This essay will discuss some of the ways that narrative works to promote philosophy, called fictive narrative philosophy. The strategy is to discuss the ways that direct and indirect discourse work and to show why indirect discourse fills an important void that direct discourse cannot fulfill. In the course of this examination several famous narrative-based philosophers are examined such as Plato, Kierkegaard, Nietzsche, Sartre, Murdoch, Johnson, and Camus. These practitioners used the indirect method to (...) make plausible to readers the vision that they were presenting. This article also offers some constraints in this process. (shrink)

The structure of the traditional paradigm -- Narrative fiction as philosophically interpreted in the ancient western world -- Narrative fiction as philosophically interpreted in the modern and contemporary western world -- The structure of the new paradigm -- What makes an artifact philosophy? -- Literature as philosophy -- The special logic of fictive narrative philosophy -- Constructional devices -- How do we judge fictive narrative philosophy? -- When should we use (...) direct discourse philosophy and when fictive narrative philosophy? -- How might fictive narrative philosophy change the academy? -- First order metaethical principles: my own philosophical work on ethics and personhood theory as a first step for ethics & fictive narrative philosophy -- My own work in fictive narrative philosophy. (shrink)

This essay seeks to outline a way of understanding literature as philosophy as a justification for using fictive narrative to teach ethics. Some brief theoretical points are set out as well as two classroom examples.

Historically, for Black writers, literary fiction has been a site for transforming the discursive disciplinary spaces of political oppression. From 19th century “slave narratives” to the 20th century, Black novelists have created an impressive literary counter-canon in advancing liberatory struggles. W.E.B. Du Bois argued that “all art is political.” Many Black writers have used fiction to create spaces for political and social freedom—from the early work of Harriet Wilson’s Our Nig; or, Sketches from the Life of a Free Black (1859)—to (...) the enduring works of the Harlem Renaissance (Toomer, Hurston, and Schuyler)—to the great revolutionary Black literature after WWII (Wright, Baldwin, Williams)—to contemporary Black writers (Toni Morrison, Edward Jones, Samuel Delany)—Black fictive space continues to be a necessary site for resistance. Black literary fiction is a vast counter-canon to mainstream literature which unquestioningly reinforces global white supremacy, capitalistic political oppressions, and the dominance/subordinance relations upon which they depend. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) 143-156 [Access article in PDF] The Vicious Habits of Entirely Fictitious People: Hume on the Moral Evaluation of Art Eva M. Dadlez DAVID HUME'S ESSAY, "Of the Standard of Taste," identifies aesthetic merits and defects of narrative works of art. 1 There is a passage toward the end of this essay that has aroused considerable interest among philosophers. In it, Hume writes (...) of cases in which "vicious manners are described, without being marked with the proper characters of blame and disapprobation" ("ST," p. 246). He maintains that works which include such descriptions are aesthetically flawed, adding that we neither can nor should enter into their writers' sentiments or "bear an affection to characters, which we plainly discover to be blameable" ("ST," p. 246).There is no reason to ascribe to Hume a Platonic moralism that condemns art's disinhibition of emotion. Neither does Hume advocate some extravagant form of political correctness that evaluates art by looking to the propriety of its subject matter. As later examples in the quoted essay make clear, Hume is speaking of cases in which fiction not only depicts vicious manners, but endorses them. I will argue that such endorsements are stigmatized neither because a low estimation of depicted behavior infects the estimation of a work's merit nor because we take the endorsement to be mistaken or unwarranted. Fictional endorsements of conduct otherwise regarded as vicious constitute defects because they curtail the aesthetic experience. Hume's claim, then, is as much about human psychology as it is about morality. We cannot divorce morality from narrative art because, for Hume, morality finds its basis in the very sentiments such art is intended to arouse. The content of the works under fire is objectionable because it prompts the [End Page 143] imaginative disengagement of the reader or viewer just when engagement and emotional participation are necessary for full appreciation. As Noël Carroll maintains in his objection to autonomism, a moral defect "will count as an aesthetic defect when it actually deters a response to which a work aspires." 2 This is a view for which I will endeavor to offer an explanation based on Hume's philosophy, and that I will attempt to defend against typical objections. I It would be a mistake to associate the position ventured above with some of those appearing in the recent critical literature. There, a work is sometimes taken to endorse any character's behavior which is not explicitly condemned or which is accompanied by some depiction of positive traits. Thus Nabokov's Lolita is suspected of subtle endorsement of Humbert's behavior mainly because Humbert is described as urbane and intelligent. There is a clear mistake here about what it is that can be taken to constitute an endorsement on the part of a work of fiction. To suggest that Lolita endorses child molesting because we are occasionally allowed to glimpse a sympathetic side of the molester is on a par with claiming that Shakespeare's Macbeth endorses killing for personal gain because we are allowed to glimpse a sympathetic side of the title character. Our reactions to complex characters can be, and usually are, correspondingly complex. We can admire one trait and deplore another without being forced into the kind of all-or-nothing evaluation that writers of serious fiction seldom want to elicit. In any case, it seems clear that the endorsement of a character in toto would probably involve a good deal more than the depiction of a few attractive traits. The grim undoing of the two characters under consideration, coupled with their misery and hopelessness, hardly suggests endorsement. Similarly, an aesthetically pleasing depiction of an event we consider tragic should not be taken as an endorsement of that event. Aesthetic and distressed responses are not mutually exclusive. They can constitute distinct responses to distinct aspects of the same state of affairs. The graceful arrangement of the bodies of Romeo and Juliet is surely not an endorsement of their tragic death or their suicide... (shrink)

Focusing on four cases presented by Lloyd Wells, M.D., this paper addresses the relationship of clinical psychopathology to the philosophical concept of narrative identity. The paper begins with a review of the debate among historians, literary critics, and philosophers over the referential status of narrative identity, that is, whether the narrative self is a fictive structure unrelated to lived life or whether ordinary life is in fact lived narratively. Agreeing with those philosophers who argue for the (...) reference of narrative identity to actual life, the author analyzes the four cases from the perspective of narrative identity to determine what light this philosophical concept sheds on the various psychopathologies. Then, having used the philosophical concept to illuminate psychopathology, he reverses direction and questions what psychopathology has to offer philosophy and its notion of narrative identity. The author argues both that the philosophical concept of narrative identity contributes to our understanding of psychopathology and that psychopathology offers challenges to the philosophical notion of narrative identity. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:JOSEPH MARGOLIS THE LOGIC AND STRUCTURES OF FICTIONAL NARRATIVE The fascination of fiction and narrative is plainly immense, sind current analyses are notably fresh and ingenious. But ifone were to venture a compendious account of die most strategic conceptual claims bearing on those notions, they might well be captured by the following three theses: (i) that fiction and narrative are logically quite distinct, without necessarily excluding (...) one anodier; (ii) that fictional worlds are no worlds at all; they are merely imagined to exist; and (iii) that events, whether actual or imagined, cannot be specified independently of the categories by which we identify them as the events they are, categories subject to change over time. What is intriguing about mese three claims is that they strike the ear as utterly commonplace and obvious. But that is dieir strength. For it would be a great convenience if the relevant puzzles generated by analytic philosophy, hermeneutics, the new narratology, semiotics and the like could be resolved, convincingly, by appeal to die implications of these diree homely trudis. In addition, diey affect one another in a rather complicated way, and, taken joindy, easily expose certain influential false starts. The import of (iii), for example, is notably ignored in die otherwise powerful analysis of narrative afforded by Gérard Genette. Its bearing on (i) utterly undermines the explicit dualism favored by Seymour Chatman, who is clearly influenced by Genette himself. The failure to mark die force of (i) and its analogue regarding poetry is most obvious in I. A. Richards's contrast between poetry and science, the work of the Prague circle, Northrop Frye's Anatomy of Criticism, and such recent speech-act theories of poetry and fiction as those proposed by Richard Ohmann, Monroe Beardsley, and Mary Louise Pratt. The corresponding failure widi respect to (ii) is clear in John Searle's theory of reference and in die ontological claims made by Nicholas Wolterstorff. The connection between (i) and (ii) is muddled most famously by G. E. Moore. These charges suggest die quarrelsome promise of the intended economy. But, as we shall see, they also lead in the direction of a more constructive theory of texts and their interpretation and of die constraints of narrative and style diat affect fiction. 162 Joseph Margolis163 Fiction, we say, differs from reality as well as from legend. But in speaking thus, we betray an understandable confidence that these three kinds of"world"— or, these three worlds — are conceptually well-behaved and open to straightforward demarcation. Once more, we slip altogether too easily between talking about certain worlds and about the narrative accounts by which we do so. What distinguishes fictional reference? we ask, and what is a fictional world? The best way to proceed here is to begin with strong intuitions and to trace dieir systematic consequences in order to test how far they are unassailable — or whether and where they must yield to others that are more accommodating. One particularly promising equivocation is the following. We speak of fictional worlds as possible (but not actual) worlds; but even if what is possible in a fictional world corresponds (in some sense) to what is possible in the actual world, it is not, as such, a possibility of or at the actual world. The "possible worlds" idiom is fundamentally and doubly equivocal. For, a "possible world" signifies either what is merely logically or conceptually compossible, or what (under suitably referential, predicative, causal, and similar constraints) is compossible specifically with respect to the actual world (or some part of it). Certainly, Balzac's La Cousine Bette "presents" an imaginary world that is internally coherent and compossible. One might even say, ignoring its fictive nature, diat such a world — or events very much like those of the story — is compossible with a certain portion of the actual world of nineteenth-century France. But Lewis Carroll's Alice in Wonderfond, though it scrupulously presents a coherent world of compossible events, does not present a world compossible with the actual world. And, on certain views at least, Thomas Mann's The Transposed Heads presents a possible world that is a conceptual impossibility. There is, however, no need to quarrel about particular cases... (shrink)

In this paper, my aim is to show that in Anglo-American analytic aesthetics, the conception of narrative fiction is in general realistic and that it derives from philosophical theories of fiction-making, the act of producing works of literary narrative fiction. I shall firstly broadly show the origins of the problem and illustrate how the so-called realistic fallacy – the view which maintains that fictions consist of propositions which represent the fictional world “as it is” – is committed through (...) the history of philosophical approaches to literature in the analytic tradition. Secondly, I shall show how the fallacy that derives from the 20th Century philosophy of language manifests itself in contemporary analytic aesthetics, using Peter Lamarque and Stein Haugom Olsen’s influential and well-known Gricean make-believe theory of fiction as an example. Finally, I shall sketch how the prevailing Gricean make-believe theories should be modified in order to reach the literary-fictive use of language and to cover fictions broader than Doyle’s stories and works alike. (shrink)

Recent decades have witnessed a growing interest in narrative both in certain areas of philosophy and in the study of religion. The philosophy of religion has not itself been at the forefront of this narrative turn, but exceptions exist—most notably Eleonore Stump’s work on biblical stories and the problem of suffering. Characterizing Stump’s approach as an apologetic orientation, this article contrasts it with pluralistic orientations that, rather than seeking to defend religious faith, are concerned with doing (...) conceptual justice to the range of possible human perspectives, both religious and nonreligious. By discussing various examples, the article makes a case for narrative philosophy of religion, especially in its pluralistic form. (shrink)

This notable collection provides an interdisciplinary platform for prominent thinkers who have all made significant recent contributions to exploring the nexus of philosophy and narrative. It includes the latest assessments of several key positions in the current philosophical debate. These perspectives underpin a range of thematic strands exploring the influence of narrative on notions of selfhood, identity, temporal experience, and the emotions, among others. Drawing from the humanities, literature, history and religious studies as well as philosophy, (...) the volume opens with papers on narrative intelligence and the relationship between narrative and agency. It features special sections of in-depth commentary on a range of topics. How, for example, do narrative and philosophical biography interact? Do celebrated biographical and autobiographical accounts of the lives of philosophers contribute to our understanding of their work? This new volume has a substantive remit that incorporates the intercultural religious view of philosophy's links to narrative together with its many secular aspects. A valuable new resource for more advanced scholars in all its constituent disciplines, it represents a significant addition to the literature of this richly productive area of research. (shrink)

this essay is a celebration of charles johnson. We have known each other for thirty-six years—ever since he sent me correspondence on my novel Georgia that I had submitted to the Fiction Collective. We have corresponded off and on over this time. The more I got to know Charles, the more I found similarities in our interests and worldviews. With that disclaimer out of the way, let’s move forward and first examine some of the theoretical claims and then show how (...) one reads fictive narrative philosophy via two short stories written by Dr. Johnson.1In our co-authored book,2 we set out that literature can be philosophy. This is a rather radical claim. Most writers on the subject view the relationship between philosophy... (shrink)

Sunnah is considered the second of the main sources of Islam. The reports, which are considered the carrier of the sunnah, have been conveyed by narrators at different levels. The reasons for the difference between the conveying narration levels were handled mainly as a subject of research and discussion by theologians and Muʿtazila scholars as well. One of these subjects is the factors affecting the conveying of the narration and what is preventing it from being conveyed. Qāḍī Abd Al-Jābbār (d. (...) 415/1025) is one of the scholars who has a different account on this subject. He developed a philosophical perspective on the Islamic narrative case, acting in line with the rationalist sectarian approach. Accordingly, the frequency of conveying narration, whether the report is religious, its effect on the interlocutor, it's becoming ordinary. Therefore, ın this study, the factors which affect conveying of the khabar are emphasized in line with the opinions of Qāḍī Abd Al-Jābbār. In other words, the factors that ensure that a report is voiced and repeated by the members of the society and the reasons that prevent the transfer of a word are emphasized. Qāḍī Abd Al-Jābbār dealt with the factors affecting the conveying or repetition of khabar with the social, psychological and belief aspects of human and tried to exemplify. These factors have a two-way effect. Some of factors require the conveying of the khabar, while others are considered to prevent and weaken it. Although these factors are related to the psychological aspect of the person in terms of source, they differ from the process of action. The first of these factors that require the conveying of the khabar was named by Qāḍī Abd Al-Jābbār as الداعي. The second one is the factors that prevent the communication of the khabar, and it was named as الصوارف. The “dāʿi” for doing or not taking an action can be more than one and also different in strength. The action of the person towards the conveying of the khabar is directly proportional to the force of the “dāʿi”. Strong actions motivate the person to perform it more, whereas the weakest influence lead less people to perform the action. Therefore, two khabar with the same “dāʿi” should be conveyed at the same rate. Because the main factor is named “dāʿi” that provides their conveying has the same force. Accordingly, it is not correct whether one of the two khabar items that share the same situation and are in the same time period is not posted and the other is. In other words, the transfer of something is devāʿī / الدواعي and in accordance with the strength of the need within the framework of the custom / العادة law. The conveying of the khabar status depends on the tendency to post it or the issues that prevent it. Among these factors, the issues that enable the conveying of the khabar and motivate people in this regard are also expressed in terms of issues and elements that prevent people from conveying. These are closely related to the psychological situation of the person who conveyed the khabar, the ordinariness of the khabar, the need for the khabar, the distance to the time of the khabar, the religious quality of the khabar and whether there is a fear situation surrounding the conveying. According to this, if there is a “dāʿi / motive” and " devāī / motives" related to the khabar, it is conveyed but if there is any "sārif/ inhibitor" about it, it is not conveyed. The “dā’i / motive” and "sārif/ inhibitor" of the khabar do not have the same strength. Accordingly, to obtain neccecity in knowledge, the correctnes of khabar depends on the “dāʿi” in the khabar. Therefore, since the “dāʿi” owned by the “khabar from single persons / ahad khaber” are weaker than the “dāʿi” owned by the mutawatir khabar. Therefore, it cannot be expected to be transmitted at the same level. (shrink)

Patient‐centred care has gained ground in health service following a health policy initiative aimed at changing the paternalistic culture towards one with more patient involvement. Development of knowledge relating to people's lived experiences of illness is important in this context. Literature in the field of health science describes methods for exploring what is at stake for people affected by illness, and the French philosopher Paul Ricoeur has been a significant source of inspiration. Especially, Ricoeur's interpretation theory has been construed and (...) applied in different, often schematic, methodological variations, whereas his narrative philosophy is a little used source of inspiration. Health science has been characterized by a biomedical awareness of method and the idea that there is a direct and immediate path to patients' experiences, a viewpoint that can be traced back to Descartes and the philosophy of subjectivism. Opposed to Descartes, Ricoeur says that we are already embedded in a world of traditions and meanings over which we have no control. According to Ricoeur, we leave traces when we express ourselves, and traces are formed by the world of meanings and traditions to which we belong. Often, the sense in the traces is hidden, making it impossible to directly understand individual's experiences. Reflection on an individual's lived experiences must take place via the narratives in which the individual expresses themselves. The centrepiece of Ricoeur's narrative philosophy is the threefold mimesis, which is an approach to understanding the meaning of peoples' lived experiences. The philosophical hermeneutics of Gadamer plays an important role in Ricoeur's theory of interpretation, although he has criticized Gadamer for failing to include one dimension in his philosophy; he finds this dimension in Habermas' ideology critique. Ricoeur's ideology critique is absent in health science research, which is why it has been made a focal point in this article. (shrink)

This paper considers the problem of a narrative philosophy according to F. W. J. Schelling and narrative logic according to Franklin Ankersmit. Referring to these examples, I ask whether there is any philosophy to narrative at all. First, I discuss Schelling’s views from his unfinished work “The Ages of the World,” as well as his later dialectics of mythology of revelation from the system of the ages of the world. I focus on a dialectics of (...) figurative and speculative order, which is at the core of Schelling’s project to tell philosophy in the form of poetry and demonstrate the origins of Schelling’s narrative philosophy in his early, transcendental thought. Next, I juxtapose my findings with Ankersmit’s analysis of historians’ language. I also consider whether, and how, some of these ideas can be applied in contemporary narrative research. (shrink)

This paper investigates Danto’s claims that the narrative of art is over. In this state, which Danto sees as ideal, art is free from any master narrative, and its direction cannot be predicted. The claim that art ought to remain in its current state—pluralistic, free and with no further historical development—is problematic. Danto is correct that late 20th c. art could not be explained through a single narrative, and the myriad forms art takes demonstrate its pluralism. But (...) Danto’s claim that freedom is the outcome of inexplicability, and progress is measured by amenability to narrative, does not follow. Based on Gombrich’s theory of pictorial representation, I provide an alternative explanation of Danto’s claim that art no longer manifests the narrative of the era of art, arguing that the shift in art’s preferred form of presentation, though no longer supporting narrative explanation, is developing as a language of disclosure. (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)

In this essay I begin with Aristotle’s perplexing observation that a tragic drama is a “whole,” one identified by a clear beginning, middle and ending. I pause to wonder how Aristotle imagines such ends, given his contention that a play concludes in such a way that “nothing can follow from it.” On the face of it, it is very difficult to imagine what Aristotle has in mind here. I suggest that one clue may be found in his title, Poetics, with (...) its clear suggestion that a dramatic event is in fact a making, a poiesis. I develop this idea to suggest that the end of a story, any story, tends to be something the reader imposes, often in the interest of generating a specific moral. I then display these readerly dynamics by providing a close reading of the famous story from Genesis, concerning the cities of Sodom and Gomorrah. I explore a number of different ways in which this story may be thought to “end,” as well as the implications of each such ending. (shrink)

In this article, we explore the worldview of the pilgrim and how it relates to the drama of human existence. The worldview of the pilgrim is the starting point in our explorations of the postmodern conundrum and interrelated subjects such as epistemology, ethics, religious symbolism, hospitality and practical life strategies from a narrative and confessional perspective. These elaborations will serve the ultimate goal of this article, which is to contribute to the philosophy of education (including educators and educationists) (...) and consequently to equip individuals with skills and substantial knowledge that would allow them to understand, define and pursue their own life goals as well as to participate with integrity in their community as full-fledged, responsible citizens. (shrink)

Narrative philosophy is the Australian philosopher Raimond Gaita’s answer to the question of how to philosophize in a manner that directly informs efforts to answer the classic philosophical question of ‘how best to live’. Gaita claims, provocatively, that getting the world in view in a manner relevant to arriving at an answer involves challenges that, far from being merely theoretical, are such that we can only meet them by working on ourselves or, alternately, by reshaping our sense of (...) what matters. A productive philosophical intervention would thus need to be in the business of directing our attitudes and would have to have the hallmark of literary discourse or “narrative.” This chapter lays out Gaita’s case for thinking that we need narrative philosophy, and it discusses some of Gaita’s efforts to present us with such a philosophy, specifically in relation to ethical thought about human-animal relations. An important virtue of Gaita’s approach is that it equips us to overcome the philosophically influential, but morally questionable, idea of tension between the moral standing of animals and the moral standing of severely cognitively disabled human beings. (shrink)

This text offers a reflection on the nature and significance of narrative in human communication.

Philosophy of Early Childhood Education: Transforming Narratives provides an insightful reflection on some contemporary issues and theories underpinning early childhood education. The essays in this volume penned by an international group of educators are both critical and transformative, offering new insights on the practices and policies within early childhood education. Provides a critical reflection on some current issues within early childhood education Offers perspectives outside traditional narratives of early childhood Encourages the emergence of new paradigms for early childhood education (...) Promotes the value of difference, perspective, and “otherness” Features an international field of contributors from diverse geographical boundaries. (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)

Philosophy and Narrative Fiction: The best literature of fiction has a philosophical value, that is the main thesis proposed in this paper. The narrative structure is analysed as a human way of learning in ethic matters. The Aristotle's Poetic pointed at this goal, and modern reflexion about fiction stressed the relation tying fictive narrative and the deepest truth of human existence. The literature of fiction could have therefore ethical effects in readers; in some instances these (...) effects are focused in the search of truth as freely assumed attitude. (shrink)

This third book in a series of successful introductory textbooks by Craig Bartholomew and Michael Goheen builds on their previous projects, The Drama of Scripture and Living at the Crossroads, to offer a comprehensive narrative of philosophical thought from a distinctly Christian perspective. After exploring the interaction among Scripture, worldview, theology, and philosophy, the authors tell the story of philosophy from ancient Greece through postmodern times, positioning the philosophers in their historical contexts and providing Christian critique along (...) the way. The authors emphasize the Reformed philosophical tradition without neglecting other historical trajectories and show how philosophical thought relates to contemporary life. (shrink)

I distinguish what I call ?minimal narrative? from narrative of the kind that might disclose a person's identity in biography or autobiography. The latter exists in what I call ?the realm of meaning?; a realm in which, in ways I try to make clear, form and content cannot be separated. The realm of meaning is also the realm in which we develop an understanding of what it means to lead a human life lucidly responsive to the defining facts (...) of the human condition and, interdependently with that, our sense of what it means to wrong someone. To show to what degree assumptions about the realm of meaning set the stage for our understanding of what it is to wrong someone, of the nature of biography and autobiography and of what it is to learn morally from someone's example, I detail the conceptual structure of a certain kind of racist perception. The racist's distinction between ?us? and ?them?, is essentially the distinction between lives that are lived in the realm of meaning and lives that are not. Much of moral philosophy, I argue, takes as it starting point a perception of human life that is little different from the racist's perception of the lives of those whom he regards as less than fully human. (shrink)

A common method for warranting the historical adequacy of philosophical claims is that of relying on historical case studies. This paper addresses the question as to what evidential support historical case studies can provide to philosophical claims and doctrines. It argues that in order to assess the evidential functions of historical case studies, we first need to understand the methodology involved in producing them. To this end, an account of historical reconstruction that emphasizes the narrative character of historical accounts (...) and the theory-laden character of historical facts is introduced. The main conclusion of this paper is that historical case studies are able to provide philosophical claims with some evidential support, but that, due to theory-ladenness, their evidential import is restricted. (shrink)

A narrative element is essential to philosophy, because nothing gets going in it without some vision, some story about what the world, or the subject, is like. The argumentative element can only structure the story from the inside; it can never prove it true. And, whatever clarification arguments provide for the story, the latter remains in all its ambiguous glory, ready to originate new arguments and to spawn new visions.

In this entry, we survey key discussions on the role of narrative in theology and philosophy of religion. We begin with epistemological questions about whether and how narrative offers genuine understanding of reality. We explore how narrative intersects with the problems of evil and divine hiddenness. We discuss narrative's role in theological reflection and practice in general, and in black and feminist theologies specifically. We close by briefly exploring the role of narrative in theorization (...) about life's meaning. (shrink)

The present paper deals with the problem of the digital-culture-public-philosophy as a possible response of those philosophers who see the need to face the challenges of the Internet and the visual culture that constitutes an important part of the Internet cultural space. It claims that this type of philosophy would have to, among many other things, modify and broaden philosophers’ traditional mode of communication. It would have to expand its textual, or mainly text-related, communication mode into the aesthetic (...) and visual communication mode. More precisely, philosophers would have to learn how to aestheticize and visualize their ethical narratives by using some digital tools – YouTube clips for example. (shrink)

This essay offers a rationale for the employment of narrative pedagogies in introductory philosophy courses, as well as examples of narrative techniques, assignments, and course design that have been successfully employed in the investigation of philosophical topics. My hope is to undercut the sense that “telling stories in class” is just a playful diversion from the real material, and to encourage instructors to treat storytelling as a genuine philosophical activity that should be rigorously developed. I argue that (...) introductory courses focused on student narratives fulfill the ideals of learning-centered teaching. Since narrative learning also promotes self-knowledge and empathic understanding, there is good reason to consider replacing or supplementing canonical texts or arguments with narrative assignments. The concluding sections provide details as to how such assignments can be constructed,integrated into course units, and assessed. (shrink)

Theories and Narratives will interest all readers for whom the role of history in the understanding of contemporary civilizations is an essential issue.

The use of narrative – in this case a fictional dialogue – has been a time-honoured way of exploring ideas and most importantly indispensable for learning, at least since the time of the Sophists. Indeed, the dialogues of Plato exemplify this thesis because the qualities and characteristics of philosophy and philosophising are revealed through their lives. Extending on this premise, we would argue that we learn to understand both the unity and complexity of philosophy – particularly in (...) education and educational research – not by formal philosophical arguments, necessary as they are in some contexts, but by narratives that are relevant, narratives that make the actions of one or more characters intelligible and justifiable. As a result, this article uses a narrative approach for the dual purpose of exhibiting the relevance of philosophy intelligibly exhibited through the examples of the characters put forward, but at the same time characters we our... (shrink)

Fiction has been of concern to both the aesthetician and the ontologist. The former is concerned with the criteria or standards by which we judge the aesthetic worth of a fictional work, the latter with whether our ontology must be enlarged to include possible or imaginary worlds in which are housed the characters and incidents referred to and depicted in such works. This is a paper on the ontology of fiction. It will attempt to answer these ontological questions concerning truth (...) and reference in fiction by clarifying the use of language. Our paradigm case of the fictive use of language will be one in which the story-teller orally relates the fictional story in the presence of his audience, rather than one in which he inscribes his story so that it may be read at a later date. The value of considering the use of language in a face-to-face situation is that it brings before us in their full explicitness all of the different facets of a speech act, many of which often lie dormant in non-face-to-face uses and therefore are hard to discover from a consideration of such uses. (shrink)

Why have theorists approached narrative primarily as a form of retrospect? Mark Currie argues that anticipation and other forms of projection into the future are vital for an understanding of narrative and its effects in the world. In a series of arguments and readings, he offers an account of narrative as both anticipation and retrospection, linking fictional time experiments (in Ali Smith, Ian McEwan, Martin Amis and Graham Swift) to exhilarating philosophical themes about presence and futurity. This (...) is an argument that shows that narrative lies at the heart of modern experiences of time, structuring the present, whether personal or collective, as the object of a future memory as much as it records the past. (shrink)