In this article, I report on a Bulgarian female migrant caregiver's “life-story,” especially focusing on her relationship with an old Italian woman, on the care practices performed in her favor in Italy, and on her daughter and parents still living in Bulgaria. I chose to do it by means of an anthropological approach based on experience as field of mediation between personal dimensions and historical and social processes and therefore centered on the body conceived as historical product, the influence of (...) political and social forces on shaping human lives, and finally interest in the specific link between bodies and work. From this analysis, based on language and narratives, I think useful cultural aspects may emerge about “gender” and care practices, regarding the two women linked by an assistance relationship, and the activities/strategies used by the Bulgarian caregiver to fulfill her family obligations. (shrink)

This article proposes a reading of Sarah Polley’s Stories We Tell (2012) through the work of Hannah Arendt and Adriana Cavarero. Far from being a simple homage to her late mother Diane, Polley’s film is a ‘polyphonic tale’, a complex and multi-layered narrative which allows for an exploration of the many functions of (cinematic) storytelling. Highlighting the close link between relating narratives and personal identity, the film sheds light on both the innate desire for biography that characterizes us as (...) human beings and the complex and dynamic relationship between storytellers and listeners. The way we tell stories affects the narrator(s), their audience and the fabric of the story itself in a process that ensures both continuity and change. Referring to Arendt’s notion of political storytelling, I conclude by suggesting that Stories We Tell, like the Greek polis, functions as an ‘organized remembrance’, a community whose purpose is to preserve fragile human deeds and words from oblivion. (shrink)

"Ever Since This World Began" from Love Dog (Penny-Ante Editions, 2013) by Masha Tupitsyn continent. The audio-essay you've recorded yourself reading for continent. , “Ever Since the World Began,” is a compelling entrance into your new multi-media book, Love Dog (Success and Failure) , because it speaks to the very form of the book itself: vacillating and finding the long way around the question of love by using different genres and media. In your discussion of the face, one of the (...) themes of Love Dog , I think there is something to be said about the surfaces media create and how you constantly manipulate them in your work. This seems important for thinking also about your book LACONIA: 1,200 Tweets on Film ; a book on film written in tweets, interposing already three sets of expectations and pushing the boundaries of each medium's faciality, it's surface tension. In Love Dog , is there another kind of facial interaction? Perhaps the discursive faces of approaching love as topic and love as method? If so, how did/do these intersect for you, do/did they drive the creation of this book? MASHA TUPITSYN With LACONIA and Love Dog , I wanted to pay homage to the work modernism has done on subjective time and chronological time by carrying that experiment over into the digital economy. Because LACONIA is a time-based work of cultural criticism that employs the aphorism to look at 21 st century American culture, it is also an archival work of cultural mourning and memory. And in Love Dog , which is also a work about mourning as it relates to love, I wanted to think with all my senses, and to reflect that in the writing itself by using a multi-media form. LACONIA tackled the sound bite and the promotional image--the everyday language of consumer culture--which often wants to communicate ideological agendas through the repetition of a single image or reductive phrase. I had always been interested in the approaches of artists like Barbara Kruger and Jenny Holzer and essayistic, typographical filmmakers, like Chris Marker and Godard. In both cases, I felt it was important to try to compose a book in which deep—critical—thinking happens in so-called immediate, informal, and disposable contexts. That is, in places where you are either not supposed to be serious or are not required to take things seriously. To me the most intervention is needed in every day instances of culture and representation. In order to do that, I had to utilize and interrogate the very structures I was critiquing. In other words, the writing had to materialize in that live, digital, public space. It couldn’t simply happen at home on a piece of paper or in a word document on my computer that no one could see until it was finished. It had to unfold in real time, amidst everything else. And it had to literally be surrounded by the cultural landscape I wanted to assess. In both LACONIA and Love Dog , I wanted to know how and if we can get away from what we cannot get away from? From which there is no respite. Given this, I don’t think hypertexts can really be called hypertexts anymore. Hypertexts are simply the world today. This is not only the way we read the world now. It is the way the world reads. Likewise, interfaciality, as you put it, works on a number of levels for me, both on and off the page. There is my relation to epistemological and phenomenological surfaces—the screen, the body, the face, the voice, gender; the official story. Then there is the way this dovetails formally, and to which the digital adds yet another dimension. It’s also where sound comes into Love Dog (giving the book a sound; giving tonality to the book’s ideas and feelings). As Anne Carson pointed out in her essay “The Gender of Sound,” the two are connected, and of course so are love and gender. In “Ever Since This World Began,” I wanted to think about the phenomenology of the voice, which is why I visualize the sonic in the book and why in my writing about faces, I look at the tonal aspects (the things a face voices and a voice faces) of a face. This was standard to do when images and faces were “silent” in the silent era. Those images/faces were extraordinarily audible. The greatest screen face, to me, is still Falconetti’s in Dreyer’s The Passion of Joan of Arc . We can hear her face—even though there is no actual sound on screen of her speaking. The internet is a similarly “silent” space where actual voices are lacking. So intertextuality goes with interfaciality. I’ve also talked a lot about how categorization worked when it came to the reception of my first book, Beauty Talk & Monsters . How despite the fact that Beauty Talk is a text that crisscrosses form and content in a variety of ways, not pinpointing its exact genre—choosing one genre over another—only made things worse. Fiction was the category people were most adverse to me using, even though of course there is a lot of fiction in the book. Part of how fiction works in Beauty Talk is in the reader not knowing exactly where the fiction resides. In Godard’s 1967 film, Weekend , for example, everything matters. Everything is political, whether it’s real or imaginary, film or reality. In Weekend , life is not a game and neither is the game a game. The game is really life. Either everything is important or nothing is. But many people want clear answers and demarcations so that they can decide what is important and what is not important. My use of the “I,” subjective criticism, made everything “real” in Beauty Talk . But fiction is in the construction. It is in the blending. This is why I perforate the movie screen and connect the onscreen and the offscreen; the official story and the backstory. Although I don’t think there is a difference between onscreen and offscreen anymore. Nor is there a dialectic. It’s all screen all the time now. Non-fiction, on the other hand, was more tolerated as a moniker. Unlike Love Dog , Beauty Talk wasn’t explicitly or tangibly (what is tangible is a question in all these books) working with digital forms or within this digital economy, so some people resisted the book’s hypertextuality or intertextuality because they couldn’t see its other forms, if that makes sense. It was a problem of invisibility; of how to make something appear (this is where Nietzsche, big presence in Love Dog , comes in—the nature of appearances). Something people don’t necessarily want to see. Some readers couldn’t see the way forms were interfacing in that book. On the surface, Beauty Talk was simply a text about media culture—the domination of entertainment as a mode of being and knowing—and most readers could only see that one side of the book. But as Godard puts it in Wim Wenders’ documentary about the future of cinema, Room 666 , “Films are made, images are made, when there’s no one looking. That’s what the invisible is, that which we don’t see. That’s what the incredible is, that which we don’t see. And cinema shows you that which we don’t see, the incredible.” We are living in the aftermath of narrative and temporal collapse, which means we don’t read or feel in the same way. I began to use digital forms in my writing because I don’t see us as traditional book people anymore. I would add that power also resides in the invisible, in the things we make invisible by making them visible. Or it did for a long time. The new face of power is quickly becoming so-called transparency, which is even more corrupt because even though we now live in a behind-the-scenes culture, and see and know how the mechanisms of power and corruption operate, we still don't change. The world still doesn't change. Finally, another important thing that Godard says in Room 666 that relates to Love Dog is: “I’m here in front of the camera, and yet in my body and in my head, I’m behind it. My world is the imaginary and the imaginary is a journey between forwards and backwards.” This idea of visible/invisible, foresight and hindsight , backwards and forwards is an important dialectic in relation to time and the idea of the destinal. This is why I wanted Love Dog to travel, literally, figuratively, and discursively. You have to be open to not knowing. To epistemological, geographical, chronological, and emotional aporias. In Love Dog my story is both visible and invisible to me. Sometimes I could see where I was going. Other times I was completely in the dark existentially. Truth procedure, which love is, as bell hooks and Badiou tell us, requires expedition and openness to possibility. Unless you want a story you already know, but that is not truth procedure. So I tried to create this backwards and forwards journey in the book—this sense of travel and motion, hope and doubt—by jumping between forms, media, time; traveling to different places, texts, and emotional registers. The book’s “Time-Jump series,” which mostly takes the form of music—songs—but also a series of “green” videos that I shot, is the most obvious tribute to this idea of subjective and chronological time. continent. Your work aligns with writers that play with the form of their language, or have assumed the role of performance artist at some point: Kathy Acker, Chris Kraus, Avital Ronell, and Anne Carson to name a few representing varied approaches that show up in Love Dog . At the risk of ossifying the work, or missing the point—as these experimental modes of writing stack-up in piles of published works, do they approach a genre? MASHA As I noted in my book Life As We Show It , in Chelsea Girls the poet Eileen Myles points out, “You can’t get money without a category.” More importantly, you can’t get a category—or respect, rank—without a clear genre. This makes genre and gender an obvious pair. The two words are even linked etymologically and both genre and gender concern taxonomies of legitimacy—of sorting through what and who is valuable. So the words share common prejudices. The things one does not want to read is often synonymous with who one doesn't want to read about. Therefore a break-up of or with genre is maybe the genre or anti-genre that could be said to link these writers. Avital Ronell breaks up with philosophical tradition and modes of inquiry. Like Nietzsche, she revaluates methods of evaluation, testing out things you are not supposed to use philosophy to test (and, by the same token, testing philosophy in ways it’s not supposed to be tested), like drugs and stupidity—where philosophy fails and we fail philosophy. And Chris Kraus does something similar in her experimental fiction, using different forms to put female subjectivity “to the test,” so to speak. All these female writers and thinkers have tried to destabilize the systems that have been set up in (and against) writing. Thus missing the mark with genre, even intentionally, means that we have missed the point in some sense as writers and thinkers. And that to me is a good thing, however difficult. We’ve started at the wrong point and gone somewhere else instead. We’ve acknowledged that writing and thinking are also about failure, and that failure is always embedded in the act of writing and in our reasons for writing. So that missing the point is also the point. Derrida insisted: “We must invent a name for those ‘critical’ inventions which belong to literature while deforming its limits.” But how can you give something that resists and deforms, a name? Wouldn’t the name also be deformed? Isn't this why the aforementioned writers get hyphenated descriptors like ficto-criticism? Do we need a proper name to be able to read something carefully? I don’t think so. I don’t need it as a reader. I’ve always taken a work on its own terms. But for most people, if you don’t have an address, people don’t know how to find you. A lot of time, they won’t even know how to look. And in some cases, they’ll think you’re not even worth finding. You are not on the map because you have to literally make the map in order to exist. In her essay, “The Gender of Sound” Carson asks, “Why is female sound bad to hear?” I think for the same reason something uncategorizable (pedagogically, creatively, racially, and sexually)—Other—is hard to read. *For an audio recording of Florida , read by Masha Tupitsyn click here . continent. : We're also curious to hear know how you see the significance of 'performance' (and why the label sticks to the shoes of these authors like toilet paper) in describing this kind of writing work? MASHA I think I responded to the parenthetical portion of this question in my previous answer. As far as how performance relates to Love Dog , in Acker’s Don Quixote , which is another big presence in the book, she writes, “there is no other reality than anthropomorphism.” In Don Quixote , the dog is human and the human is dog. Which brings us to the title of Love Dog and the totemic function of the dog in the book: giving human things animal characteristics and animal things human characteristics. Rather than investing all our human love ideals into dogs, which we do constantly as a culture of dog lovers, I wanted to put the dog into love. It is the difference between the consumption of love as a patriarchal institution or status position and the essence of a type of radical and liberatory relation that would benefit humans in their bonds with other humans. So the dog in Love Dog is not simply the book’s cover or performative affect, so to speak. Love has always needed the dog, which is why the dog is the very embodiment of belief in love . Recall Argos The Great Dog and Odysseus. Argos is the only one who remembers and recognizes the ragged and old Odysseus even after his 20-year absence. So love is the high ideal and the dog, both common and dependable, is the bridge between the sacred and the profane. The dog is the house of love. And because Love Dog is a digital project, it seemed impossible to think about the post-human, technology, the virtual, or difference (which Badiou says is essential to love in In Praise of Love ) without thinking about animal-being and being-animal. Instead of simply “performing” these ideas and characteristics as literary affects, I’m interested in being-becoming. Which means the book’s tropes, leitmotifs, series, and even its titles are in service of that truth procedure. In other words, I actually want to live this way, not just write this way. And, more importantly, I want to live this way not just think this way. So Love Dog became both my totem animal and my autobiographical animal. This made the book organic, anthropomorphic—beyond literary. See the trailer to Masha Tupitsyn's new book available now from Penny Ante Editions. (shrink)

In my essay, I analyze Schelling’s and Rosenzweig’s commitment to the narrative philosophy as a unique method of telling a philosophical story. I want to understand what such “philosophical story” means and how it differs from the conceptual approach, here represented by Hegel. I also want to see how it connects with Schelling’s another project continued by Rosenzweig, of doing “positive philosophy”: in what way does positivity imply narrativity? Is this a necessary implication? And, last but not least, I (...) want to explore the theological dimension of the narrative project. I perceive Schelling’s, and then Rosenzweig’s goal as an attempt to oppose Hegel’s double manoeuvre of sublation – of temporal contingency and religion – by returning to the narrative which recovers the actuality of both elements and sees the necessary connection between them. The living experience of history is strictly linked to the religious stories telling the life of the “living God,” who is emphatically not the “God of the system.” Theosophy and its narrative way of creating a suspense and then inscribing it into a metaphysical drama which plays itself out on the arena of history reveals the deep connection between living historical temporality and religious imagery. (shrink)

The history of the philosophy of thought experiments has touched on the work of Kuhn, Popper, Duhem, Mach, Lakatos, and other big names of the 20th century, but so far, almost nothing has been written about Paul Feyerabend. His most influential work was Against Method, 8 chapters of which concern a case study of Galileo with a specific focus on Galileo’s thought experiments. In addition, the later Feyerabend was very interested in what might be called the epistemology of drama, including (...) stories and myths. This paper brings these different aspects of Feyerabend’s work together in an attempt to present what might have been his considered views on scientific thought experiments. I conclude by contrasting Feyerabend’s ideas with two modern currents in the debate surrounding thought experiments: 1) the claim that the epistemology of thought experiments is just the epistemology of deductive or inductive arguments, and 2) the claim that the specifically narrative quality of thought experiments must be taken into account if we want a complete epistemology of thought experiments. (shrink)

A.I.: Artificial Intelligence tells the story of a robot boy who has been engineered to love his human owner. He is abandoned by his owner and pursues a tragic quest to become a real boy so that he can be loved by her again. This chapter explores the philosophical, psychological, and scientific questions that are asked by A.I. It starts with A.I.’s representation of artificial intelligence and then covers the consciousness of robots, which is closely linked to ethical concerns about (...) the treatment of AIs in the film. There is a discussion about how A.I.’s interpretation of artificial love relates to scientific work on emotion, and the chapter also examines connections between the technology portrayed in A.I. and current research on robotics. (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)

I am a writer and an educationalist: a poet, an author, a trainer, and an activist. For the last 15 years, I have authored papers and books, delivered training c ourses, and spoken to staff and service users in services from prisons to community projects. Although my work is informed by many sources of knowledge, my own experiences of suicidality and self-injury are at its core.The invitation to respond to Fitzpatrick’s article included the specification that it must be ‘academically rigorous.’ (...) Immediately, I assumed that I must adopt a position of third-person objectivity. In this, I am influenced by centuries of thought. From the Enlightenment onward, the scientific method of objective, empirical... (shrink)

continent. 1.4 (2011): 242—252. Introduction The following two works were produced by visual artist Jonas Staal and writer Vincent W.J. van Gerven Oei during a visit as artists in residence at The Bag Factory, Johannesburg, South Africa during the summer of 2010. Both works were produced in situ and comprised in both cases a public intervention conceived by Staal and a textual work conceived by Van Gerven Oei. It was their aim, in both cases, to produce complementary works that could (...) be read “through each other,” in which the movement of artistic construction would be imitated by textual deconstruction and vice versa. Both works deal with the way in which capital, apartheid, and monumentality are interwoven in South-African society. The Missing Link addresses a monument for democracy, erected on the premises of a private corporation running both an amusement park and the Apartheid Museum franchise. The textual intervention accompanying this public intervention investigates the limits of the inclusiveness of the anti-discrimination section in the South-African constitution, itself a monumental work of democracy. The Monument for the Distribution of Wealth deals with the history and eventual dissolution of a monumental square, commemorating the Soweto Uprising, in one of the poorest townships of Johannesburg. The history accompanying this public dismemberment of memory is equally fragmented, which is expressed by the many voices recounting uncertain and perhaps even irrelevant “facts” about the genius loci, the way in which the memorial space has actually entered into the memory of the inhabitants surrounding it. Next to their individual practices, Staal and Van Gerven Oei have worked together on a number of projects ever since 2007, including several art residencies. Their work involves an investigation of the different interfaces between art, politics, and public space in media ranging from theater and public interventions, to video installations and (co-authored) textual works. The Missing Link Missing Link (1) Missing Link (2) Missing Link (3) Intervention on the monument entitled The Seven Pillars of the Constitution , part of the Apartheid Museum in Johannesburg, South Africa. The Seven Pillars represent the constitutional values propagated in South Africa since the abolition of the apartheid regime. The monument and museum were built by the Gold Reef Resorts corporation, which is also responsible for the theme park and casino next to it. By placing the word “capitalism” on the wall surrounding the museum, the capitalist system and the constant social divisions that it implies are interpreted as sophistic continuations of apartheid politics. Through the capitalist system, apartheid is still operational within South African society. Whereas during the apartheid regime, the separation clearly ran along race divisions, in the current, “democratic” system, the same actual separation is sustained without it being an explicit element of the foundations of the country, i.e. the constitution. This intervention foregrounds the constant role of capitalism is both periods. At the same time the intervention acknowledges that contemporary Western artisthood is a mirror of the privileges that are offered by the capitalist system, and the type of artist that it produces. The intervention initiates a critical discourse concerning the capitalist system situated within the disaster of capitalism itself, in other words: through the desire to break with the presumption that art would be able to operate outside the capitalist system and to confirm that art—and the artist himself—is in fact modeled on this system. The public intervention by Staal was supplemented by a textual intervention by Van Gerven Oei: a proposition to alter the seventeenth amendment of the South African constitution. Even though the anti-discrimination legislation in South-Africa is one of the most stringent and inclusive in the world, one factor—wealth—remains outside its scope, thus continuing the schisms along racial lines produced during the apartheid regime: §9.3. The state may not unfairly discriminate directly or indirectly against anyone on one or more grounds, including race, gender, sex, pregnancy, marital status, ethnic or social origin, colour, sexual orientation, age, disability, religion, conscience, belief, culture, language, birth, and wealth. Monument for the Distribution of Wealth Intervention concerning the June 16 Memorial Acre in Central Western Jabavu, one of the poorest townships of Johannesburg. The monument comprises a park on which different are placed recalling an important protest the black population against the former apartheid regime. In 1976, from a school adjacent to the park, they started a massive protest against the introduction of Afrikaans in the school curriculum. The police reacted violently, and shot several hundreds of students. The construction of the June 16 Memorial Acre was started in 2005, and from the start was the paragon of corruption. Coordinated by local politicians, some family members of the protest leader from 1976 gained control of the realization of the monument, outside the regulation through external institutions. The available budget of 41 million rand (at that time well over 5 million euro) was largely embezzled. In the meantime, the monument has become fully dilapidated and defaced. The park has become overgrown with weeds and covered in a layer of dirt, and the local population is slowly plundering the square to use the material for the construction and decoration of their own houses. The Monument for the Distribution of Wealth develops the dynamics already existent around the June 16 Memorial Acre. Without obtaining official permission in advance, several local inhabitants were hired to break down the monument, sort the materials, and offer it to the neighborhood. Thus, the redistribution of wealth after the fall of the apartheid regime is finally taking place, albeit from the mere remains of the capital that was once invested in the community. The words “monument” and “for free” are spray-painted on the stacks of material, both in English and Zulu, as these are locally the most common languages. Van Gerven Oei supplemented Staal’s public intervention with an account of the history of the monument based on a series of interviews. The account clarifies how the different interests within the protest 1976 are reflected in the exceeding decay of the park, and how in the end those interests were represented by the June 16 Memorial Acre. Monument for the Distribution of Wealth 1: Removing stones Monument for the Distribution of Wealth 3: Pulling down statues Monument for the Distribution of Wealth 4: Offering the material Monument for the Distribution of Wealth 5: Offering the material Monument for the Distribution of Wealth 6 The next day A Fragmentary History of the Monument for the Distribution of Wealth, Formerly Known as the June 16 Memorial Acre in Central Western Jabavu, Soweto Vincent W.J. van Gerven Oei The following text, based on interviews and online research aims to provide parts of a history of the park in front of Morris Isaacson High School in Central Western Jabavu, Soweto. The idea for the transformation of the park into a memorial site has its source in the events of June 16, 1976: the start of the the student uprising in Soweto. The development of the park was started in the early 1980s, and the actual transformation into a memorial site, the June 16 Memorial Acre, was initiated in 2005. Over the last few years, several monumental additions have been made to the park: A marble monument with three pillars was revealed on June 16, 2006. A sculpture of a book and several billboards on June 16, 2008. A sculpture of student leader Tsietsi Mashinini on June 16, 2010. The park was transformed into the Monument for the Distribution of Wealth on August 3, 2010. According to the entry “Youth Struggle” on the website South African History Online, the Bantu Education Act was introduced in 1953 . In 1954 , Dr Verwoerd, Minister of Native Affairs, stated: “What is the use of teaching the Bantu child mathematics when it cannot use it in practice? That is quite absurd.” According to the entry “Soweto uprising” on Wikipedia, the Afrikaans Medium Decree was issued in 1974 , forcing all black schools to use Afrikaans and English in a 50-50 mix as languages of instruction. The Regional Director of Bantu Education (Northern Transvaal Region), J.G. Erasmus, told Circuit Inspectors and Principals of Schools that from January 1, 1975 , Afrikaans had to be used for mathematics, arithmetic, and social studies from standard five (7th grade). English would be the medium for general science and practical subjects. Indigenous languages would be used for religion instruction, music, and physical culture. According the entry “Soweto uprising” on Wikipedia, on April 30, 1976 , students from the Orlando West Junior School in Soweto went on strike, refusing to go to school. Their example was followed by other schools in Soweto. A student from Morris Isaacson High School, Toboho “Tsietsi” Mashinini, proposed a meeting on June 13, 1976 to discuss further action. According to Weizmann Hamilton’s article “The Soweto Uprising 1976,” which appeared in the September 1986 edition of Inqaba Ya Basebenzi (Fortress of the Revolution), on June 13, 1976 , the South African Students’ Movement called a meeting at the Donaldson Community Center in Orlando. 300-400 Students representing 55 schools decided to hold a mass demonstration on June 16. According to Brian Mokhele, member of the Joint Community Safety Forum, Dr Edelstein was the first victim of the Soweto uprising and killed the day before the march on June 15, 1976 . Edelstein was an administrator at the pass office in Jabavu and gave golf courses to the local community. Edelstein was put in a garbage bin and pierced by pickaxes. The garbage bin was left at the very spot of the murder for many years. A few years ago, a child was beheaded at the same spot, and the basketball court next to it has been abandoned since. According to Marcus Neustetter, founder of the Trinity Session, this story is untrue. According the entry “Soweto uprising” on Wikipedia, on June 16 , Tsietsi Mashinini led students from Morris Isaacson High School to join up with others who walked from Naledi High School. A crowd of between 3,000 and 10,000 eventually ended up near Orlando High School. According to Raymond Marlowe, a local photographer, Tsietsi Mashinini was heading the march. According to the entry “Hector Pieterson” on Wikipedia, Dr Edelstein died on June 16, 1976 , stoned to death by mob and left with a sign around his neck proclaiming “Beware Afrikaaners.” The first child to die that day was called Hastings Ndlovu. According to Pat Motsiri, Orlando West is claiming struggle heritage through the Hector Pieterson Museum, while Hector Pieterson was from Jabavu. According to Pat Motsiri, his generation effectively struggled between 1980 and 1991, forcing the release of Nelson Mandela and negotiations with the apartheid regime while the 1976-generation was safely in exile. Nevertheless, this has not been recognized in any monument. After the abolition of apartheid, the generation from 1976 returned from exile, occupied important government and ANC positions, creating an abundance of 1976 memorials and refusing to acknowledge that this was only possible because of the younger generation’s struggle. He calls this a generational conflict. According to Archibald Dlamini, the park officer responsible for the Memorial Acre, he started working for the municipality in 1978. In 1981/82 , Isaac Makhele from Pimville, who used to work in the cemetery business, was the first developer of the park. It used to be just a normal park until City Parks decided to develop the Memorial Acre in 2006. In 2007 the work was stopped by the community. According to Brian Mokhele, he left the country in 1989 after he participated in the riots of 1986. But when he returned in 1999 he found that nothing had changed. He says that they were promised to be protected by the Constitution, but that reality is different. The police uses fear to suppress them so that they don’t come out to talk openly. He has been arrested twice, both times harassed and tortured by the police, but in the end always released without indictment. He says that this is their way to threaten communities to back off from politics. According to Moses, who is sitting outside rolling a joint, Brian knows everything. He tells Brian to tell me everything he knows. According to Brian Mokhele, Tsietsi Mashinini was possibly murdered in 1990 during his exile in New York. Two weeks before he was supposed to return to South Africa, his papers in order, he was found dead under mysterious circumstances. His coffin was sealed when he was buried. According to Pat Motsiri, he came up with the idea for the Memorial Acre in 2003 . He submitted the documents for the proposal to the council, which sidelined him as soon as the budget came out in 2005 . According to Brian Mokhele, there was on estimation R 41,000,000 spent to redesign the park and turn it into the Memorial Acre. The millions were divided by Amos Masondo, the mayor of Soweto, the local councilor Bongani D. Zondi, and the director of the city of Johannesburg, Pat Lephunya. They were dividing the money between several contractors: Tsietsi Mashinini’s brothers were involved in the development of the park, they got the tender to do the green areas, the landscaping. Construction was done by other companies, some did the paving, the toilets, etc. EMBA, a private company appointed by the municipality was in control of the money flow, but the money was quickly gone. According to Raymond Marlowe, the contractor bought a BMW with the money. According to Archibald Dlamini, the Mashinini brothers got the tender, so the space would look more like the other places around in Soweto. It was agreed that after they were done, they would return the property to the municipality. They did whatever they could do. According to Mafaisa, a member of the Jabavu business community, he was one of the contractors for the landscaping and the pavement under Mpho Mashinini, one of the brothers. He says that I should contact Mavi for information on Mpho. According to Poi Stuurman, a local youth worker, Mafaisa is one of the guys who ran away with the money. According to Mavi, Mpho Mashinini was never a contractor. The contracts were organized by Sbu Butelezi, the former head of the Gauteng Department for Public Works. The June 16 Foundation and the Mashinini brothers will be the beneficiaries of the park when it is finished. According to Brian Mokhele, City Parks did not accept the Memorial Acre because it was not finished. The rest of the year, the unfinished park is not maintained, as should have happened. This was done deliberately so that in the end they can just clean the whole thing up and have a reason to redo the whole park. According to Brian Mokhele, the Mashinini brothers now work for the government. People that manipulate for money purposes always come from the government’s side. Because the park was left unfinished, the people from the neighborhood are taking away the stones to decorate their own homes with. According to Archibald Dlamini, because City Parks doesn’t accept responsibility of the park, he officially has nothing the guard, except for his cottage, which is municipal property. The thieves come at night and destroy the park, but he cannot do anything because he is sleeping. According to the website of the Thanda Foundation on June 16, 2006 a bronze statue of Hector Pieterson, the first child to die in the 1976 protests, made by Kobus Hattingh and Jacob Maponyane was unveiled in the Maponya Mall in Soweto. The statue is sculpted after the famous image shot by Sam Nzima of Mbuyisa Makhubo carrying the dead body of the boy. The sculpture was sponsored by the Thanda Foundation, founded by the Swedish entrepreneur Dan Olofsson and South-African entrepreneur Matthews Phosa. According to the official website of the City of Johannesburg, the Memorial Acre and Artwork were unveiled in 2006. According to a blog post on sowetouprisings.com, the Memorial Acre was still under development on July 24, 2006. According to Archibald Dlamini, City Parks only cleans up the park once a year just before the June 16 celebrations. Everybody is waiting for the Mashinini brothers to finish their job. The last time he talked with them was in 2007 . According to a sign on the school grounds of the Morris Isaacson High School, the June 16 Trail will be finished in 2008 . According to a blog post on sowetouprisings.com, the Memorial Acre contains another monument erected in Tsietsi’s honor. The monument was created as part of the Sunday Times Heritage Public Art program. Its physical form resembles a giant book which symbolizes the crisis in education experienced in 1976. On the face of the book is the map of the route taken by the students from Morris Isaacson High School in Central Western Jabavu to Phefeni Junior Secondary in Orlando West (currently the site of the Hector Pieterson Museum), while the back cover of the ‘book’ is inscribed with a tribute to Tsietsi Mashinini. The monument was revealed on June 16, 2008 . According to Marcus Neustetter, the billboards on the Memorial Acre were part of a school project realized in 2008. Following several workshops, the students from different high schools along the June 16 Trail were invited to work with artists on the billboards, while the neighborhood community was invited to watch the process during the festivities on June 15 and 16, 2008 . The billboards were supposed to be removed because of construction works on the Memorial Acre, which never ended up happening. According to Brian Mokhele, the former toilet facilities were converted into a house for the park officer. This park officer has been working for city parks for more than 12-15 years, but does nothing here, because the park, including the new toilet buildings, is not finished. The government is now moving around looking for people to take this job because they stopped it. They confronted everybody who was going in and chased them away. According to John, in 2009 , some girls, around 16 or 17 years old, were raped by four men who had been drinking in a local shebeen. When the bar quit they said that they would go home by car, but instead raped the girls on the Memorial Acre nearby. This happened in the unfinished toilets, because the doors couldn’t be closed. According to Brian Mokhele, there used to be some fences around the park because of the construction work that was eventually stopped, but these were also stolen. According to Archibald Dlamini, people from the neighborhood started about two and a half years ago, and the last piece was stolen near the end of 2009 . Sometimes he would catch someone with a roll of fence, and then use it for his own cottage. According to the official website of the City of Johannesburg, a statue of Tsietsi Mashinini by Johannes Pokhela was revealed on June 16, 2010 , “Youth Day.” According to Shirley Makutoane, deputy principal of Isaac Morrison High School, the statue of Tsietsi Mashinini, funded by the June 16 Foundation, has temporarily been placed within the school perimeter. The statue will be moved to the Memorial Acre when it will be finished, in 2011 . According to Brian Mokhele, beside the June 16 Foundation, there is also a June 16 Memorial Acre Foundation. Both foundations are quarreling about the money involved in the Memorial Acre project. Nobody knows who’s involved in them. According to Marcus Neustetter, the June 16 Foundation consists of people that were part of 1976 protest movement, local government officials, representatives of the Hector Pieterson Museum, and the council. According to students from the Isaac Morrison High School, the statue of Tsietsi Mashinini is on the school ground because on the Memorial Acre it would be vandalized by youths from White City, an adjacent neighborhood. Accorcing to Brian Mokhele, the statue of Tsietsi should eventually be mounted on the Memorial Acre. It is wrong that the statue is in the school at the moment, because it is not a public school. He wants the statues to depict the massiveness of the force that was coming into Soweto after the protests. According to Brian Mokhele, City Parks, City of Jo’burg, City Lights, and SAPS are making some sort of plan to take the plan back. They want to remove the trees from the Memorial Acre, and redesign the Memorial Acre into a relaxing park, without political content. They want to depoliticize the square. In doing so,they will have their own employment and not use local workforces. According to Brian Mokhele, the community wants to remove the monuments, amphitheater, and sculptures from the Memorial Acre because they do not resemble anything. The sculptures should be depicting the truth of what happened, because the Memorial Acre is a political heritage site. He wants to involve the people that actually participated in the struggle to make the monument so that everyone can enjoy it and get a better understanding of the struggle heritage. Therefore, he proposes collective ideology in which everyone has a say. This would prevent future vandalization of the monument. According to Pat Motsiri, the sculptures must depict the event around June 16, 1976. Like the story of Dr Edelstein, who was pierced by pickaxes, forced into a garbage bin and burned alive. According to Jonas Staal, the Memorial Acre should be destroyed, its elements stacked on pallets, thus forming the Monument for the Distribution of Wealth . According to Mafaisa, his men can do the work quickly. He has about twenty men working under him. (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)

In this review article of Dan Hutto's bok Folk Psychological Narratives: The Sociocultural Basis of Understanding Reasons, I argue that we can take a functional approach to FP that identifies it with the practice of explaining behaviour -- that is, we can understand folk psychology as having the purpose of explaining behaviour and promoting social cohesion by making others’ behaviour comprehensible, without thinking that this ability must be limited to those with linguistic abilities. One reason for thinking that language must (...) be implicated in FP explanations arises from the history of theorizing about the nature of scientific explanation. I will show that there are other models of explanation that are free from the metaphysical linguistic baggage of the traditional models, and argue that such models can be profitably used to make sense of an explanation-centred FP that need not involve the attribution of propositional attitudes or a functioning linguistic competence. Further, I will argue that there is evidence that pre-linguistic human children engage in explanatory practices, and that some of these explanations may be seen as narrative explanations in an important sense. (shrink)

Responding to a recent surge of interest in feminist art, its futures, and its history, this article considers the nature and function of the dominant narratives that circulate and structure the field. Specifically, I explore the persistent story of inter-generational strife in which a first generation of artists and historians is understood to have been naïvely mired in an essentialism of which a second, more theoretically savvy generation has been subsequently cleansed. Although one would be hard pressed to identify contemporary (...) scholars who promote this sort of generationally bound progress narrative, the story persists. Its persistence, I argue, has less to do with its truth telling ability and more to do with its ability to perform the function of disidentification. (shrink)

The discourse marker use of the word like is considered by many to be superfluously sprinkled into talk, a bad habit best avoided. But a comparison of the use of like in successive tellings of stories demonstrates that like can be anticipated in advance and planned into stories. In this way, like is similar to other words and phrases tellers recycle during story telling. The anticipation of like contrasted with the uses of other discourse markers such (...) as oh, you know, and well, which almost never re-occurred in similar locations across tellings. Um and uh did sometimes re-occur; these uses are contrasted with like. Although discourse markers are generally used on the fly to handle various issues that come up in coordinating talk as it unfolds, like can be used as an integral part of the story -a marked contrast to the prevalent idea that likes are speech tics. (shrink)

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

Sometimes the way to make progress on a topic is to turn your back on it for a few years. At least I hope so, since I have just returned to the Frame Problem after several years of concentrating on other topics. It seems to me that I may have picked up a few odds and ends that shed light on the issues.

In seeking the truth, philosophers have long used fiction and counterfactual scenarios to raise and answer questions, to foster dialogue or give a commentary on some facet of life. In this paper I will present a few well-known thought experiments from contemporary Western philosophers and highlight some characteristic traits of such thought experiments. I will then discuss some of the fictitious anecdotes that appear in the Zhuangzi. In comparing the features of Western thought experiments to fables from Zhuangzi, we will (...) see that although Zhuangzi’s stories would likely fail to be considered good philosophical thought experiments (according to the Western tradition), the very thing that makes them fail is arguably what allows the writings of Zhuangzi to continue to inspire philosophical reflection and dialogue. (shrink)

Using interactional sociolinguistics, I analyze two versions of a narrative chronicling the humorous antics of a prankster called Zimmerman who, along with the narrator, was a seminary student in the Midwestern United States in the 1950s. To explore the interactional function of telling stories about pranks, I compare two versions: one which is more performative, the other which feels more like a summary, calling attention to differences in narrative evaluation accomplished through use of such linguistic features as reference, (...) deixis, and contextualization cues. I argue that both versions accomplish moral positioning for the narrator, and work to construct and negotiate his identity as someone who values cleverness, finding humor in the playful defiance of authority. However, by contrasting a telling in which this evaluation is accomplished internally to one in which evaluation is largely external, I hope to highlight how evaluative devices contribute to meaning-making through narrative performance in the relatively understudied genre of prankster tales. (shrink)

In his well-known piece ‘Autonomy and Benevolent Lies’ Thomas Hill argues that out of respect for people's autonomy, we ought not to tell benevolent lies. He argues that we are obligated to tell the truth, especially when asked directly for it, even if we know it will cause a person more pain. This is because truth-telling is tied to respecting autonomy, which involves giving people a realistic picture of their situation, however rosy or bleak, and letting them decide what (...) to do with the information given. Telling people benevolent lies, because one thinks they will be happier believing something else, is an instance of paternalism, which Hill wants to resist. In this paper I will raise a case that seems at first glance to be an objection to Hill's theory i.e. a case in which the right information to give someone is not what he has requested. In offering an explanation for how Hill can respond, I will suggest that a revision to his view would allow him to justify certain benevolent lies, while still avoiding his worry that benevolent lies are necessarily paternalistic. (shrink)

Finding Oz tells the remarkable story behind one of the world’s most enduring and best-loved books. Offering profound new insights into the true origins and meaning of L. Frank Baum’s 1900 masterwork, it delves into the personal turmoil and spiritual transformation that fueled Baum’s fantastical parable of the American Dream. Before becoming an impresario of children’s adventure tales, the J. K. Rowling of his age, Baum failed at a series of careers and nearly lost his soul before setting out on (...) a journey of discovery that would lead to the Land of Oz. Drawing on original research, Evan Schwartz debunks popular misconceptions and shows how the people, places, and events in Baum’s life gave birth to his unforgettable images and characters, from the Yellow Brick Road to the Emerald City to the dual view of witches that reflected the life of Baum’s mother-in-law, the radical women’s rights leader Matilda Joslyn Gage. A narrative that sweeps across late-nineteenth-century America, Finding Oz ultimately reveals how failure and heartbreak can sometimes lead to redemption and bliss, and how one individual can ignite the imagination of the entire world. (shrink)

Finding Oz tells the remarkable story behind one of the world’s most enduring and best-loved books. Offering profound new insights into the true origins and meaning of L. Frank Baum’s 1900 masterwork, it delves into the personal turmoil and spiritual transformation that fueled Baum’s fantastical parable of the American Dream. Before becoming an impresario of children’s adventure tales, the J. K. Rowling of his age, Baum failed at a series of careers and nearly lost his soul before setting out on (...) a journey of discovery that would lead to the Land of Oz. Drawing on original research, Evan Schwartz debunks popular misconceptions and shows how the people, places, and events in Baum’s life gave birth to his unforgettable images and characters, from the Yellow Brick Road to the Emerald City to the dual view of witches that reflected the life of Baum’s mother-in-law, the radical women’s rights leader Matilda Joslyn Gage. A narrative that sweeps across late-nineteenth-century America, Finding Oz ultimately reveals how failure and heartbreak can sometimes lead to redemption and bliss, and how one individual can ignite the imagination of the entire world. (shrink)

This introduction reflects on practices of telling stories about works by influential contemporary feminist philosophers, interrogating what is considered impactful feminist philosophy. I frame this edition through a particular kind of re-citational engagement with Heyes’s work—through her own previous writings and my first-personal experiences with the text and her role in my intellectual formation as my dissertation supervisor. I draw on Clare Hemmings’s (2011) work on the grammar of feminist intellectual storytelling, offering brush strokes through embodied and relational (...) stories that help me make sense of Anaesthetics, in order to tell alternative stories to frame the work, specifically Heyes’s methods, impacts, and the relations amongst her previous works. In reflecting on the embodied realities and feminist intellectual networks that inform our framing practices, I consider how we are relationally and affectively invested in figures and thinkers, our schools of thought, our style of philosophy, and our forms of participation in the discipline. Through these reflections, I trace Heyes’s work as grasping life examples with rich opportunities to grapple with stubborn philosophical ambivalences in conceptualizing embodied freedom and agency, while developing adaptive methods that probe their transcendental conditions. (shrink)

Linking specific nursing actions to outcomes in the healthcare setting is challenging. Patient outcomes are varied and influenced by a myriad of factors, and always involve a wider team than any one nurse. It is difficult to control for a single action or set of actions of a particular nurse. Furthermore, practice is seldom about any ‘one’ action, for one thing leads to another, all within a complex interplay of influencing factors. In this article, we outline a research method (...) which combined Dewey's pragmatism with Gadamer's hermeneutics to explore the consequences of the nurse's use of advanced assessment skills in the acute care setting of medical and surgical wards. This pragmatic hermeneutic methodological approach allowed the complex interplay of influences to be revealed in the unfolding story. Reflection of the nurse brought insights that may otherwise have been passed over. The philosophical notions of Dewey drew attention to the play of ‘means’ and ‘ends’. A hermeneutic approach that calls for ‘thinking’ extends understanding and raises insights that can inform education and practice. (shrink)

I aim to show how the enigmatic phrase 'Unánime noche' in the famous first sentence of “The Circular Ruins” is inextricably linked to the story’s last words. Toward this purpose, I argue—against plausible foundational interpretations of the story—for a nonfoundational reading of the text and, moreover, that Borges’s use of ‘unánime’ (one soul) can be understood as one character or one form; namely, as an archetype of “Dreamanity” that leads to a vertiginous Third Man regress.

Recent corporate legal and ethical meltdowns suggest that avoiding such harms to companies and to society requires a significant culture change within the organization. This paper addresses the issue of what it takes to change a corporate culture. While conventional wisdom may suggest that a change requires only the institution of an ethics office with proper reporting paths and an ethics code, such an approach is only a beginning. Many large corporations, especially those in danger of legal and ethical catastrophes, (...) need to undertake multiple initiatives to generate a new culture that manifests new values and new vocabularies. A cultural change accomplished by changing large numbers of personnel is expensive in financial and human terms. One component of a less costly approach is to tell new and different stories within the corporation because stories establish the cultural DNA that gives organizations, families, and individuals their identities. Such changes in individual firms, however, are influenced by the ideological assumptions within which and under which the industry and the society operates. (shrink)

This article identifies and analyses the dominant stories that academics tell about the development of Western second wave feminist theory. Through an examination of recent production of interdisciplinary feminist and cultural theory journals, I suggest that despite a rhetorical insistence on multiple feminisms, Western feminist trajectories emerge as startlingly singular. In particular, I am critical of an insistent narrative that sees the development of feminist thought as a relentless march of progress or loss. This dominant approach oversimplifies the complex (...) history of Western feminisms, fixes writers and perspectives within a particular decade, and repeatedly (and erroneously) positions poststructuralist feminists as ‘the first’ to challenge the category ‘woman’ as the subject and object of feminist knowledge. Rather than provide a corrective history of Western feminist theory, the article interrogates the techniques through which this dominant story is secured, despite the fact that we (feminist theorists) know better. My focus, therefore, is on citation patterns, discursive framings and some of their textual, theoretical and political effects. As an alternative, I suggest a realignment of key theorists purported to provide a critical break in feminist theory with their feminist citational traces, to force a concomitant re-imagining of our historical legacy and our place within it. (shrink)

The constantly accelerating progress of contemporary natural science is indissolubly associated with the development and use of mathematics and with the processes of mathematical modeling of the phenomena of nature. The essence of this diverse and highly fertile interaction of mathematics and natural science and the dialectics of this interaction can only be disclosed through analysis of the nature of theoretical notions in general. Today, above all in the ranks of materialistically minded researchers, it is generally accepted that theory possesses (...) a value of its own. Contrary to positivist concepts of the nature of our knowledge, the meaning and significance of theory do not consist merely of the recording of experimental data, their classification and notation in abbreviated form. The meaning of theory is considerably more significant and is revealed, above all, in its explanatory and predictive functions. Contemporary theoretical knowledge is quite advanced and comprises a highly complex system, relatively self-contained and capable of internal development. Mathematics is the most interesting and distinctive phenomenon in the system of theoretical knowledge, in the system of science in general. It is in its dialectical development that the internal force and dynamics of the development of theory, in the very broadest sense of that word, find expression. Paul Lafargue tells us that Karl Marx held that "science only attains perfection when it succeeds in making use of mathematics" . In many fields of research the formulation of new ideas and concepts rests upon mathematics, its concepts and notions, and "is suggested" by the latter. "Mathematics," writes F. Dyson, "is the main source of the notions and principles out of which new theories are created" . The basic significance of mathematics to theory has been noted by outstanding thinkers over the course of the entire history of development of science. Today the expressive phrase, "the mathematization of knowledge," has come into general currency as a description of the principal direction of growth of theoretical notions in natural science. However, with respect to the growth of modern theoretical physics in general, the statement that it develops primarily by the method of the mathematical hypothesis has general validity. For example, the principal findings and discoveries of quantum theory and particle physics, starting from the corpuscularwave dualism and terminating with the omega minus hyperon and hypothetical quarks, were obtained or made "at the tip of a mathematician's pen.". (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 33.1 (2000) 59-73 [Access article in PDF] Thomas Hobbes: Telling the Story of the Science of Politics Anat Biletzki Science and storytelling First, the traditional commonplaces: Science does not tell stories. Disciplines purporting to be sciences eschew their storytelling aspects in favor of axiomatic, deductive, demonstrative, or whatnot essentials of science. Those deeming the story itself essential give up (happily or less willingly) the (...) label of science and locate themselves under other institutionalized labels such as Humanities. 1 Then there are the disciplines that wobble on the fence, desiring, for various reasons that are more readily analyzed by historical sociologists, the epithet of Science, yet not always achieving such recognition. Chief players in this game are history, psychology, sociology, anthropology, and political science. And if my rendition of this conflict between pretensions and performance seem blatantly pejorative, let me rephrase it: their own practitioners--historians, psychologists, sociologists, anthropologists, and political scientists--believe the issue of their scientific status a problem of no small import. It is, indeed, the question "Are we a science?" that figures in the most fundamental debates concerning the purpose, essence, and methodology of these disciplines.By use of a case study, I will try to support a seemingly conciliatory thesis: social sciences are, by definition and therefore of necessity, on the fence. On one side of the fence lies Science, the monolithic framework that enslaves its method to a grand purpose--knowledge of reality. On the other lies Humanism, a far less easily defined area about which I would hesitate to use the word framework, but through which one meets a no-less-grandiose focus--knowledge of the human. Why then does it seem natural to foster storytelling on the humanistic side of the fence? Or, alternatively, one can ask about the "why not" of narrative in the sciences.Narrative is storytelling; and stories are about heroes; and heroes conduct their actions in a place through a time. So these three building blocks-- [End Page 59] hero, time, and place--point to a pattern of knowledge that, it seems obvious, cannot, and definitely should not, belong to science in its idealized form. There is, of course, a stronger thesis deriving from the intricacies in (post?)modern discussions: that even the exact and natural sciences use narrative while still remaining sciences. This idea--that science does countenance narrative and, indeed, may even use it beneficially--thereby becomes forceful, since science, with its universalistic airs, pretends to ignore heroes in specific times and places.What of the social sciences? Their claim to science is based on that same universalistic end coupled with an attempt to develop a methodology to fit that end. The rub lies in the subject matter of the social sciences, the human being and society. A strictly positivistic view of such subject matter, or even a generally scientific one, must abstract from any and all "humanistic" traits of the human being and society and objectively treat them on a par with any other "neutral" (some might say, even material) object of research. My weak thesis merely claims that such abstraction is inherently impossible and, furthermore, that an attempt at such abstraction waylays the ultimate end of these "sciences." 2 Yet, such a thesis must contribute more than it eliminates. If the social sciences cannot live up to the original scientific ideal of one side of the fence, and if their product can be valued as more than (or at least different from) a mere story on the other side, a more fruitful characterization than just "sitting on the fence" is called for. It is here that narrative makes its essential contribution: narrative is that pattern of knowledge which can encompass the social sciences, given their necessary turn to the human being. Looked at from the receiving end, the social sciences have no option but to turn to narrative in order to buttress their scientific ideal of explanation. The phenomena they claim to explain are human and social phenomena and, as such, cannot be distanced from narrative. 3I shall try to illustrate my... (shrink)

The study of the scene of a woman grabbing the tail of a horse ridden by a male figure in Yeh Pulu relief is the author's basis of concept in the creation of contemporary painting. Before the concept was discovered, a study was conducted of the scenes in the relief based on Panofsky's iconological theory and three stages of analysis, namely pre-iconography, iconography, and iconology. The attempt to connect the Panji narrative with the scene of a woman pulling a horse's (...) tail aims to enrich the analysis of the interpretation. Both the narration and the scene revolve around a love story of two people separated by distance and time. The Panji narrative tells about a love story between Raden Galuh, a princess of Daha Kingdom and Prince Panji, the crown prince of Kahuripan Kingdom, who have long been separated before they finally reunite at the end of the story. The scenes in the Yeh Pulu relief revolve around everyday heroism. This connection is framed as a post-iconological interpretation, which results in three concepts of art creation: reframing, recasting, and globalizing. (shrink)

Moral constructions of suicide are deliberately avoided in contemporary suicidology, yet morality persists, little or imperfectly acknowledged, in its practices and in the policies, discourses, and instruments that it underpins. This study used narrative methodologies to examine the normative force of suicidology and its implications for persons who had engaged in an act of nonfatal suicidal behavior. I interviewed a convenience sample of twelve persons from two inner–urban community mental health centers who were receiving crisis and case management services after (...) a recent act of nonfatal suicidal behavior. Interviews focused on events leading up to and after participants’ suicidal behavior; the responses their suicidal behavior generated in others, including family, friends, and the health professionals caring for them; and cultural views of suicide more broadly. Analysis of these interviews revealed that, although participants’ narratives were broadly consistent with a number of recognizable, canonical story formats common to our cultural repertoire of stories of suicide, they also revealed important tensions, divisions, conflicts, and challenges to contemporary suicidological discourse and practice. Despite evidence to suggest that biomedical understandings of suicide provided some therapeutic benefit to participants, they did not address important social and moral dimensions of human life or explore their connection to suicidal behavior—aspects of the suicidal event that were critical to its causation and to its retelling and “resolution.” The results of this study provide important insights into the moral features of suicidal behavior, the moral and ethical implications of suicide research, and the limitations of moral and ethical discourse in suicidology. (shrink)

The ethics of telling stories about other people become questionable as soon as humans learn to talk. But the stakes get higher when health care professionals tell stories about those whom they serve. But for all the problems that come with such stories, I do not believe it is either practical or desirable for bioethicists to attempt to legislate an end to this storytelling. What we need instead is narrative nuance. We need to understand how to (...) tell respectful stories in which the patients are fully acknowledged fellow participants, not one‐dimensional objects of a knowing gaze. The problem is not narration itself but a particular version of narrational privilege, and getting rid of that would have benefits far beyond practices of writing case studies. In this essay, I first offer four considerations that I have found either omitted or underemphasized in discussions of the ethics of telling stories about patients. I then sketch a model of medical storytelling that might be the basis for shifting the ethical question from whether to how. (shrink)

With this paper, I will interrogate some of the implications of nursing's dominant historiography, the history written by and about nursing, and its implications for nursing ethics as a praxis, invoking feminist philosopher Donna Haraway's mantra that ‘it matters what stories make worlds, what worlds make stories.’ First, I will describe what I have come to understand as the nursing imaginary, a shared consciousness constructed both by nurses from within and by those outside the discipline from without. This (...) imaginary is fashioned in part by the histories nursing produces about the discipline, our historical ontology, which is demonstrative of our disciplinary values and the ethics we practice today. I assert that how we choose to constitute ourselves as a discipline is itself an ethical endeavour, bound up with how we choose to be and what we allow as knowledge in nursing. To animate this discussion, I will outline the received historiography of nursing and dwell in the possibilities of thinking about Kaiserswerth, the training school that prepared Nightingale for her exploits in Crimea and beyond. I will briefly consider the normative values that arise from this received history and consider the possibilities that these normative values foreclose upon. I then shift the frame and ask what might be possible if we centred Kaiserswerth's contested legacy as a training school for formerly incarcerated women, letting go of the sanitary and sanitised visions of nursing as Victorian angels in the hospital. Much energy over the past 250 years has been invested in the professionalisation and legitimation of nursing, predicated (at least in our shared imaginary) on the interventions of Florence Nightingale, but this is one possibility of many. I conclude with a speculative dream of the terrain opens up for nursing if we shed this politics and ethos of respectability and professionalism and instead embrace community, abolition and mutual aid as organising values for the discipline. (shrink)

Pictorial representations such as diagrams and figures are widely used in scientific literature for explanatory and descriptive purposes. The intuitive nature of pictorial representations coupled with texts foster a better understanding of the objects of study. Biological mechanisms and processes can be clearly illustrated and grasped in pictures. I argue that pictorial representations describe biological phenomena by telling stories. I elaborate on the role of narrative structures of pictures in the frontier research using a case study in immunology. (...) I articulate that pictures with an inherent narrative structure are crucial in biological sciences. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 44, no. 2. © 2018 by Francesca T. Royster 503 Francesca T. Royster Stories We Tell After Orlando We are in Laila’s backyard for a Sunday barbecue, a cool and windy Chicago June day that immediately followed one of the very hottest days so far this year. My partner Annie and I have brought our fouryear -old daughter Cece and her best friend Gilda to the (...) barbecue, and they’ve dressed themselves in layers, with leggings and hoodies and dresses, girlie but survivalist at the same time in their sequins and metallic purple, discowear for preschoolers. We are at the end of a daylong play date, and we’ve already survived two playgrounds and several tearful standoffs, the ups and downs that come with friends so young. So Annie and I come hungry for some time with our adult friends. The closely packed, brick, three-flat apartment buildings on either side of Laila’s yard provide us with some protection from the wind for a good part of the afternoon. But as the sun goes down and the light dims, we pile on more jackets and scarves over our T-shirts and shorts. Gusts of wind randomly fan the flames until they’re visible over the lid of the grill as Laila cooks. I look out for Laila at the grill while Annie plays catch with the little girls. But I have to do so in stealth, because Laila is as stubborn as she is glamorous. She has insisted on wearing a jacket with green flowing sleeves as she tends the fire, and while she has put her long, graying blond hair up in a chop-sticked bun, she has also pulled out long wispy strands to achieve high femme style. It flies around her face in the wind, flirting with the flames. 504 Francesca T. Royster We are all getting together because later this week Laila will be boarding a plane for the twelve-hour flight home to spend time with her aging mother and father for the summer. “Home” is Lebanon, and we have already experienced losing Laila for a several months in 2006 during a visit home when Israel and Lebanon’s tensions grew into a violent series of bombings that came very close to her Beirut apartment. At the nadir of that time, Laila sent us frantic group letters conveying her worry, sometimes her despair, and her flashbacks to her childhood experiences in wartime Beirut in the 1970s and also in the war of 1982. For a few agonizing weeks her letters stopped coming altogether. The afternoon of our barbecue was the same day as the early morning shootings in the Pulse nightclub in Orlando, Florida, where forty -nine people were killed, and at least fifty others were wounded. The victims were all killed while practicing a rite that all of us considered as sacred and necessary as going to church might be for some—dancing the night away in a gay nightclub. This morning we had woken up to this news, blinking still without our glasses, the magnitude of the news headline hard to fathom as it flashed across the screens of our phones. It’s wrong that mass shootings have become part of the fabric of our lives, and probably will be for the lives of Cece and Gilda. The story feels both shocking and sadly familiar: the apparently easy availability of weapons and a pattern of anger taken to the next outrageous step. And then there’s the gay part. Even when I first heard that the shooting took place at a gay bar, I wondered if the killer, Omar Mateen might be gay himself. “Why Orlando?” I thought. Why a mostly unknown dance club? I thought of the messy, red-hot fury of hate and desire when they get mixed up together. As Annie and I talked about the shooting in hushed voices on the playground that morning, we thought of Matthew Shepard. We thought of the recent theory that Shepard most likely knew his killers; that he hung out with them, maybe did drugs with them. Some have written that the narrative that Mateen is gay only confirms the... (shrink)

This article aims to demonstrate that the concept of the ‘dialogical self’ is an identity theory that provides useful tools for studying intersectionality. In terms of the dialogical self, the formation of identity is a process of orchestrating voices within the self that speak from different I-positions. Such voices are embedded in field-specific repertoires of practices, characters, discourses and power relations specific to the various groups to which individuals simultaneously belong. By telling one's life-story, the individual intones these voices (...) and combines them in new ways, thus reshaping them as they use them. The article applies the theoretical concept of the dialogical self to the analysis of the life-story of a relatively well-known female Dutch politician of Moroccan background whose explanation of why she wears a headscarf allows her to combine the religious and political voices in her story with her more hesitant female voice. The words, images and self-evaluations used in her self-narratives demonstrate the ways in which her religious, ethnic and gender identifications are formed and are in dialogue. (shrink)

Many student papers in applied ethics tend to be pure opinion or pure application of one of the traditional moral theories without any serious involvement. In addition, there exists a significant gap between the way professional ethicists write and the way students think about ethical issues. In order to address these two issues, this paper describes two modifications. The first involves beginning a research paper assignment by asking students to write a “moral story,” a story that deals with a serious (...) contemporary moral problem. The second involves shifting away from a model where students are asked to determine the “correct” answer to an ethical problem to a balance scale model of moral reasoning, i.e., one that places the emphasis on determining which arguments have the weightier conclusion. (shrink)

The detective story in which the investigator is an amateur without official standing is a peculiarly English genre. Perhaps the earliest example, telling of an investigation that was pursued unofficially by an individual who arrived on the scene after the crime, disagreed with the official stand, pursued his own investigation, and reported the results, is “The Life and Passion of Saint William the Martyr of Norwich,” which Thomas of Monmouth started in 1149/50 and completed in 1172/73. Book 1 of (...) theLife, apparently completed by 1150, is a flowing narrative of the events of William's life and of his death in 1144 as Thomas had reconstructed them. And although books 2–6, written in 1154/55, consist primarily of descriptions of the translations of William's body between 1150 and 1154 and of the miracles attributed to him, Thomas devoted the first part of book 2 to a lengthy defense of the truth of his reconstruction of the crime, a defense in which he carefully marshaled the evidence or arguments that had led him to his conclusions. The last book, book 7, which was only completed by 1173, describes the further miracles attributed to William between 1155 and 1173. (shrink)

Drugged bodies are commonly depicted as passive, suffering and abject, which makes it hard for them to be known in other ways. Wanting to get closer to these alternative bodies and their resourcefulness for living, I turned to body-mapping as an inventive method for telling different kinds of drug-using stories. Drawing on a research project with people who inject heroin and crack cocaine in London, UK, I employed body-mapping as a way of studying drugged bodies in their relation (...) to others, human and non-human, in the injecting event. I invited participants to draw their bodies in describing these otherwise hard-to-articulate experiences. Following Donna Haraway, I conceptualise body-mapping as a more-than-human mode of storytelling where different kinds of bodies can be known. Here, I look at three such bodies – sensing-bodies, temporal-bodies and environment-bodies – and argue that it is through being able to respond to such bodies that more hospitable ways of living with drugs can become possible. (shrink)

The paper seeks to demystify Nietzsche’s concept of genealogy. Genealogy tells the story of historical origins in the form of a myth that is betrayed fromwithin, while readers have naively assumed it tells a story that Nietzsche endorses—whether of history or naturalized origins. Looked at more closely, genealogy,I claim, tells the story of human consciousness and its extraordinary fallibility. It relates the conditions and limits of consciousness and how these are activelyavoided and forgotten, for the most part in vain. The (...) lessons are these: there is no human time before consciousness; no unconscious activity that is uncontaminated by consciousness or culture; no period of prehistory that isn’t already historical or historicized, hence subject to dehistoricization (for prehistory, Urzeit, always comes after history, in the form of a myth); no primordial “innocence of becoming,” let alone any future condition free of these same constraints. Genealogy is the critique of the myth of knowing critique. (shrink)

Toni Morrison suggests that storytelling is a highly effective way of structuring knowledge, and that the harnessing of a clever allegory, the search for well-patterned language is a constant, provocative engagement with the contemporary world. This article considers the ways poetry, imagination, and well-patterned language are utilized in the philosophies of Ralph Waldo Emerson, Richard Rorty, and Leonard Harris. The author notes that there are apparent similarities between Rorty and Harris, but one should also notice that there are significant differences (...) in these two philosophical positions. The author ultimately argues that Harris's move toward poetry and well-patterned language is extremely powerful and needed if people wish to move beyond a well-established set of values and norms. Harris prods us to tell thought-provoking, engaging stories—to intricately tuck knowledge into allegory and well-patterned language—but do it without being an apologist for the prevailing bourgeois liberal democratic tradition. In this manner, the harnessing of metaphor and clever allegory, the creative engagement with poetry and well-patterned language (in philosophy) is a provocative means of engaging the oppression, dispossession, and immiseration of the contemporary world. (shrink)

In response to Hostettler, I clarify the intended meanings of ‘After Critical Realism?’ My point is not to abandon critical realism but to develop it further and make it more self-reflexively critical. Bhaskar's journey through different stories about our place in the cosmos is a dialectical learning process from Althusserian scientist existentialism, via an all-encompassing dialectical philosophy as a theory of moral good grounded in every expressively veracious action or remark, to a pluralist notion of God. Bhaskar's questions are (...) deep and his answers pertinent, but there are more hypothetical, scholarly and dialogical ways of telling ethico-political and cosmic stories. (shrink)

The article is intended to reveal important similarities between fiction and sport. I build on Jonathan Gottschall’s discussion in The Storytelling Animal: How Stories Make Us Human by celebrating the significance of stories and their ‘witchy power’ and by examining factors that demonstrate similarities between fiction and sport. I suggest that an unmistakable semantic, structural, and cultural kinship exists between the two. This argument requires a discussion of play theory, play resources and constitutive rules, the semantic power of (...) problems and the uncertainty they produce, and the role of ‘frames’ in bringing problems to life. I conclude by noting the unique frame capabilities of ‘the big game’ and zero-sum dichotomous sporting motifs. (shrink)