Diodorus Siculus has not enjoyed a positive reputation among historians of antiquity. Since the nineteenth century hisBibliothēkēhas been dismissed as a derivative work produced by an incompetent compiler, useful often only in so far as one can mine his text for lost and, evidently, far superior works of history. Diodorus’ own input into theBibliothēkēhas been dismissed as the clumsy intervention of ‘a small man with pretensions’. In one of the sharpest expressions of the traditional view, Diodorus is not a historian (...) but ‘a mere epitomizer and an incompetent one at that’. In recent years voices of dissent have spoken up, determined to investigate Diodorus’ own contribution to ancient historiography. Their contributions have been notable for their desire to study and understand Diodorus on his own terms or to problematize his derivative use of his sources. Sacks, in particular, has argued that Diodorus’ voice can be heard in nearly every proem, a feature that occurs regularly in the text, and that Diodorus’ own views structure his analysis of historical events copied from other authors. (shrink)

The present discussion contribution argues that O. Müller not only suppresses Goethe’s declared intentions with regard to the latter’s Theory of Colors and ignores his place in what in any case is a different scientific culture than his own or Newton’s, namely a premodern culture of “narrative knowledge” in the sense specified by Lyotard. Moreover, Müller entangles himself in the paradox of wanting on the one hand to back up Goethe on the level of fact when the latter opposes (...) the militant selfrighteousness of the Newtonian school, but doing so on the other hand by constructing an epic-heroic narrative of Newtonian militance, not to say eristic belligerence contradictory to Goethe’s own “tolerant enlightenment” in Lakatos’ sense. Thus, we are confronted with one of those cases where, as Paul de Man puts it, a multidimensional critical reading on the semiological as well as rhetorical levels shows “that the text does not practice what it preaches”. (shrink)

Since the official history-writing is a defining aspect for the formation and consolidation of nation-states, it is crucial to explore the attempts to legitimize particular discourses regarding historical atrocities. The selective representations of the past, in this regard, contradict counter-memories and propagate hegemonic patterns of remembrance and/or forgetting of past crimes. This article accordingly addresses how the representations of counter-memories as threats to national security and the silencing of gender-specific experiences and remembrances by sanctioned historical narratives become manifest in (...) the history-making of the Turkish nation-state. By focusing on the Holocaust and the Armenian Genocide as two cases of crimes against humanity, it is intended to discuss the shifting positions and roles that the Turkish state adopts in the remembering and forgetting of historical offences. The article argues that through prioritizing national security and national interests, the securitization of memory reconstructs collective traumas of distinct ethnic and religious groups on the basis of a nation-state’s perceived internal and external threats. It also claims that the competing voices of women and their distinct experiences and patterns of remembrance and forgetting past atrocities are suppressed for the sake of the preservation of national security. By incorporating the issue of gender into the debate on the securitization of memory, this article elucidates the mismatch between positions of femininity and masculinity within the official national historiography of the Turkish state. (shrink)

The perception that one is being forced to do wrong, or being prevented from doing the right thing, is often described in the most brutal terms, as a situation that feels like participating in the torture of another human being. The emotional force of the experience of moral distress, and the perception that one is powerless to do anything to change the situation producing moral distress, can make it hard to look at these experiences critically, and to imagine a different (...) reality. Writing about the experience of moral distress is a way to look critically at this experience. This commentary discusses how these narratives explore moral distress in relation to the formation of professional identity, as a “dirty” experience, as a potential consequence of unrelieved moral uncertainty, in the care of “difficult” patients, and as a response to systemic problems. (shrink)

Abstract:Life-writing combines, collates, or colludes many lives into one text. No work of fiction, biography, poetry, drama, memoir, journaling, blogging, or autobiography—all of them life-writing—does not do this, either blatantly or surreptitiously. I am interested in forms in which authors do not own up to writing about themselves under the cover of writing about another. This essay will focus on the implications of this generic collusion in writing in health care. Health care professionals are given (...) space within their professional journals to write personal essays about their work. Typically, these essays include a patient portrait or vignette as a means to probe some aspect of clinical practice. Some, not all, of these journals provide guidelines for protecting the privacy/confidentiality of patients described in the essay, including instructions for how to “fictionalize” patients or families to render them non-identifiable, even to themselves. A clinician-author may adopt this genre to illuminate a moment in practice that bears reflection and provides insight into the world of care. Often, however, the essay’s tenor is the author, and the patient is pressed into service as but the vehicle for that examination. The genre may be adopted to confess an error, to lament a woe (generalizable to all readers), to critique the actions of colleagues or patients, or to boast of a successful clinical intervention. Perhaps these essays are all, or should all, be co-authored “duets” by patient and clinician. (shrink)

This volume is the first to undertake a large-scale, longue durée study of pain in antiquity across multiple contexts, cultures and genres, providing a close analysis of the articulation of pain experiences, both mental and physical.

The ArgumentIn this paper three canonical studies of the scientific revolution are subjected to narratological analysis. Underlying this analysis is the assumption that in any single product of historical writing it is possible to distinguish, for analytical purposes, between three levels of reference: the object of the text — the events; the representation of the events — the narrative; and the text in which a story is represented by means of narrative. Through texts one learns about historical (...) events, but also about the process of producing the texts. Techniques of representation are means of production of texts that represent, in addition to the events, also the producer and his or her authority. The distinction made for any specific text allows the reader to play the two levels against each other in order to create a space within which historical writing should be criticized. Such criticism may draw attention to the difficulty of controlling the meaning of historical stories, and to the need to analyze narrative structures in order to appreciate the ideological changes of historical texts. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:History-Writing as Protest: Kingship and the Beginning of Historical Narrative James G. Williams Syracuse University I. Introduction This paper is an attempt to apply René Girard's mimetic theory to the origins of historical writing, specifically the composing ofIsrael's story, vis- à-vis the origin of kingship. What I do not intend to deal with is the exact chronological beginning of historical narrative in ancient Israel. Whether (...) or not this sort of writing began immediately, it is quite clear that kingship is a problem in a way that no other office or role was in the scriptural texts. In the study of Israelite historiography and Israel's understanding of history there are many issues that have been discussed and debated. Among English speaking scholars the works of John Van Seters have been, in recent years, the most widely read on this topic.l Van Seters himself argues that the "Court History" or "Succession Narrative" in 2 Samuel and the Yahwist (J) narrative ofthe Pentateuch, or Torah, which scholars have commonly thought to be the oldest ancient Israelite history works, were composed in the exilic period (after c. 586 B.C.E.) subsequent to the completion of the "Deuteronomic work" (Josh., Judg., Books of Sam., Books of Kings). A Greek model of history writing was by then known and used by the authors of these histories previously and wrongly understood to be so old. However, prior to these historical works influenced by a Greek model was the work ofthe Deuteronomist, i.e., the books ofJoshua through Samuel, which integrated various earlier sources and traditions into a view of Israel's past that was informed by a definite theology ofhistory. This history is that of "the first known historian 1 In his approach to the texts Van Seters does not deal with any of the questions raised in the recent readings and hermeneutic approaches informed by literary theory. 92James G. Williams in Western civilization truly to deserve that designation" (Van Seters, "Search" 362). My purpose is not to argue with most of Van Seters's conclusions. In my judgment he is right to question the thesis of Hermann Gunkel and Gerhard von Rad that history writing evolved from earlier legend (Saga). I likewise agree that although there are many parallels among Israelite, Mesopotamian, Egyptian, and Hittite texts (including divine intervention in history, as shown by Bertil Albrektson), one still does not find among these other peoples a genre that could be called historiography. Van Seters borrows Johan Huizinga 's definition of history as "the intellectual form in which a civilization renders account to itself of its past" ("Search" 1). I think the definition is helpful but it lacks both a generative center and a delimitation of literary form. I propose that it be changed by extending it in two respects: (1) The intellectual form of self-understanding is rooted in the sacred as its primary problematic. In this essay I will try to show that the beginning of history writing in ancient Israel both starts from and attempts to break from the ancient sacred order as mediated through the sacral institution ofkingship. (2) Concerning literary form, history in the sense intended here requires a narrative about a nation and specific individuals (even if the divine and miracles are part of this world) that is long and continuous enough to form a coherent picture ofthe significant past. There was clearly no writing like that prior to Israelite historiography. I think the main problem in Van Seters's approach is that he misses the impulse ofhistory writing. That impulse is kingship. I don't mean this simply in the older sense, going back to L. Rost and Gerhard von Rad, that history writing begins with the cultural efflorescence that emerged in the reign of Solomon (c. 960-922 B.CE.) and used even earlier sources stemming from the period of David's rule (c. 1000-960 B.CE.).2 Kingship was, rather, an office created by the fundamental dynamic of culture, namely the sacred and its mechanisms. What made Israel different, I will argue, is that it established this office, thus becoming "like all the nations," and yet many of its distinctive witnesses... (shrink)

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

It is well known that the historical texts composed under the Macedonian dynasty (Theophanes Continuatus, Genesios, but also Leo the Deacon, Manuel protospatharios, John Skylitzes or even Michael Psellos) display certain element, which can be seen as attempts to make a clean break with the past; the formalist style of unbroken historical narrative was largely rejected in favour of historical biography in which the influence of rhetorical methods is self-evident. It is not known which criteria tipped the balance in (...) favour of such a development, though we would do well to consider both the influence of Antiquity, and the close ties that bound biography to hagiography, which from the empire's very beginnings (Vita Constantini) also served as a uniquely Byzantine mode of promoting the image of the emperor. It may be legitimate to speak of a new type of historical writing which is specifically designed for the extremely beautified career of its subject and constitutes a contemporary movement which manifested itself in various cultural contexts. (shrink)

L’enjeu de cet article est de s’intéresser à la question de la transformation de soi que l’expérience de deuil engage, et ce, à partir de l’initiative littéraire. À partir de l’étonnement que produisent certains récits de deuil – Une mort très douce de Simone de Beauvoirou Le malheur indifférent de Peter Handke notamment –, nous interrogerons le besoin d’écrire comme initiative tendant à approcher l’expérience du deuil, à la comprendre. Sous cet angle, l’écriture de deuil, singulière, tout à fait spécifique, (...) s’envisage sous le registre de l’action, possédant ses modalités, ses dynamiques propres et entraînant ses effets biographiques : quelles sont les ressources propres à la littérature permettant de rendre compte de la dynamique à l’œuvre dans l’entreprise de « reconstruction » du sujet? Mais sous l’angle de l’action, nous montrerons également que l’écriture du deuil répond à une forme d’engagement public et d’interpellation dont les enjeux normatifs sont larges. Loin de considérer la démarche d’écriture de deuil comme réservée à la sphère intime, nous tenterons de montrer en quoi l’expérience du deuil, par la médiation de l’écriture, est d’emblée collective, publique, voire politique. (shrink)

In this essay, I develop the concept of episodic value, which describes a form of value connected to a particular object or individual expressed and delivered through a narrative. Narrative can bestow special kinds of value on objects, as exemplified by auction articles or museum collections. To clarify the nature of episodic value, I show how the notion of episodic value fundamentally differs from the traditional axiological picture. I extend my discussion of episodic value to argue that the (...) notion of episodic value readily incorporates the role of narratives into the construction of identity in personal and social contexts. My main contentions are twofold. First, events or experiences from our personal narratives are episodically valuable insofar as they contribute to shaping our narrative identities. Second, when engaged in a collective action, we write a joint narrative with other participants that confers special meanings on the actions of each participant. (shrink)

In this essay, I explore the writings of Jon Kabat-Zinn, the founder of the mindfulness-based stress reduction program, to discern in them a moral framework that provides a narrative arch of human decline and restoration through greater mindfulness. I argue that this moral narrative framework has striking similarities to what Slavoj Zizek describes as the “Holderlin paradigm” which characterizes the thinking of post-Hegelian thinkers such as Marx, Nietzsche, Benjamin, Heidegger, and Derrida. This narrative takes late modernity as (...) both the nadir of a process of historical decline in the West and the site of its potential restoration. In demonstrating the similarities between the two narratives, I seek to show how the “Buddhification,” as Braun calls it, of American spirituality is internally complex, and to offer some conceptual tools from the philosopher Jane Bennett to account for breakdowns that the scholarly study of the mindfulness meditation phenomenon produces in our broad analytical typologies. (shrink)

All the early advocates of women’s education, male and female, had proposed history as a central subject in women’s education—perhaps as the central subject. They envisaged it as a substitute for novel reading, which they viewed as strengthening women’s mental weakness and encouraging them in unrepublican habits of idleness, extravagance, and daydreaming.6 Many prominent women educators wrote history, among them Pierce, Rowson, and Willard. But besides such history writing and history advocacy by materialist educational reformers, American women wrote history (...) in other modes and contexts, and it is on these that I want to focus now.Speculating on history as a woman’s writing practice from the earliest years of the republic, my approach is purely literary in taking for granted, but considering it unimportant, that by present-day standards none of these women could have been “good” historians. More generally, I supposed that insofar as our present-day definition of literature or, more generally, of writing, invokes such forms as poem, play, story, and novel—and insofar as the feminist enterprise of recovering women’s writing further emphasizes such private, putatively unpublished forms as journal, diary, and letters—we have been instructed to perceive women writers as largely sealed off from public discourse, writing from somewhere outside the public sphere. This currently dominant view of women’s writing may be an inadvertent artifact of an unself-conscious, individualistic, curiously romantic definition of writing even among postmodernist critics; or, it may be a strategic view designed to focus attention on and valorize previously silenced or presently new forms of utterance. In contrast, to encompass diverse, already published, programmatically public instances of women’s writing in our definition is to begin to see how often and how openly American women have written in such forms. We then begin to recover a different sort of writing woman from the madwoman in the attic and acquire materials with which to begin constructing a different narrative of American women’s literary history. Nina Baym is Jubilee Professor of Liberal Arts and Sciences at the University of Illinois, Urbana. She is the author of many books and articles on American and feminist literary topics. (shrink)

Some philosophers contend that to effectively address problems such our global environmental crisis, humans must collectively embrace a polyphonic, environmentalist grand narrative, very different from the narratives accepted by modernists. Cultural theorists who write about metamodernism likewise discuss the recent return to a belief in narratives, and contend that our society’s current approach to narratives is very different from that of the modernists. In this paper, I articulate these philosophers’ and cultural theorists’ positions, and I highlight and explore interconnections (...) between them. Additionally, I argue that if the authors I discuss are correct, then we morally ought to embrace a metamodernist, polyphonic, environmentalist grand narrative, in order to effectively address an array of global crises. Such a grand narrative is a necessary ingredient of an adequate global ethics. (shrink)

Paul Ricoeur declares that “being-entangled in stories” is an inherent property of the human condition. He introduces the notion of narrative identity—a form of identity constructed on the basis of a self-constructed life-narrative, which becomes a source of meaning and self-understanding. This article wishes to present chosen instances of life writing whose subjects resist yielding a life-story and reject the notions of narrative and identity. In line with Adam Phillips’s remarks regarding Roland Barthes by Roland Barthes (...) (1975), such works—which I refer to as fragmentary life writing—emerge out of a profound scepticism about any form of “fixing” oneself and confining the variety and randomness of experience to one of the available autobiographical plots. The primary example of the genre is Joe Brainard’s I Remember (1975)—an inventory of approximately 1,500 memories conveyed in the form of radically short passages beginning with the words “I remember.” Despite the qualified degree of unity provided by the fact that all the recollections come from the consciousness of a single person, the book does not arrange its content in any discernible order—chronological or thematic; instead, the reader is confronted with a life-in-fragments. Although individual passages could be part of a coming-of-age, a coming-out or a portrait-of-the-artist-as-a-young-man narrative, Brainard is careful not to let any of them consolidate. An attempt at defining the characteristics of the proposed genre will be followed by an indication of more recent examples of fragmentary life writing and a reflection on its prospects for development. (shrink)

This chapter contains sections titled: Introduction Origins of the Contemporary Debate Historiographic Research and Writing Two Variants of Narrativist Philosophy of Historiography The Philosophical Approach The Transcendentalization of Narrativist Philosophy of Historiography Rhetorical Narrativist Philosophy Hayden White Conclusion Bibliography.

This volume aimed to highlight narrative identities of European cities or city neighbourhoods that have been overlooked, such as mid-sized cities. These cities are neither small towns nor metropolises, cities that are now unveiling their appeal or specificity. The present special issue thus covers a range of representations of cities. The articles investigate more systematically how different texts deal with various cities from different experiential and fictional perspectives. The issue covers the geographical scope across Europe, from east to west (...) or vice versa, as well as a range of different works of national literature(s), but with a clear emphasis on mid-sized European cities that have until now been deemed as lesser-known, secondary, peripheral, ‘other’ cities that are in the focus of the research of the COST project Writing Urban Places. New Narratives of the European City, within which this journal issue is being published. (shrink)

Self-narrative plays an important role in the constitution of the self, but it is unclear what role exactly. Some argue that personal identity is constituted by narrative, while others hold that narrative is a significant factor in shaping the self, but itself depends on the prior possession of a self. In this article, I provide an account of self-narrative that accommodates the best insights of both sides by drawing on Maurice Merleau-Ponty’s distinction between personal and pre-personal (...) existence. This distinction allows me to argue that personal identity can be constituted by self-narrative, even while the latter is founded on the pre-personal cohesion of a life. In conclusion, I draw on Judith Butler’s analysis of self-narrative in Giving an Account of Oneself to argue that my account of self-narrative avoids impossible and potentially harmful views about the self to which some accounts of narrative are implicitly committed. (shrink)

Are historians storytellers? Is it possible to tell true stories about the past? These are just a couple of the questions raised in this comprehensive collection of texts about philosophy, theory, and methodology of writing history. Drawing together seminal texts from philosophers and historians, this volume presents the great debate over the narrative character of history from the 1960s onwards. The History and Narrative Reader combines theory with practice to offer a unique overview of this debate and (...) illuminates the practical implications of these philosophical debates for the writing of history. The editor's introduction offers a succinct survey of the subject to support the readings, which explore the role of narrative in everything from historical understanding and human action to linguistics and the practice of history. Including the work of F. R. Ankersmit, David Carr, Hayden White, W. H. Dray, and Frederick Olafson; a detailed bibliography; and a glossary of key concepts, this collection will prove an invaluable resource for students of historical theory and methodology. (shrink)

The configurational dimension, in turn, displays temporal features that may be opposed to these "features" of episodic time. The configurational arrangement makes the succession of events into significant wholes that are the correlate of the act of grouping together. Thanks to this reflective act—in the sense of Kant's Critique of Judgment—the whole plot may be translated into one "thought." "Thought," in this narrative context, may assume various meanings. It may characterize, for instance, following Aristotle's Poetics, the "theme" that accompanies (...) the "fable" or "plot" of a tragedy.1 "Thought" may also designate the "point" of the Hebraic maschal or of the biblical parable, concerning which Jeremias observes that the point of the parable is what allows us to translate it into a proverb or an aphorism. The term "thought" may also apply to the "colligatory terms" used in history writing, such terms as "the Renaissance," "the Industrial Revolution," and so on, which, according to Walsh and Dray, allow us to apprehend a set of historical events under a common denominator. In a word, the correlation between thought and plot supersedes the "then" and "and then" of mere succession. But it would be a complete mistake to consider "thought" as a-chronological. "Fable" and "theme" are as closely tied together as episode and configuration. The time of fable-and theme, if we may make of this a hyphenated expression, is more deeply temporal than the time of merely episodic narratives. · 1. It may be noted in passing that this correlation between "theme" and "plot" is also the basis of Northup Frye's "archetypal" criticism. Paul Ricoeur is professor of philosophy at the Université de Paris and John Nuveen Professor at the University of Chicago. Some of his works to appear in English are Husserl: An Analysis of His Phenomenology, Main Trends in Philosophy, and The Conflict of Interpretations: Essays on Hermeneutics. His previous contribution to Critical Inquiry, "The Metaphorical Process as Cognition, Imagination, and Feeling," appeared in the Autumn 1978 issue. (shrink)

Collaborative memoirs by co-writers with and without autism can enable the productive interaction of the voices of the writers in ways that can empower rather than exploit the disabled subject. Carly's Voice, co-written by Arthur Fleischmann and his autistic daughter Carly, demonstrates the capacity for such life narratives to facilitate the relational interaction between writers in the negotiation of understandings of disability. Though the text begins by focusing on the limitations of life with autism, it develops into a collaboration which (...) helps both writers move toward new ways of understanding disability and their own and one another's life stories. (shrink)

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

Significant work in the philosophy of history has focused on the writing of historiographical narratives, isolated from the rest of what historians do. Taking my cue from the philosophy of science in practice, I suggest that understanding historical narratives as embedded within historical practice more generally is fruitful. I illustrate this by bringing a particular instance of historical practice, Natalie Lawrence’s explanation of the sad fate of Winston the platypus, into dialogue with some of Louis Mink’s arguments in favour (...) of anti-realism about historical events. Attending to how historians seek out and utilize archival resources puts serious pressure on these arguments, motivates realist positions, and re-focuses the philosophy of history towards making sense of historiography as a part of the diversity of historians’ interests. (shrink)

Narrative analysis, creative writing, and interactive reflective writing have been identified as valuable for professional identity formation and resilience among medical and premedical students alike. This study proposes that medical student blogs are novel pedagogical tools for fostering peer-to-peer learning in academic medicine and are currently underutilized as a near-peer resource for premedical students to learn about the medical profession. To evaluate the pedagogical utility of medical student blogs for introducing core themes in the medical humanities, the (...) authors conducted qualitative analysis of one hundred seventy-six reflective essays by baccalaureate premedical students written in response to medical student-authored narrative blog posts. Using an iterative thematic approach, the authors identified common patterns in the reflective essays, distilled major themes, coded the essays, and conducted narrative analysis through close reading. Qualitative analysis identified three core themes and one overarching theme. The premedical students’ essays demonstrated significant self-reflection in response to near-peer works, discussed their perceptions of medical professionalism, and expressed concerns about their future progress through the medical education system. The essays consistently attributed the impact of the medical student narratives to the authors’ status as near-peers. The authors conclude that reading and engaging in reflective writing about near-peer blog posts encourages premedical students to develop an understanding of core concepts in the medical humanities and promotes their reflection on the profession of medicine. Thus, incorporating online blogs written by medical trainees as narrative works in medical humanities classrooms is a novel pedagogical method for fostering peer-to-peer learning in academic medicine. (shrink)

This section welcomes submissions addressing literature as a means to explore ethical issues arising in healthcare. “Literature” will be understood broadly, including fiction and creative nonfiction, illness narratives, drama, and poetry; film studies might be considered if the films are adaptations from a literary work. Topics include in-depth analysis of literary works as well as theoretical contributions, discussions, and commentary about narrative approaches to disease and medicine, the way literature shapes the relationship between patients and healthcare professionals, the role (...) of speculative fiction as a testing ground for future scenarios in healthcare, and so on. Articles discussing the uses of literature for bioethics education and outreach will be particularly appreciated. Research on literature not originally written in English will be considered as long as it has also been published in translation. Submissions should include an abstract and should conform to theCQGuidelines for Contributors. To submit an article or discuss a suitable topic, write to Antonio Casado da Rocha [email protected].:This article proposes a concept of narrative autonomy to supplement existing accounts in healthcare ethics. This is done by means of a comparison between three end-of-life scenarios: Tolstoy’sThe Death of Ivan Ilyichand two related contemporary stories by Lorrie Moore and Bernhard Schlink, which explore some problems arising when extremely individualistic notions of patient autonomy are put into practice. It is argued that the best model for palliative care is a cooperative one in which patient autonomy is understood as essentially social, and that involves decisional, executive, informational, and narrative dimensions. (shrink)

The very idea of narrative explanation invites two objections: a methodological objection, stating that narrative structure is too far from the form of a scientific explanation to count as an explanation, and a metaphysical objection, stating that narrative structure situates historical practice too close to the writing of fiction. Both of these objections, however, are illfounded. The methodological objection and the dispute regarding the status of historical explanation can be disposed of by revealing their motivating presupposition: (...) the plausibility of an exclusivist explication of explanation which appeals either to the unity-of-method thesis or some implicit notion of analytic equivalence, both problematic philosophical doctrines. The metaphysical objection fails with the rejection of the idea, in Mink's phrase, of an "untold story." The argument against history as an "untold story" develops from Danto's image of an Ideal Chronicler recording ideal events. A consequence of rejecting this view is that it no longer makes sense to speak of historical narratives as true or false. However, this failure engenders no special problem for assessing the objectivity or explanatory utility of narratives qua explanations. (shrink)

Narrative inquiry in a nursing practicum One approach to creating research‐based nursing education is to think and write narratively about the daily life of a BScN program student and her teacher in diverse settings and over time. Gail, as a nurse‐teacher, and Faith, as a nursing student and now Public Health Nurse, reconstruct their teaching–learning experiences in an integrated practicum in maternal–child health services as a narrative inquiry. After presenting this reconstruction of experience at a conference on maternal (...) scholarship, further inquiry into their experiences shows how narrative inquiry matters to construction of nursing praxis and to life‐long learning as a nurse. Teaching–learning relationships are seen as a template for a student's connections to people experiencing nursing care and to other clinicians. Construction of stories to live by that take into account becoming a nurse, constructing knowledge and enacting caring–healing nursing practices is illuminated through narrative inquiry. (shrink)