Forschungsgeschichte - Handbuch/übergreifende Darstellung.

"For description and defense of the narrative configurations of everyday life, and of the practical and social character of those narratives, there is no better treatment than Time, Narrative, and History.... a clear, judicious, and truthful account, provocative from beginning to end." —Journal of the British Society for Phenomenology "... a superior work of philosophy that tells a unique and insightful story about narrative." —Quarterly Journal of Speech.

Various claims have been made concerning the role of narrative in grief. In this paper, we emphasize the need for a discerning approach, which acknowledges that narratives of different kinds relate to grief in different ways. We focus specifically on the positive contributions that narrative can make to sustaining, restoring and revising a sense of who one is. We argue that, although it is right to suggest that narratives provide structure and coherence, they also play a complementary role (...) in disrupting established structure and opening up new possibilities. We add that both of these roles point to the importance of interpersonal, social and cultural factors in shaping the trajectory of grief. We conclude by briefly considering the implications for distinguishing between typical and pathological forms of grief. (shrink)

In the last two decades, interest in narrative conceptions of identity has grown exponentially, though there is little agreement about what a "life-narrative" might be. In connecting Kierkegaard with virtue ethics, several scholars have recently argued that narrative models of selves and MacIntyre's concept of the unity of a life help make sense of Kierkegaard's existential stages and, in particular, explain the transition from "aesthetic" to "ethical" modes of life. But others have recently raised difficult questions both (...) for these readings of Kierkegaard and for narrative accounts of identity that draw on the work of MacIntyre in general. While some of these objections concern a strong kind of unity or "wholeheartedness" among an agent's long-term goals or cares, the fundamental objection raised by critics is that personal identity cannot _be_ a narrative, since stories are artifacts made by persons. In this book, Davenport defends the narrative approach to practical identity and autonomy in general, and to Kierkegaard's stages in particular. (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)

A group is lying when it makes a statement that it believes to be untrue but wants the addressee(s) to believe. But how can we distinguish statements that the group believes to be untrue from honest group statements based on mistaken beliefs or confusion within the group? I will suggest a narrative constraint for honest group statements, made up of two components. Narrative coherence requires that a new group statement should not conflict with group knowledge on the matter, (...) or beliefs of relevant operative subgroups, unless a coherent rationale is given. Narrative intention looks at the process of gathering new evidence on the area of expertise of the group and requires that the group position behind the statement is formed in good faith. The narrative constraint will help to distinguish group lies from more innocent erroneous statements of group beliefs when there is an internal disagreement within the group, including in cases involving spokespersons. (shrink)

This paper explores some issues which a humanlike story system ought to encompass, but which are usually not in the main focus of narrative models since Propp. We argue that knowledge about actions and interactions can account not only for how stories are constructed, but also for why some stories are more interesting and enduring than others. We analyze a traditional English folktale in these terms, and show how classes of surface expressions make recoverable the underlying structures and dependencies (...) that schema‐based understanders comprise. (shrink)

This book is part of the growing field of practical approaches to philosophical questions relating to identity, agency and ethics--approaches which work across continental and analytical traditions and which Atkins justifies through an explication of how the structures of human embodiment necessitate a narrative model of selfhood, understanding, and ethics.

This paper focuses on the narrative aspect of Seneca’s idea of self-transformation. It compares Seneca’s viewpoint with some modern notions of the narrative self to highlight some parallels and significant differences between the ancient and modern conceptions and it establishes the reading of some parts of De Brev. Vit. in the context of other passages as concerned with the narrative self. The paper argues, amongst other points, that in Ep. 83.1–3, Seneca extends the practice of meditatio (ethically (...) directed self-examination) by incorporating the construction of a narrative self into this process, in dual roles, as examiner and examined. It concludes that Seneca expected us to avail ourselves of a similar self-assessment based on a dialogue with philosophical texts. (shrink)

In recent years, philosophers of mind have explored the relationship between lived embodied experiences and self-narratives in bringing about a sense of self. This relationship has been vividly debated, with no consensus in the field. While some have argued that lived embodied experiences influence, but are not influenced by, self-narratives, others have maintained that lived embodied experiences and self-narratives influence each other across time. However, the very concept of ‘self-narrative’ and its scope of application has remained underspecified. The debate, (...) I will argue, can only be resolved if we arrive at a better theoretical understanding of self-narrative. Therefore, the purpose of this paper is to develop a conceptual account of the notion of ‘self-narrative’ and a descriptive account of its scope of application. It will then be shown how these accounts can pave the way towards resolving the debate on the experience-narrative nexus. (shrink)

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

ABSTRACTThe distinction between minimal self and narrative self has gained ground in recent discussions of selfhood. In this article, this distinction is reassessed by analysing Zahavi and Gallagher’s account of selfhood and supplementing it with Husserl’s concept of person. I argue that Zahavi and Gallagher offer two compatible and complementary notions of self. Nevertheless, the relationship between minimal self and narrative self requires further clarification. Especially the embeddedness of self, the interplay between passivity and activity, and the problems (...) of uniqueness and persistence are better understood with Husserl’s analysis of person and its central concepts of position-taking, habitualities, and overall style. The embeddedness of self is elucidated by outlining how person is related to its environment, to other people, and to its past. This relational notion of self is both passively constituted and actively shaped: person mediates between minimal self characterized by perspectival ownership... (shrink)

The art of medicine stimulates the attitude of mind which concedes that on certain issues the patient knows what is right for him or her, and the public senses what is best for it. Not because they are right, but because on these issues there is no absolute right. —Anthony MooreThe benefits of fine literature, narrative analysis, and the listening to and telling of stories in education are well known (Carson 2001; Guillemin and Gillam 2006; Hunter 1996; Moore 1978; (...) Nussbaum 1990). Literature must not be overlooked in the planning or the delivery of health education and care. Narrative opens readers’ minds by promoting a plethora of viewpoints about stories and life. Through the facilitation of student-centred activities students can critically mull over central points of the story. In discerning meaning, conversations between students are generated around the crucial question, “Whose story is it?” Coincidentally this question drives, or ought to drive, medical integrity.Practitioners m. (shrink)

Recent work on enculturation suggests that our cognitive capacities are significantly transformed in the course of the scaffolded acquisition of cognitive practices such as reading and writing. Phylogenetically, enculturation is the result of the co-evolution of human organisms and their socio-culturally structured cognitive niche. It is rendered possible by evolved cerebral and extra-cerebral bodily learning mechanisms that make human organisms apt to acquire culturally inherited cognitive practices. In addition, cultural learning allows for the intergenerational transmission of relevant knowledge and skills. (...) Ontogenetically, enculturation is associated with neural plasticity and the development of new motor routines and action schemas. It relies on scaffolded learning that structures novice-teacher interactions. The acquisition of reading and writing are paradigm examples of enculturation. Based on an empirically informed analysis of the components of enculturation, I will apply the emerging account of enculturated cognition to narrative practices. To date, research on the impact of narratives on the constitution of the self and our understanding of folk psychology has not paid much attention to the question how narratives are influenced by cumulative cultural evolution and our capacity to acquire reading and writing during ontogeny. I will argue that textual narratives, above and beyond oral narratives, provide genuinely new ways of narration. Therefore, the enculturated interaction with textual narratives has the potential to contribute to a better understanding of ourselves and other cognitive agents. (shrink)

Following neo-Aristotelians Alasdair MacIntyre and Martha Nussbaum, we claim that humans are story-telling animals who learn from the stories of diverse others. Moral agents use rational emotions, such as compassion which is our focus here, to imaginatively reconstruct others’ thoughts, feelings and goals. In turn, this imaginative reconstruction plays a crucial role in deliberating and discerning how to act. A body of literature has developed in support of the role narrative artworks (i.e. novels and films) can play in allowing (...) us the opportunity to engage imaginatively and sympathetically with diverse characters and scenarios in a safe protected space that is created by the fictional world. By practising what Nussbaum calls a ‘loving attitude’, her version of ethical attention, we can form virtuous habits that lead to phronesis (practical wisdom). In this paper, and taking compassion as an illustrative focus, we examine the ways that students’ moral education might usefully develop from engaging with narrative artworks through Philosophy for Children (P4C), where philosophy is a praxis, conducted in a classroom setting using a Community of Inquiry (CoI). We argue that narrative artworks provide useful stimulus material to engage students, generate student questions, and motivate philosophical dialogue and the formation of good habits which, in turn, supports the argument for philosophy to be taught in schools. (shrink)

Der Artikel spürt den subtilen Veränderungen nach, die bei Patienten, die mit tiefer Hirnstimulation behandelt werden, möglicherweise beobachtet werden können. Dabei sollen im Rückgriff auf Konzeptionen zur narrativen Identität mittels einer möglichst genauen Beschreibung und Analyse der Selbstwahrnehmung der Patienten sowie der Wahrnehmung ihres Umfelds die Änderungen im praktischen Selbstverhältnis untersucht werden, u. a. am Beispiel technomorpher Metaphern, die von den Patienten in ihren Selbstbeschreibungen verwendet werden. Ziel ist es, die Neuartigkeit und das Spezifische der Neurotechnologien – über die bisherigen (...) Untersuchungen hinaus – hinsichtlich des Umgangs mit sich selbst herauszuarbeiten und greifbar zu machen. Abschließend werden auf Basis der Analyse der Patienten-Narrationen die entsprechenden normativen Implikationen für eine ethische Bewertung des Einsatzes von Neurotechnologien benannt. (shrink)

Unquestioned assumptions about the existence and uniformity of a “succession narrative” may lead to a reading of the material that is too narrow and rigid.

Contemporary philosophers of science argue that models are a major vehicle of scientific knowledge. This applies to highly theoretical inquiry as well as to experimental or otherwise observational research, in both the natural and the social sciences. Making this claim is not yet very illuminating, given that there is a large variety of different kinds of model, and a number of ways in which they function in the service of science. The ambiguity of the term ‘model’ and the multiplicity of (...) kinds of model are illustrated by Pierre Duhem’s famous comparison of the mind of a continental physicist to that of an Englishman: the former strives for ‘theories’ that are formulated in ‘the clear and precise language of geometry and algebra’ and consist of abstract and idealized notions and formulae, while the latter insists on having mechanical ‘models’ that satisfy ‘his need to imagine concrete, material, visible, and tangible things’ that are familiar to ordinary experience. While the French or German physicist deals with a formalized theory in his account of electrostasis, the English account is in terms of ‘strings which move around pulleys, which roll around drums, which go through pearl beads, which carry weights; and tubes which pump water while others swell and contract; toothed wheels which are geared to one another and engage hooks. We thought we were entering the tranquil and neatly ordered abode of reason, but we find ourselves in a factory’ (Duhem 1954, pp. 70–1). Models in this sense—iconic models —employ analogies to visualize the mechanisms depicted, while formalized theories supposedly lack this property. On the other hand, it is nowadays customary to use the term ‘model’ also for such formal systems of equations, conspicuously so in the social sciences—and, much of the time, such formal systems are used for representing causal mechanisms. In relation to such a formal system, ‘model’ is also used for its various interpretations, or just for the interpretation that makes it true. The model muddle needs to be sorted out. (shrink)

Analyses of household urban agriculture have demonstrated a wealth of personal, economic, social, moral or political uses for self-provisioned food, yet have often understood the practice itself as merely a production process. This ‘means-to-an-end’ perspective is especially pronounced in studies of locations undergoing economic hardship. Urban gardening in postsocialist Central and Eastern Europe and the former Soviet Union has been framed as an element of an informal economy, enabling household savings, access to informal networks and avoidance of industrial goods deemed (...) ethically dubious. In this article, I present evidence from participant observation and interviews with urban gardeners conducted in 2014–2015 in Ljubljana, Slovenia, where urban agriculture proliferated during the European debt crisis that began in 2009. I interpret the material through an ecological perspective that focuses on labour in nature and highlights the interconnected, situated role of the gardener. My analysis of gardening styles, behaviours, attitudes and life-narratives of long-term urban growers challenges the utilitarian interpretation by arguing that urban agriculture in Ljubljana is in fact a means in itself—not an informal economy, but a narrative practice. While undertaken to ameliorate the effects of economic hardship, household urban agriculture first and foremost promotes individual wellbeing and restores a stable sense of self. I outline a series of self-making benefits of working with cultivated, edible nature that helped gardeners reconstruct their biographies after their previously established self-making processes collapsed in the economic downturn. (shrink)

Catherine Emmott explores how readers construct and maintain mental representations of fictional characters and contexts, and considers the implications of cognitive modelling for grammatical theory and a literary-linguistic model of narrative text-types.

Jeff Nisker describes his personal experience of a diagnosis of advanced prostate cancer and the kindnesses he received from friendly doctors. He claims that this narrative account supports the promotion of Prostate Specific Antigen (PSA) screening for asymptomatic men and impugns statisticians, mistakenly thinking that their opposition to PSA screening derives from concerns about financial cost. The account inadvertently demonstrates the danger of over-reliance on a single ethical tool for critical analysis. In the first part of this response, we (...) describe the statistical evidence. The most reliable Cochrane meta-analyses have not shown that PSA screening saves lives overall. Moreover, the high false positive rate of PSA screening leads to overinvestigation which results in unnecessary anxiety and increased cases of unnecessary sepsis, urinary incontinence and sexual dysfunction. Then we describe how narrative ethics alone is an insufficient tool to make claims about policies, such as PSA screening, which have hidden harms. Although Nisker’s story-telling is compelling and evokes emotions, narrative ethics of this sort have an inherent bias against people who would be harmed by the counterfactual. Particular care must be taken to look for and consider those untellable stories. Ethicists who only consider narratives which are readily at hand risk harming those who are voiceless or protected by the status quo. PSA screening is the wrong tool to reduce prostate cancer deaths and narrative ethics is the wrong tool to appraise this policy. It is vital that the correct theoretical tools are applied to the medical and ethical questions under scrutiny. (shrink)

Trauma is notoriously difficult to communicate, as it often defies understanding. It unfolds over time and cannot be told through linear narratives. Nevertheless, we show that narratives can become a medium through which experiences of trauma may be shared, alleviating the sense of alienation common to post-traumatic experience. Drawing from one of the authors’ lived experiences of cancer and her illness narrative, we focus on the question of whether traumatic events can be narrated, known, and shared. In conversation with (...) one another, and building on phenomenological literature on trauma (Husserl, 1973, Walther, 1923), illness (Carel, 2021, 2016), and working with an autoethnographic approach to cancer (Pini, 2022; Pini and Maguire-Rosier, 2021; Pini and Pini, 2019) in this chapter we address the ways in which creative and expressive illness narratives—particularly the sharing of such experiences—can help patients heal or repair from trauma. We identify the moment of the cancer diagnosis as a traumatic event, as it constitutes the expulsion of the individual into an alienworld: the world of the sick. We demonstrate how a philosophical account of unification (Walther 1923) may help shed light on the complexities of traumatic experience and highlight the potential of embodied narratives to re-establish a sense of belonging through sharing trauma experiences. We present a case in which performance art serves not only as an act of creatively re-modelling the performer’s illness narrative, but as a means to communicate this experience. Sharing the experience of trauma and recovery contributes to a re-constitution of a sense of belonging. We highlight that the (re-)constitution of feelings of belonging is a dyadic process between the traumatized individual and others. An illness narrative needs to be heard, seen, or otherwise witnessed in order to fulfil its full healing potential. In this way, we hope to contribute to a better understanding of how a narrative approach can be fruitfully applied in clinical practice. (shrink)

A peculiar feature of our species is that we settle what to believe, value, and do by reasoning through narratives. A narrative is adiachronic, information-rich story that contains persons, objects, and at least one event. When we reason through narrative, we usenarrative to settle what to do, to make predictions, to guide normative expectations, and to ground which reactive attitudes we think areappropriate in a situation. Narratives explain, justify, and provide understanding. Narratives play a ubiquitous role in human (...) reasoning. Andyet, narratives do not seem up to the task. Narratives are often unmoored representations (either because they are do not purport to referto the actual world, or because they are grossly oversimplified, or because are known to be literally false). Against this, I argue thatnarratives guide our reasoning by shaping our grasp of modal structure: what is possible, probable, plausible, permissible, required,relevant, desirable and good. Narratives are good guides to reasoning when they guide us to accurate judgments about modal space. Icall this the modal model of narrative. In this paper, I develop an account of how narratives function in reasoning, as well as an account ofwhen reasoning through narrative counts as good reasoning. (shrink)

This paper presents a direction for narrative ethics based on ethical ideas found in the works of Michel Foucault. Narrative ethics is understood here at the meta-level of cultural discourse to see how the moral subject is constituted by the discursive practices that structure the contemporary debate on reproductive technologies. At this level it becomes meta-narrative-ethics. After a theoretical discussion, this paper uses two literary narratives representing the polarized views in the debate to show how the moral (...) subject may be compelled to relate to its self. Ethics is redefined as Foucauldian rapport à soi, and ethical analysis, at this meta-level, shows how the moral self is intimately connected to cultural discourse. (shrink)

How can human beings acknowledge and experience the burdens of political responsibility? Why are we tempted to flee them, and how might we come to affirm them? Jade Larissa Schiff calls this experience of responsibility 'the cultivation of responsiveness'. In Burdens of Political Responsibility: Narrative and the Cultivation of Responsiveness, she identifies three dispositions that inhibit responsiveness - thoughtlessness, bad faith, and misrecognition - and turns to storytelling in its manifold forms as a practice that might facilitate and frustrate (...) it. Through critical engagements with an unusual cast of characters hailing from a variety of disciplines, she argues that how we represent our world and ourselves in the stories we share, and how we receive those stories, can facilitate and frustrate the cultivation of responsiveness. (shrink)

Husserl's notion of intentionality is based upon the postulate that consciousness is always consciousness of something. From this basic postulate, a distinct problem arises and to which Ricoeur's theory of narrative offers a response. ;The problem issues from the question of objectivity. When Husserl explains that consciousness is correlated to something , what he means is that a person grasps something real and that a person grasps this something as do all other people. Husserl, however, never properly incorporates such (...) an intersubjective perspective into the basic formulation of intentionality. Since Husserl always looks to the isolated ego as the source of objective validity, the external world seems to become reduced to the representative acts of consciousness. ;Ricoeur clearly overcomes this problem by focusing on the issue of linguistic mediation. What Ricoeur highlights is the fact that our intentions toward the world are already supported by a level of cultural achievement. The intending subject is not, therefore, an isolate ego weighing in his or her mind what expression is the best suited for what is intended. Intentions themselves feed on a social context, a culture, or a tradition which all have a presence in the form of written texts or narratives. Texts or narratives support and inform what can be intended. Although this appeal to narrative mediation answers the intersubjective question, we still need to be shown how the objective world is something more than a mere reflection of linguistic or narrative acts. ;Narrative is a term which has a dual significance: narratives are indeed accounts which people pass on to each other but they are also about reality insofar as they prescribe ways to act in the world. Here Ricoeur incorporates a theory of action into the notion of intentionality: actions are intelligible because of the intentions which permeate them and intentions are correlated to the world insofar as they can be acted upon. In this way, Ricoeur builds into the notion of intentionality an intersubjective component which remains connected to reality through the conscious acts of individuals. (shrink)

Using Ian McEwan's 2007 novel On Chesil Beach as a case study, this paper seeks to enhance opportunities for dialogue between researchers in the cognitive sciences and scholars of story. More specifically, now that narrative alternatives to theories of mind have begun to shape debates about the nature and status of folk psychology, it is time to flesh out those alternatives by highlighting the action-modelling capacity built into the structure of stories. Narrative practices like McEwan's demonstrate how stories (...) can be used to configure and reconfigure characters'behaviour from different temporal, spatial, and evaluative standpoints, in the way that a complex molecule or architectural structure can be displayed and manipulated in virtual space with the help of an advanced computer graphics program. In turn, interpreting narrative as a system for building models of action underscores the relevance of narratology for the philosophy of mind -- and vice versa. (shrink)

The deceptive clues in the impossible puzzle film confirm the viewer’s internal expectations and allow retrospective attributing. In the film, a transcendental object negates an internal expectation, causing a retrospective blockage. Retrospectivity does not stop there; the transcendental object reinterpreting deceptive clues in the associative area leads to repeated attribution. This article consists of three parts. First, it discusses impossible puzzle films in the context of complex narrative classification. The following section introduces the Jungian concept of synchronicity and illustrates (...) how it works. The article concludes with a case study of Long Day’s Journey into Night (2018), which contains more complicated puzzles and explains how mind-game narrative techniques create deceptive clues and induce deceptive retrospective attribution. (shrink)

ABSTRACTThe article contributes to current theoretical debates about the political significance of narrative imagination by drawing on Camus’s and Arendt’s existential aesthetic judging sensibility. It seeks to displace the prevalent tendency to probe literature for its moral-philosophical insights, and instead delves into the experiential reality of our engagement with literary works. It starts from Martha Nussbaum’s recognition of the literary ability to account for the fragility of human affairs, yet finds her reduction of narrative imagination to the role (...) of furthering moral lessons wanting politically. Against this background, the article reclaims Camus’s and Arendt’s dialogical-representative judging orientation and its insight into the narrative ability to respond to the intersubjective character of politics. As such, their aesthetic sensibility reveals the potential political significance of literary imagination in its capacity to open a public space where the contradictions of our situated existence can be confronted through politics between plural equals. (shrink)

In recent years, there has been a growing interest in finding stronger means of securitising identity against the various risks presented by the mobile globalised world. Biometric technology has featured quite prominently on the policy and security agenda of many countries. It is being promoted as the solution du jour for protecting and managing the uniqueness of identity in order to combat identity theft and fraud, crime and terrorism, illegal work and employment, and to efficiently govern various domains and services (...) including asylum, immigration and social welfare. In this paper, I shall interrogate the ways in which biometrics is about the uniqueness of identity and what kind of identity biometrics is concerned with. I argue that in posing such questions at the outset, we can start delimiting the distinctive bioethical stakes of biometrics beyond the all-too-familiar concerns of privacy, data protection and the like. I take cue mostly from Cavarero’s Arendt-inspired distinction between the “what” and the “who” elements of a person, and from Ricoeur’s distinction between the “idem” and “ipse” versions of identity. By engaging with these philosophical distinctions and concepts, and with particular reference to the example of asylum policy, I seek to examine and emphasise an important ethical issue pertaining to the practice of biometric identification. This issue relates mainly to the paradigmatic shift from the biographical story (which for so long has been the means by which an asylum application is assessed) to bio-digital samples (that are now the basis for managing and controlling the identities of asylum applicants). The purging of identity from its narrative dimension lies at the core of biometric technology’s overzealous aspiration to accuracy, precision and objectivity, and raises one of the most pressing bioethical questions vis-à-vis the realm of identification. (shrink)

The Hastings Center addresses fundamental ethical issues in the areas of health, medicine, and the environment as they affect individuals, communities, and societies. With a small staff of senior researchers at the Center and drawing upon national and international experts, The Hastings Center pursues interdisciplinary research and education that includes both theory and practice. Founded in 1969 by philosopher Daniel Callahan and psychoanalyst Willard Gaylin, The Hastings Center is the oldest independent, nonpartisan, interdisciplinary research institute of its kind in the (...) world. From its earliest days The Hastings Center has understood that the moral problems arising from rapid advances in medicine and biology are set within a broad intellectual and social context. The Center's collaborations with policy-makers, in the private as well as the public sphere, assist them in analyzing the ethical dimensions of their work. (shrink)

. . . I should like to review and summarize the preceding general points: 1. For any particular narrative, there is no single basically basic story subsisting beneath it but, rather, an unlimited number of other narratives that can be constructed in response to it or perceived as related to it.2. Among the narratives that can be constructed in response to a given narrative are not only those that we commonly refer to as "versions" of it but also (...) those retellings that we call "plot summaries," "interpretations," and, sometimes, "basic stories." None of these retellings, however, is more absolutely basic than any of the others.3. For any given narrative, there are always multiple basic stories that can be constructed in response to it because basic-ness is always arrived at by the exercise of some set of operations, in accord with some set of principles, that reflect some set of interests, all of which are, by nature, variable and thus multiple. Whenever we start to cut back, peel off, strip away, lay bare, and so forth, we always do so in accord with certain assumptions and purposes which, in turn, create hierarchies of relevance and centrality; and it is in terms of these hierarchies that we will distinguish certain elements and relations as being central or peripheral, more important or less important, and more basic or less basic.4. The form and feature of any "version" of a narrative will be a function of, among other things, the particular motives that elicited it and the particular interests and functions it was designed to serve. Some versions, such as translation and transcriptions, may be constructed in order to preserve and transmit a culturally valued verbal structure. Others, such as adaptations and abridgements, may be constructed in order to amuse or instruct a specific audience. And some versions, such as "interpretations," "plot summaries," and "basic stories," may be constructed in order to advance the objectives of a particular discipline, such as literary history, folklore, psychiatry—or, of course, narratology. None of these latter versions, however, is any less motivated or, accordingly, formally contingent than any of the other versions constructed to serve other interests or functions. Barbara Herrnstein Smith is professor of English and communications and the director of the Center for the Study of Art and Symbolic Behavior at the University of Pennsylvania, and the author of Poetic Closure and On the Margins of Discourse. "On the Margins of Discourse" was also contributed as an essay to Critical Inquiry in the June 1975 issue. Responses to the present essay are Nelson Goodman's "The Telling and the Told" and Seymour Chatman's "Reply to Barbara Herrnstein Smith". Both appear in the Summer 1981 issue of Critical Inquiry. (shrink)