In this paper I address the issue of narrativity in music. The central question is the extent to which pure instrumental music in the classical tradition can or should be understood as narrative, that is, as narrating a story of some kind. I am interested in the varying potential and aptness for narrative construal of different sorts of instrumental music, and in what the content of such narratives might plausibly be thought to be. But ultimately I explore, at (...) greater length, an alternative way of construing musical process, namely, as dramatic rather than narrative in nature, following the lead of two musicologists, Anthony Newcomb and Fred Maus. After a comparison of the respective merits of narrative and dramatic construals of music, the paper concludes with an illustrative reading, in dramatic mode, of part of the opening movement of Schubert's Piano Sonata in A minor, D. 845. (shrink)

A thought experiment on the ultimate non-essence of Time.

Narrative as it is used by historians is not merely an incidental, stylistic feature of the historian's craft, but essential to historical explanation. Narrative presupposes a world of things that endure through change. Stories fill in the gaps in our experience and thus make continuity visible. Ideally, narrative stands proxy for experience, though this ideal can never be attained. No criterion can be formulated that will signify when a story is complete enough. The changing perspective of the (...) historian and the infinite detail with which he has to deal makes his task a continuous one. Yet the historian cannot be radically subjective because his story is always limited by the chronology of his events and the accuracy of his details. The rationale of narrative enables the historian to repudiate the covering-law model of historical explanation. (shrink)

This study examines how subtitlers in underground subtitle groups in China perform skills and display competence in applying the rules around which annotations are built. I argue that by annotating, the act of creating notes, representing information not linguistically coded in the original US TV programs, subtitlers engage in a performative act in concert. Annotations reveal not only subtitlers’ stances toward the contents being translated, but also their meta­thinking on these contents. The analysis shows that two contradictory forces provide the (...) impetus for annotations. On the one hand, the desire for objectivity refers to subtitlers’ attempts to represent a professional and organized account of how Chinese subtitles are produced in the process of explicating knowledge. On the other hand, the desire for authenticity is implicit in the subtitlers’ narrative of what they actually experience when translating US TV programs. (shrink)

In this paper, I return to the well-known apparent inconsistencies in Hume’s treatment of personal identity in the three books of A Treatise of Human Nature, and try to defend a Humean narrative interpretation of the self. I argue that in Book 1 of the Treatise Hume is answering (to use Marya Schechtman’s expressions in The Constitution of Selves) a “reidentification” question concerning personal identity, which is different from the “characterization” question of Books 2 and 3. That is, I (...) maintain that whereas in Book 1 Hume is using his philosophical empiricism to provide his own version of the problem of how to recognize persons as the same at different times, in Books 2 and 3 he is presenting selves from a different, both sentimental and ethical standpoint, as the focus of people’s concerns. I start by discussing Hume’s notion of personal identity as presented in Book 1 and in the “Appendix.” I then specify the narrative conception of the self Hume relies on when dealing with passions and morality as the self-consciousness persons develop as bearers of characters of or about which they can be morally proud or humble. I finally conclude by distinguishing Hume’s narrative self from the idea of “the unity of human life” that Alasdair MacIntyre puts forward in After Virtue. (shrink)

There has been a long-standing interest in the putative roles that various so-called ‘theory of mind’ abilities might play in enabling us to understand and enjoy narratives. Of late, as our understanding of the complexity and diversity of everyday psychological capacities has become more nuanced and variegated, new possibilities have been articulated: (i) that our capacity for a sophisticated, everyday understanding of actions in terms of reason (our folk psychology) may itself be best characterized as a kind of narrative (...) practice and (ii) that acquiring the capacity for supplying and digesting reasons explana- tions might (at least normally) depend upon having a special training with narratives. This introductory paper to the volume situates the claims of those who support the narrative approach to folk psychology against the backdrop of some traditional and new thinking about intersubjectivity, social cognition and ‘theory of mind’ abilities. Special emphasis is laid on the different reasons for being interested in these claims about narrative practice and folk psychology in light of various empirical and philosophical agendas. (shrink)

Even if the question, “What is the meaning of life?” is coherent, the fact remains that it is vague. Its vagueness largely centers on the use of the term “meaning.” The most prevalent strategy for addressing this vagueness is to discard the word “meaning” and reformulate the question entirely into questions such as, “What is the purpose of life?” or “What makes life valuable?” among others. This approach has philosophical merit but does not account for the intuitions and sub-questions driving (...) the original question as plausibly as does an interpretation that I call the narrative interpretation. I will argue that the question, “What is the meaning of life?” should be understood as the request for a narrative that narrates across those elements and accompanying questions of life of greatest existential import to human beings. (shrink)

The belief of Gallie, Danto, and others that history is constructing narratives is too simplistic and neglects the role of inquiry and discovery. Teleology in history - only events relevant to a known outcome find a place in a work -while similar to that in narratives is not decisive, since in any explanation the explicandum controls the explicans to some extent. History is not recounting a linear sequence of intelligible human actions but is an analysis of a complex pattern of (...) change into factors that served to make it what it was. Social backgrounds and conditions that are influences but not actually parts of the story of actions are crucial; the fundamental relationship is part to whole, not antecedent to consequent. (shrink)

This article explores the extent to which millenarianism can be understood as a narrative structure and even a potential "master plot" akin to quest and stranger motifs. The idea of a radical, utopian response to sociocultural crisis is a recurrent theme in literature, most apparent in science fiction and fantasy but also present in "literary" fiction, poetry, and drama. There have been previous attempts to describe millenarianism as a narrative, but such attempts have been in the direction of (...) sociologists or anthropologists using literary theory to elucidate millenarianism. My methodology is reversed, and my focus is on the way millenarian literature can be understood through a narrative framework. If... (shrink)

This chapter takes a look at the argument that is directly against a characterization of will as a “moment of choice”. This argument treats willing as a processual development. The chapter shows that willing can be viewed as a gradual change of orientation from one attentional target to another. In this chapter, thinking of will is a morally loaded process that is achieved through emotion work, thought, conversation, and a variety of other experiences. The chapter also briefly refers to recent (...) anthropological considerations of emotion, agency, and intention. (shrink)

In his pioneering study of Grande Dame Guignol (also referred to as hag horror or psycho-biddy), a female-centric 1960s subgenre of horror film, Peter Shelley explains that the grande dame, a stock character in this form of cinematic expression, “may pine for a lost youth and glory, or she may be trapped by idealized memories of childhood, with a trauma that haunts her past” (8). Indeed, a typical Grande Dame Guignol female protagonist/antagonist (as these two roles often merge) usually deals (...) with various kinds of traumatic experiences: loss of a child, domestic violence, childhood abuse, family conflicts or sudden end of career in the fickle artistic industry, etc. Unable to cope with her problems, but also incapable of facing the inevitable process of aging and dying, she gradually yields to mental and physical illnesses that further strengthen the trauma and lead to her social exclusion, making her life even more unbearable. Unsurprisingly, scholars such as Charles Derry choose to name psycho-biddies horrors of personality, drawing attention to the insightful psychological portrayal of their characters. Thus, it would be relevant and illuminating to discuss films such as Die! Die! My Darling! (1965) and Whoever Slew Auntie Roo? (1971) as narratives of trauma. This will be the main concern of my article. (shrink)

By studying the logic that unites play, the rules of games and the body of players, this article intends to highlight a spatial mimesis through play and games. It consists of carrying out a Ricœurian anthropology of play and game, taking Ricœur's analysis of the relationship between time and narrative as a model. The article then shows that play prefigures the physical space as a lived space, that game configures a space of rules and that the player's body is (...) refigured by the spatiality of the rules of the game. This application of the ternary model of Ricœurian mimesis thus allows a unified understanding of play and games by space, and of space by play and games. (shrink)

This paper re-frames business ethical codes as narrative processes by reflecting critically on key ontological assumptions underpinning the existing research, and introducing new and relevant concepts based on alternative assumptions. The first section draws on recent decision-making research to develop a theoretical account of BCEs as complex, socially embedded sensemaking processes. The second section addresses the content of codes, and differentiates between narrative and logico-scientific modes of reasoning. The third section focuses on the quality of code communication and (...) identifies several distinct types of narrative process. We provide research directions for how this new understanding of BCEs may be further developed, as well as implications for practitioners. In response to the call for new conceptual models, the paper provides organizational researchers with a more nuanced understanding of how BCEs enable or constrain ethical behavior in organizations. (shrink)

Surely since the Enlightenment, if not before, the study of mind has centered principally on how man achieves a “true” knowledge of the world. Emphasis in this pursuit has varied, of course: empiricists have concentrated on the mind’s interplay with an external world of nature, hoping to find the key in the association of sensations and ideas, while rationalists have looked inward to the powers of mind itself for the principles of right reason. The objective, in either case, has been (...) to discover how we achieve “reality,” that is to say, how we get a reliable fix on the world, a world that is, as it were, assumed to be immutable and, as it were, “there to be observed.”This quest has, of course, had a profound effect on the development of psychology, and the empiricist and rationalist traditions have dominated our conceptions of how the mind grows and how it gets its grasp on the “real world.” Indeed, at midcentury Gestalt theory represented the rationalist wing of this enterprise and American learning theory the empiricist. Both gave accounts of mental development as proceeding in some more or less linear and uniform fashion from an initial incompetence in grasping reality to a final competence, in one case attributing it to the work out of internal processes or mental organization, and in the other to some unspecified principle of reflection by which—whether through reinforcement, association, or conditioning—we came to respond to the world “as it is.” There have always been dissidents who challenged these views, but conjectures about human mental development have been influenced far more by majoritarian rationalism and empiricism than by these dissident voices. Jerome Bruner is research professor of psychology at New York University, where he is also serving as Meyer Visiting Professor of Law. His most recent book, Acts of Meaning, appeared in 1990. In 1987 he received the Balzan Prize for “a lifetime contribution to the study of human psychology.”. (shrink)

The binary categories of harm and benefit have often shaped how historians frame discussions of insects. Scientists also leverage the binary framing of insects as tools and targets to carry out their work, especially in the development of biological technologies for pest control. This essay emphasizes how binaries function in scientific practice. Two case studies spanning from the twentieth century to the recent past illustrate the shift away from chemicals in pest management and, in doing so, show the instability of (...) binary categories over the longue durée. Noticing “ambivalent insects” affords a way to widen narrative options and identify new opportunities for investigating insect histories. (shrink)

The paper presents a historical-epistemological analysis of the notion of “spontaneous symmetry breaking”, which I believe today provides a template for conceiving the relationship between symmetry and asymmetry in physics as well as in other areas of the natural sciences. The central thesis of the paper is that spontaneous symmetry breaking represents an instance of “narrative knowing” in the sense developed by recent research in history and philosophy of science (Morgan and Wise (eds) SI narrative in science, Studies (...) in history and philosophy of science, 2017a). Spontaneous symmetry breaking is best understood as a hybrid narrative comprising formulas, verbal statements, images, and at times also other media. This flexible notion can be deployed in different variations, allowing to explain a broad range of non-symmetric phenomena or models as resulting from (not necessarily observable) processes of loss of symmetry. I will support this thesis by first analysing in detail the way in which spontaneous symmetry breaking, and in particular electroweak symmetry breakdown, are presented in today’s physics textbooks and reference works, and then by reconstructing the emergence of the hybrid construct from the late 1950s until the 1970s, when spontaneous symmetry breaking definitively established itself as a key physical notion. (shrink)

Detroit Become Human (DBH) offers a stunningly visual gameplay experience that both tells a philosophical story and stimulates the moral reasoning process in players. The game features a futuristic world where highly intelligent androids are bought and sold as workers who take on menial labor tasks for humans. In this chapter, we explore three dimensions of moral reasoning: accounts of moral agency, ethical theories or frameworks, and accounts of moral patiency. We then explore how DBH addresses all of these philosophical (...) issues in its narrative and gameplay scenarios. Issues of moral agency are explored through some of the androids gaining consciousness and autonomy. Ethical theory is explored through various ethical dilemmas that emerge in the gameplay. Moral patiency is explored by questioning if the androids, conscious and unconscious, are worthy of moral concern and why. We then show how the gameplay structure offers a unique interactive opportunity for players to engage in the moral reasoning process. Additionally, through the questions it raises and scenarios it poses, DBH makes an implicit anti-speciesist argument regarding moral patiency. Additionally, it makes a secondary argument that suffering and struggle are necessary to develop the possibility of second-order desires and true freedom and agency. The interactive structure of the game, in which players’ choices have more weight than in many gameplay experiences, makes DBH a unique work of contemporary philosophical pop culture. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Sikh Philosophy as a Philosophy-of-PracticeMonika Kirloskar-Steinbach (bio)Some recent publications on Indian philosophy argue that the colonial narrative about the philosophical traditions from the subcontinent was erroneous. It wrongly suggested that the erstwhile Brahmanic thought embodied by the darśanas was an exhaustive representation of philosophical activity on the subcontinent and that this activity came to a grinding halt with the onset of European modernity. In an attempt at rectifying (...) this story, one path proposed by philosopher Vrinda Dalmiya (Dalmiya 2016, p. 125) is to cognize and fix the "epistemophilic excesses" in the field, that is, the obsessive compulsion in conventional academic philosophy to engage in theory for theory's sake. In the study of Indian philosophy, this malady manifests as the practice of channeling philosophical analysis solely through a darśanic framing. This monofocal lens, however, is unable to reflect either the diversity of practices on the ground or values like intellectual freedom that drive some such practices.Arvind-Pal Mandair's Sikh Philosophy: Exploring Gurmat Concepts in a Decolonizing World (Bloomsbury, 2022), discussed here in this forum, speaks to these concerns and offers a possible way forward. Sikh Philosophy advocates a liminal perspective from which to engage with the set of philosophical practices that emanated on the subcontinent around the figure of Guru Nanak (1469–1539) and the teachings of the Sikh gurus (gurmat). In the first part of my response, I will bring into this conversation Mandair's philosophical orientation to ask whether and how he would contribute to that debate. In the second part, I will project the haumai—one concept doing much of the work in Sikh Philosophy—as one viable path that may be able to contribute to the correction of the epistemophilia currently afflicting a judicious study of world-philosophical traditions.In my limited understanding, Mandair's rendition of the haumai may serve as one component that could be implemented fruitfully in broadening the perspective on Indian philosophy. Mandair observes that a postcolonial sensibility demands a philosophical orientation that does not continue its proprietary attitude toward philosophical positions. I share his view. Instead of parading these positions as possessions that embellish one's academic finesse, they should be considered as ways of navigating life adequately. In doing so, however, the making of such navigational routes may profit from a deliberate reflection on them from different standpoints. [End Page 348]Halting Exclusivist Historiographical Trends in PhilosophyTwo recent handbooks on Indian philosophy reflect the growing awareness that changes in the field's self-understanding are imperative, should imperialist and colonial historiographies that affect this understanding be upturned. Jonardon Ganeri's editorial introduction to the Oxford Handbook of Indian Philosophy—"Why Indian Philosophy? Why Now?"—argues that students of Indian philosophy should overcome the routinized fixation on the classical darśanas. In developing their accounts, they should factor in the "regionality, vernaculars, subaltern communities, [and] eccentrics" through which "scholarly networks, nodes of philosophical activity, transnational encounters, and contexts of philosophical invention" arose on the subcontinent (Ganeri 2017, p. 2). This broader approach would, in his view, not only be viable in halting the elitist and exclusivist historiography that was the default mode in the recent colonial past. In addition, it would be better equipped to grasp the richness of practices on the ground.Accordingly, his Handbook departs from the handbook genre on one core point: instead of delivering a supposedly comprehensive study of positions that would be indispensable to the reader to understand the intricacies of the field marked out as Indian philosophy, this Handbook chooses to narrate one multi-perspectival story about practices on the subcontinent that were philosophically motivated and are worthy of study today. It suggests through this move that there are other such possible stories that can be narrated. Relatedly, Purushottama Bilimoria and Amy Rayner's History of Indian Philosophy strives as well to make a case to go beyond the darśanic mold. It includes a variety of philosophical positions located on its peripheries. For example, Sikh philosophy, which notably is not included in the Ganeri volume, is incorporated here as a tradition that engaged darśanic practices. Balbinder Singh Bhogal, the author of... (shrink)

Some recent approaches to narratology have presented the event as a basic constitutive element of narrativity. The event is considered either a primitive term or something that just happens or may happen, a change from one state to another. The underlying concepts are identity, state, and being. The article describes the event in general and the narrative event in particular from the perspective of the primacy of becoming, change, and flow, employing especially Whitehead’s philosophy of process and also certain (...) concepts developed by reception aesthetics. The narrative event is analyzed in the context of the following concatenation: the event -- interconnected events -- plot -- fictional world -- the real world and its potentiality. The aim is to understand a narrative event not as an interruption of the receptive flow, but as its change of course among levels of emergence. (shrink)

Pulp Fiction is pulp and transcends pulp. As such, it is an authentic film. It is of its time, aware of the concrete reality of its historical context, teaming with cultural allusions. It is a self-conscious, postmodern pastiche, with a nonlinear narrative. But Pulp Fiction also transcends all of this. It celebrates morality, mercy, and forgiveness, and rewards authenticity of the deepest kind, requiring acknowledgment of our finite realities, our infinite nature, and God’s grace. Pulp Fiction is postmodern, but (...) it is also modern. By embodying this duality and challenging the viewer to engage with it themselves through the distinct attitudes of the main characters, Pulp Fiction is able to present an engaging, compelling, complex, and opinionated meditation on human life as a struggle for self-knowledge and authenticity. (shrink)

The primary objective of this study was to propose a functional discrete mathematical model for analyzing folklore fairy tales. Within this model, characters are denoted as vertices, and explicit instances of communication – both verbal and non-verbal – within the text are depicted as edges. Upon examining a corpus of Eastern Slavic fairy tales in comparison to Chukchi fairy tales, unforeseen outcomes emerged. Notably, the constructed models seem to evade establishing certain connections between characters. Consequently, instances where the interactions among (...) fairy tale characters would result in a non-planar graph structure are notably absent. To put it differently, the models refrain from incorporating sub-graphs delineated by the Kuratowski theorem governing planar graphs, specifically the minimal non-planar graphs Κ5 and Κ3,3. Remarkably, even in more extensive texts featuring a larger cast of characters, connections that would yield a non-planar graph pattern are consistently avoided. This leads to the formulation of a hypothesis positing that traditional folk tales adhere to a “planar narrative” design – an identifiable narrative variant characterized by inherent limitations in complexity. This design, in turn, appears deeply entrenched within the societal framework of the cultures that produced these folk narratives. (shrink)

This volume explores the experiences of those with little or no power—usually, although not exclusively, animals. The theme of animals as experiencing entities is what links the chapters and characterises the volume. Broadly each author in this volume contributes in one of two ways. The first group, in Section 1, theoretically engages animal subjectivity, animal experiences, and ways in which these are to some extent accessible and knowable to humans. The second group of authors, in Section 2, offer narrative (...) accounts about specific animals or groups of animals and explore to some extent their subjective historical experiences. In summary, the first section diversely theorises about animal experiences, while the second section’s authors assume animals’ subjective experiences and construct narratives that take into account how animals might have subjectively experienced historical phenomena. (shrink)

Deep brain stimulation (DBS) has in some cases been associated with significant psychological effects and/or personality change. These effects occur sometimes as acute changes experienced intraoperatively or during the initial setting of the stimulator and sometimes as longer term progressive changes in the months following surgery. Sometimes they are the intended outcome of treatment, and in other cases they are an unintended side-effect. In all of these circumstances some patients and caregivers have described the psychological effects of DBS as frightening (...) or disconcerting. I trace the source of these negative reactions to the fear that stimulation-related psychological and personality changes represent a threat to personal identity and agency. This issue has implications both for philosophical theories of personal identity and agency and for clinical concerns. A narrative account of personal identity is developed to illuminate the nature of the threat to identity and agency DBS potentially poses, and to suggest steps that might be taken to mitigate and avoid these threats. (shrink)