journal entry, I lay out reasons why I decided to get in contact with a therapist, something I had not done previously. Some of the reasons were fairly standard reasons one seeks out a therapist, such as moving away from home. But the fundamental reasons I sought out a therapist, and why I chose to journal, had to do with exploring feelings after my first sexual encounter with a woman, and then [End Page 98] accepting my intersexuality. My relationship with that therapist did not last, but the journaling did.In the beginning of the journal, I write:I am from a small, religious, white, non–diverse, family oriented suburb of Milwaukee. I was raised to be the picture–perfect daughter in a household that did not talk about feelings, sex, cultural or religious differences, etc. My brother and I also never talked about personal issues (and still don’t), which is quite remarkable since we are twins, and have grown up doing most everything together, from sharing birthday parties, to being locker buddies... [When my mother told me about having Androgen Insensitivity Syndrome (AIS)] knowing this little fact about my body kept me wanting to become as perfectly female in all ways possible.Growing up without being able to talk about having AIS was stifling to say the least. Closing communication implied great shame, and with the shame came even greater repression. My skate-boarding, baseball card collecting, and model car building interests disappeared after learning about my AIS, which I believe was when I was 12 years old, but I cannot remember exactly. Granted, it’s tough to say whether my interests just changed as I grew older, but I do remember having a fear of portraying any masculine tendencies that other girls in my town weren’t displaying (for example, playing soccer was okay, but I had to shave my legs). I also had crafted some pretty good covers for my AIS, including stories about when I first had my (fake) period, or how I acted fearful about a... (shrink)

This volume of The Writings and Speeches of Edmund Burke continues the story of Edmund Burke, the Rockingham party in British politics, and the American crisis. By 1774 Burke was already recognized as a master of parliamentary debate and an accomplished writer. By 1780, however, his reputation was to have risen substantially. Probably the most important single reason was his Speech on Conciliation with America, which was presented to the House of Commons in March 1775, published, and circulated to (...) a wide audience on both sides of the Atlantic. In that speech, Burke used the full force of his intellect and eloquence to set out the Rockinghams' first comprehensive plan for achieving lasting peace in the Empire. The public commendation he received helped him to gain recognition for offerings such as his second conciliation proposal in November 1775, and his Letter to the Sheriffs of Bristol in 1777. It also gave him some of the confidence he needed to announce the Whig party's historic conversion to a moderate reform programme in his celebrated speeches on economical reform in 1779 and 1780. Numerous writings and speeches in this volume are transcriptions of previously unpublished manuscripts from the collections at Sheffield and Northampton. These allow the reader new insights into the workings of Burke's mind not just in relation to the major political issues, but also to a multitude of engaging subjects such as education, capital punishment, religious dissent, and the return of the Rockingham Whigs to government power. (shrink)

In this book, authors working with Deleuzean theories in educational research in Australia and the United Kingdom grapple with how the academic-writing machine might become less contained and bounded, and instead be used to free impulses to generate different creations and connections. The authors experiment with forms of writing that challenge the boundaries of academic language, moving beyond the strictures of the scientific method that governs and controls what works and what counts to make language vibrate with a (...) new intensity. The authors construct monstrous creations, full of vitality and fervor, hybrid texts, part academic part creative assemblages, almost-but-perhaps-not-quite recognisable as research. Stories that blur the lines between true and untrue, re-presentation and invention. The contributors to this book hope that something might happen in its reading; that some new connections might be made, but also acknowledge the contingency of the encounter between text and reader, and the impossibility of presuming to know what may be. (shrink)

The paper suggests that Samuel Taylor Coleridge’s arguments against sympathy after the French Revolution, Walter Benjamin’s claims against empathy following the traumatic shock of Modernity and the First World War, and Hannah Arendt’s critical take on compassion. after the Holocaust are similar responses to singular historical crises. Reconsidering Arendt’s On Revolution (1963) and its evocation of Hermann Melville’s novella Billy Budd (1891), I show first that the novella bears the traces of an essay by Samuel Taylor Coleridge, “The Appeal to (...) Law” (1809). Then, drawing on Walter Benjamin’s writings on trauma in Illuminations (1968, edited by Arendt), I discuss the political importance Arendt attaches to the proper way of telling a story, at a time when “the communicability of experience is decreasing” (Benjamin, Illuminations, 86). Through the analysis of Benjamin’s “The Storyteller” and Arendt’s “heartless” report on the Eichmann trial (1963), I equally show that, according to Arendt, testimonies must be narrated, or rather performed, in a dispassionate, dry, and compact manner so that they can be historically and politically relevant. (shrink)

In this paper, I present an alternative account of action that improves upon what has come to be known as the standard story. The standard story depicts actions as events that are caused by and made intelligible through the appropriate combinations of the agent’s beliefs, desires, decisions, intentions and other motivational factors. I argue that the standard story is problematic because it depicts the relation between the agent and their bodily actions as causally mediated by their motivational (...) factors. On the alternative account that I present, whenever an agent performs a bodily action, they do so by exerting a distinctive kind of effort so as to initiate, sustain, and control their own bodily capacities, an essential feature of bodily action that is absent from the standard story. (shrink)

This article discusses the possibility for vulnerable writing within feminist methodological approaches to research. Drawing upon a project that involved difficulties and tensions in conducting transnational research, including the documenting and telling of a partial narrative of an individual who set herself on fire, the article discusses what it might mean to focus more explicitly on explicating and recognising vulnerability in writing. In providing examples from working with a situated, localised analysis that engages feminist, postcolonial and queer theoretical (...) approaches to attend to the particular and everyday, I address some of the hesitations and uncertainties in undertaking research and producing knowledge, and concerns with forms of reflexive practice. At the heart of the discussion is the question of a vulnerable ethics, of how it is possible for feminist methods to represent the lives of others, especially when stories fail in the telling, both in providing adequate explanations and in the ways that trauma and suffering can remain incommunicable. Included in this are concerns as to how we as researchers are affected within the production of research. As a form of receptivity and wounding, the article argues for vulnerable writing that challenges feminist methods to remain open and receptive to what will always resist sense-making, while continuing to respond to the demand that we do justice to the lives of others. (shrink)

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

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

Cover story: WORLD ASKED FOUR leaders of the Intelligent Design Movement to have some fun: Imagine writing in 2025, on the 100th anniversary of the famous Scopes "monkey" trial, and explain how Darwinism has bit the dust, unable to rebut the evidence that what we see around us could not have arisen merely by time plus chance.

Written in 1938 when the Western world had succumbed to the notion that history is a creature of blind force. A reviewer at the time noted the importance of Croce's belief that "the central trend in the evolution of man is the unfolding of new potentialities, and that the task of the historian is to discover and emphasise this trend: the story of liberty". As Croce himself writes, "Even in the darkest and crassest times liberty trembles in the lines (...) of poets and affirms itself in the pages of thinkers and burns, solitary and magnificent, in some men who cannot be assimilated by the world around them." The first edition in English of HISTORY AS THE STORY OF LIBERTY appeared in London in 1941. The new Liberty Fund edition includes modest improvements to the translation by Folke Leander and arranged by Claes Ryn. (shrink)