The transcendental approach to understanding narrative argument derives from the idea that for any believable fictional narrative, we can ask—what principles or generalizations would have to be true of human nature in order for the narrative to be believable? I address two key issues: whether only realistic or realist fictional narratives are believable, and how could it be established that we have an intuitive, mostly veridical grasp of human nature that grounds believability?

As narrative conceptions of selfhood have gained more acceptance within various disciplines including philosophy, psychology, and the cognitive sciences, so too have these conceptions been critically appraised. Chief among those who are suspicious of the overall viability of ‘narrative identity’ is the philosopher, Galen Strawson. In this paper, I develop five arguments underlying Strawson’s critique of narrative identity, and respond to each argument from the perspective of the hermeneutic phenomenology of Paul Ricœur. Though intuitive, I demonstrate (...) that none of Strawson’s arguments are cogent. The confrontation between these two figures highlights a deep conceptual disagreement about our epistemic access to the self, which has thus far gone unrecognized in the Anglo-American discussion, so that it raises a new problem for the metaphysics of personal identity. (shrink)

Building on a view of both narration and argumentation as dynamic concepts, this paper considers ways of assessing the credibility of narrative arguments constructed in empirical examples of conversational discourse. I argue that the key in any such exercise is to pay close attention to both structural and pragmatic details, particularly how conversational storytelling gets embedded in the surrounding discourse and how the way this is discursively accomplished vis-à-vis the narrators’ multilayered audience may be reflective of their argumentative goals.

Building on a view of both narration and argumentation as dynamic concepts, this paper considers ways of assessing the credibility of narrative arguments constructed in empirical examples of conversational discourse. I argue that the key in any such exercise is to pay close attention to both structural and pragmatic details, particularly how conversational storytelling gets embedded in the surrounding discourse and how the way this is discursively accomplished vis-à-vis the narrators’ multilayered audience may be reflective of their argumentative goals.

Rodden writes, “How do stories persuade us? How do they ‘move’—and move us? The short answer: by analogies.” Rodden’s claim is a natural first view, also held by others. This chapter considers the extent to which this view is true and helpful in understanding how fictional narratives, taken as wholes, may be argumentative, comparing it to the two principal (though not necessarily exclusive) alternatives that have been proposed: understanding fictional narratives as exhibiting the structure of suppositional argument, or the (...) structure of a kind of transcendental argument. Three key aspects of understanding a fictional narrative as an argument from analogy are identified. First, the argument will be relativistic or depend in an essential way upon the circumstances or intentions of the auditor or author. Second, in view of the first aspect, the argument will be loose and subjective, and accordingly less likely to yield knowledge. Third, the argument will not exhibit a distinctive structure applicable only to fictional narratives. I find that the third, and sometimes the first and second, of these same three aspects apply to understanding fictional narratives as suppositional arguments. I present considerations that point to a way of establishing that some extended fictions exhibit the structure of a kind of transcendental argument that is neither relativistic nor subjective, is knowledge-generating, and is uniquely applicable to fictional narratives. This supports literary cognitivism—the thesis that “literary fiction can be a source of knowledge in a way that depends crucially on its being fictional.”. (shrink)

The point of departure is the empirical research by Marwijk, Haverkate, Van Royen and The. Starting from qualitative interviews, the act of euthanasia seems to be for the physician problematic and even traumatic, also in countries where euthanasia is a legal option. This emotional contrast-experience is an important locus for the ethical reflection. I will discuss one topic of the conclusion of the research: what is the place, meaning and limit of the moral integrity of the practitioner? In the act (...) of euthanasia, a relation of many years based on trust is often presupposed by the physician in order to legitimate morally his involvement in the act of euthanasia. At the same time, physicians experience an inconsistent relation between their acting and their personal emotional and moral experience. The legal possibility to refuse the involvement in the euthanasia, doesn’t take away the ethical unrest and physicians can experience to leave their patients to fend for themselves. Can the responsibility and the loyalty towards the patient implicate that one passes over his own moral integrity? A one-sided interpretation of the ethics of Levinas could suggest a positive answer to this question. A choice for the concrete goodness happens in the face-to-face relation with the other. The other’s interest and not the own existing values are decisive. This could lead to the suggestion of an absolute presence for the other. The own moral integrity is subordinated towards the ethical responsibility for the other. To this kind of reasoning, we put two questions: Every form of responsibility presupposes a moral integrity. The autonomy and the conscience of the physician is presupposed for taking up the responsibility towards the patient. It cannot be annihilated by the faithfulness and responsibility. The physician is not only responsible for the patient who is asking euthanasia, but also for his other patients. The act of euthanasia has consequences for his moral attitudes towards the third parties. The problem will be elaborated in a discussion with the concept of responsibility as developed by Emmanuel Levinas and Cathérine Chalier. The argument is based on a critical-philosophical reading of some biblical texts. The conclusion is relevant for the evaluation of the moral integrity of the physician as well as for the application of Levinas’ concept of responsibility in the field of biomedical ethics. (shrink)

Personal narratives can let us in on aspects of reality which we have not experienced for ourselves, and are thus important sources for philosophical reflection. Yet a venerable tradition in mainstream philosophy has little room for arguments which rely on personal narrative, on the grounds that narratives are particular and testimonial, whereas philosophical arguments should be systematic and transparent. I argue that narrative arguments are an important form of philosophical argument. Their testimonial aspects witness to novel facets (...) of reality, but their argumentative aspects help us to understand those facets for ourselves. My argument takes the form of a case study of the exemplary narrative argument penned by Rachel Moran, a former prostitute who uses her experiences to argue that prostitution amounts to sexual abuse. We’ll see that narrative arguments can enjoy expository Advantages over analytic ones. (shrink)

A pervasive feature of populism is the use of rescue narratives to stimulate emotional adherence with audience predicated on evoking fear versus hope for salvation. This paper argues that restricting the rhetorical appeal of rescue narratives to the affective domain obscures the argumentative function that these narratives partake in constructing political arguments. It, thus, claims that rescue narratives can perform as arguments when used to provide reasons to justify political action. The paper examines the way(s) Donald Trump employs rescue narratives (...) as arguments to justify military interventions in Iraq and Syria. The analytical framework supplements the argumentative strategies of the Discourse-Historical Approach to Critical Discourse Studies with pragma-dialectics’ argumentation schemes. The analysis shows that the different elements of the narrative construct premises for argument schemes adduced to justify the rightness of claims. Conceptualizing Trump’s rescue narratives as arguments prompts a reflection on the possibility of narrative discourse to be associated with the domain of reason. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 37.1 (2004) 42-71 [Access article in PDF] Narrative as Argument in Indian Philosophy: The Astavakra Gita as Multivalent Narrative Scott R. Stroud Department of Philosophy Temple University Indian philosophy has often been described as radically different in nature than Western philosophy due to its frequent use of narrative structure. By employing poetic elements in their use of language, such texts attempt to (...) convey deep metaphysical truths and philosophical positions about reality that are in many cases quite different from Western ideas (Babbili 1997). Often, these ways of conveying truths are an integral part of that truth. One particularly useful form is narrative, taking instantiations such as a dialogue between characters. Philosophical dialogues such as the Bhagavad Gita and the Astavakra Gita (also known as the Astavakra Samhita ) use a portrayed conversation involving a guru or deity to convey didactic lessons and values to the receptive audience, both ancient and modern. As texts such as the Bhagavad Gita gain in popularity and circulation in the Western world (Minor 1982; Paine 1998; Sharpe 1985), philosophical and rhetorical inquiry must be extended to explain how these texts function in an argumentative philosophical context.Stroud (2002a, 2002b) has advanced the idea that such ancient Indian narratives argue through the use of contradictions and conflicting value structures;1 he labels such texts as multivalent narratives since their use of contradictory value structures compel audience members to reconstruct the narrative's message and allow for the acceptance of novel views. Multivalent narratives are to be distinguished from polysemic narratives (Fiske 1986) in that the latter concern different audience members finding a preferred position from the ambiguous story. Polysemic narratives involve the difference in meaning of the same story to different auditors. Condit criticizes this notion of polysemic narratives and advances her own concept of polyvalent narratives. The concept of a polyvalent narrative involves different auditors understanding the same story in similar ways, but differing in how they evaluate its message. Condit's research with a popular television [End Page 42] show and two students from radically different backgrounds on abortion finds that they understood what occurred in a very similar fashion; they differed in that they "disagree[d] about the valuation of those denotations to such a degree that they produce[d] noticeably different interpretations" (1989, 106). Thus, the auditors differ as to their response to a certain story and how it treats their own cherished values. Stroud (2002a) provides a thorough justification as to why the concepts of polysemic and polyvalent narratives do not capture what can be called multivalent narratives. The important factor in distinguishing these three concepts is that the third involves contradictions at the level of values within a text and the reader's necessitated activity of trying to synthesize or reconcile such contradictions. It is this activity that is the hallmark of multivalent narratives.This employment of multivalent narrative offers a challenge to familiar Western conceptions of argumentative discourse and demands further investigation. This study explores the ways a particular text, the Astavakra Gita, argues its philosophical positions to its audience of potential "pupils."2 Using the insights provided by theories of narrative and reader-response theory, I will argue that this text advances its claims not through overt syllogism or validity claim redemption, but through textual indeterminacy between the audience's disposition and the foregrounded theme of non-individuation in the text. This tension, increased by certain textual devices, results in consistency building by the audience, which enables the transcendence of these two viewpoints (reader and text); it is this experience, not claim, that the Astavakra Gita seems to be advancing to any given audience.In order to explore this interpretation of this text and its argumentative relationship to an audience, insights from both literary studies and rhetorical theory must be used in laying a foundation. The work of Wolfgang Iser (1980, 1989, 1993) and Walter Fisher (1987) will assume roles of particular importance in this endeavor. Iser's theory of aesthetic response provides a useful description of the phenomenological process of reading such a... (shrink)

Narrative and the real world are not mutually exclusive. Life is not a structureless sequence of events; it consists of complex structures of temporal configurations that interlock and receive their meaning from within action itself. It is also not true that life lacks a point of view which transforms events into a story by telling them. Our focus of attention is not the past but the future, because we grasp configurations extending into the future. Action involves the adoption of (...) an anticipated future-retrospective point of view on the present. The actions of life can be viewed as the process of telling ourselves stories. The retrospective view of the narrator is an extension and refinement of a viewpoint inherent in action itself. Because storytelling is a social activity, the story of one's life is told as much to others as to oneself. Social human time, like individual human time, is constructed into configured sequences. The practical first-order narrative process that constitutes a person or a community can become a second-order narrative whose subject is unchanged but whose interest is primarily cognitive or aesthetic. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 37.1 (2004) 42-71 [Access article in PDF] Narrative as Argument in Indian Philosophy: The Astavakra Gita as Multivalent Narrative Scott R. Stroud Department of Philosophy Temple University Indian philosophy has often been described as radically different in nature than Western philosophy due to its frequent use of narrative structure. By employing poetic elements in their use of language, such texts attempt to (...) convey deep metaphysical truths and philosophical positions about reality that are in many cases quite different from Western ideas (Babbili 1997). Often, these ways of conveying truths are an integral part of that truth. One particularly useful form is narrative, taking instantiations such as a dialogue between characters. Philosophical dialogues such as the Bhagavad Gita and the Astavakra Gita (also known as the Astavakra Samhita ) use a portrayed conversation involving a guru or deity to convey didactic lessons and values to the receptive audience, both ancient and modern. As texts such as the Bhagavad Gita gain in popularity and circulation in the Western world (Minor 1982; Paine 1998; Sharpe 1985), philosophical and rhetorical inquiry must be extended to explain how these texts function in an argumentative philosophical context.Stroud (2002a, 2002b) has advanced the idea that such ancient Indian narratives argue through the use of contradictions and conflicting value structures;1 he labels such texts as multivalent narratives since their use of contradictory value structures compel audience members to reconstruct the narrative's message and allow for the acceptance of novel views. Multivalent narratives are to be distinguished from polysemic narratives (Fiske 1986) in that the latter concern different audience members finding a preferred position from the ambiguous story. Polysemic narratives involve the difference in meaning of the same story to different auditors. Condit criticizes this notion of polysemic narratives and advances her own concept of polyvalent narratives. The concept of a polyvalent narrative involves different auditors understanding the same story in similar ways, but differing in how they evaluate its message. Condit's research with a popular television [End Page 42] show and two students from radically different backgrounds on abortion finds that they understood what occurred in a very similar fashion; they differed in that they "disagree[d] about the valuation of those denotations to such a degree that they produce[d] noticeably different interpretations" (1989, 106). Thus, the auditors differ as to their response to a certain story and how it treats their own cherished values. Stroud (2002a) provides a thorough justification as to why the concepts of polysemic and polyvalent narratives do not capture what can be called multivalent narratives. The important factor in distinguishing these three concepts is that the third involves contradictions at the level of values within a text and the reader's necessitated activity of trying to synthesize or reconcile such contradictions. It is this activity that is the hallmark of multivalent narratives.This employment of multivalent narrative offers a challenge to familiar Western conceptions of argumentative discourse and demands further investigation. This study explores the ways a particular text, the Astavakra Gita, argues its philosophical positions to its audience of potential "pupils."2 Using the insights provided by theories of narrative and reader-response theory, I will argue that this text advances its claims not through overt syllogism or validity claim redemption, but through textual indeterminacy between the audience's disposition and the foregrounded theme of non-individuation in the text. This tension, increased by certain textual devices, results in consistency building by the audience, which enables the transcendence of these two viewpoints (reader and text); it is this experience, not claim, that the Astavakra Gita seems to be advancing to any given audience.In order to explore this interpretation of this text and its argumentative relationship to an audience, insights from both literary studies and rhetorical theory must be used in laying a foundation. The work of Wolfgang Iser (1980, 1989, 1993) and Walter Fisher (1987) will assume roles of particular importance in this endeavor. Iser's theory of aesthetic response provides a useful description of the phenomenological process of reading such a... (shrink)

Deliberative democrats have argued that democracy requires citizens to seek consensus, using a familiar style of principle-based moral argument. However, critics like Iris Young object that deliberative democracy’s favoured model of reasoning is inadequate for resolving deep value conflicts. She and others have suggested that the aim of improving understanding across political differences could be achieved if our conception of legitimate democratic discourse were broadened to include a significant role for narrative. The question is whether such a revision (...) would amount to abandoning the deliberative democratic goal of seeking reasonable resolutions of value conflict. This thesis argues that a narrative approach to deliberative democracy can realize its commitment to reasoned justification, while preserving the significance of differing perspectives and promoting mutual understanding. The narrative-contextualist approach is developed and illustrated with reference to public debate over issues such as cultural accommodation and historical justice. (shrink)

We explore the relationship between argument and narrative with reference to parables. Parables are typically thought to convey a message. In examining a parable, we can ask what that message is, whether the story told provides reasons for the message, and whether those reasons are good reasons. In exploring these questions, we employ as an inves-tigative technique the strategy of reconstructing parables as argu-ments. We then proceed to con-sider the cogency of those argu-ments. One can offer arguments through (...) narratives and, in particu-lar, through parables, but that do-ing so likely brings more risks than benefits, from an epistemic point of view. (shrink)

ABSTRACT What are the obstacles to believing that narratives can argue? How can we be assured that narratives argue well? This article will explore major objections to accounts of narrative argument and literary truth, and explore a theory of narrative reasoning that emphasizes identification as a vital part of argument. In exploring the account of narrative offered by Walter Fisher in light of concerns with narrative in rhetorical studies and philosophy, I explicate a renewed (...) sense of identification and narrative reasoning that can meet many of these objections to giving narrative a role in human communication and argument. Of particular interest are the resources available in narratives for active identification by an auditor or reader as good reasons for action or belief in their own extratextual activities. (shrink)

Using the bench trial of Colorado’s Amendment 2 as an example, this article focuses on the more general question of expert testimony in moral philosophy. It argues that there is indeed expertise in moral philosophy but argues against admitting such expert testimony in cases dealing with what John Rawls terms “constitutional essentials” and ‘matters of basic justice.” Developing the idea of public reason inherent in the Rawlsian concept of political liberalism, the article argues that philosophers can and should speak out (...) on public issues, if they do so with due respect for certain restrictions, but that they should not serve as expert witnesses on core constitutional questions, since doing so suggests that they claim a type of authority that would require fellow citizens to defer to their views. Such claims to authority in basic ethical matters threaten the mutual respect for divergent comprehensive doctrines that lies at the core of political liberalism. Philosophers have a duty to serve the public good, and they perform this service in fruitful ways. But they should refuse a public role that appears incompatible with equal respect for the committed ethical searching of their fellow citizens. (shrink)

Are philosophical arguments as effective as narratives in influencing charitable giving and attitudes toward it? In four experiments, we exposed online research participants to either philosophical arguments in favor of charitable giving, a narrative about a child whose life was improved by charitable donations, both the narrative and the argument, or a control text (a passage from a middle school physics text or a description of charitable organizations). Participants then expressed their attitudes toward charitable giving and were (...) either asked how much they would hypothetically donate if given $10 (Experiment 1) or told they had a 10% chance of winning $10 and given the opportunity to donate from their potential winnings (Experiments 2–4). Across the four experiments, participants in all of the narrative conditions and in some of the argument conditions tended to express more positive attitudes toward charitable giving and donated about $1 more on average than did participants in the control conditions. These effects appear to have been mediated by the “narrative transportation” scale, which suggests that appeals to donate can be effective if they engage participants’ emotions, imagery, and interest. (shrink)

The topic of the presence, legitimacy and epistemic worth of narrative explanations in different kinds of scientific discourse has already enjoyed several revivals within related discussions in contemporary philosophy of science. In fact, we have recently witnessed a more extensive, more unprejudiced and ambitious attention to narrative modes of making science. I think we need a systematic theoretical framework in order to categorize these different functions of narratives and understand their role in scientific explanatory and justificatory practice. My (...) claim is that some distinctions and analytic tools developed within the field of contemporary Argumentation Theory might be of help. (shrink)

This study examines the processes ofdecision-making used by intensive care(critical care) specialists. Ninety-ninespecialists completed a questionnaire involvingthree clinical cases, using a novel methodologyinvestigating the role of uncertainty andtemporal-related factors, and exploring a rangeof ethical issues. Validation and triangulationof the results was done via a comparison studywith a medically lay, but highly informed groupof 37 law students. For both study groups,constructing reasons for a decision was largelyan interpretative and imaginative exercise thatwent beyond the data (as presented), commonlyresulting in different reasons supporting (...) thesame conclusions and similar reasons supportingopposite conclusions. The skills of ethicalimagination and interpretation were related toan individual''s prior lived experience,construed in the broadest sense. Application ofthese skills of ethical imagination andinterpretation always occurred, to some degree,in a state of uncertainty and almost alwaysinvolved temporal relationships.Using these results, a theory of ethicaldecision-making is proffered. Three levels ortypes of reasoning processes may be present.Type I decision-making involves the applicationof rules, usually in a deductive fashion. TypeII decision-making is characterised by aprocess where a plurality of reasons arebalanced, weighed and sifted with each other.Type III decision-making is intimately linkedwith respondents lived experiences and `crafts''the content of type I and II reasoningprocesses, via the application of ethicalimagination and interpretation. Relationshipsbetween these three types of reasoningprocesses, and with narrative ethics, are alsodiscussed. (shrink)

Given the explanatory stalemate between ‘embedded’ (EMB) and ‘extended’ (EXT) cognition, various authors have proposed normative and moral arguments in favour of EXT. According to what we call the “extended cognition moral narrative” (EXT-MN) (Cassinadri, 2022), we should embrace EXT and dismiss EMB, because the former leads to morally preferable consequences with respect to the latter. In this article we argue that two arguments following the EXT moral narrative are flawed. In Sect. 2.1 and 2.2, we present respectively (...) King (2016) and Vold’s (2018) ‘argument from assessment of capacities’ (AAC) and Clowes (2013), Farina and Lavazza’s (2022a) ‘cognitive diminishment argument’ (CDA). The AAC states that we should embrace EXT over EMB since the former is better at attributing cognitive credit to individuals with learning disabilities who use assistive tools to complete their learning tasks, thus avoiding their marginalisation. The CDA states that EMB implies a morally undesirable picture of the agent in terms of cognitive diminishment. In Sect. 3, we clarify and criticise the underlying assumptions of the AAC and CDA: the “cognitive credit assumption”, the “marginalisation assumption” and, more generally, an ableist conception of disabled agency. In Sect. 3.1, we discuss the role of moto-perceptual skills and metacognitive credit involved in complex cases of tool-use, to demonstrate that the EXT-MN is uninformative in addressing these cases. To conclude, in Sect. 4 we argue that AAC and CDA fail to present EXT as descriptively and normatively superior to EMB. (shrink)

What can make storytelling “evil” in the sense that the storytelling leads to accepting a view for no good reason, thus allowing ill-reasoned action? I mean the storytelling can be argumentatively evil, not trivially that (e.g.) the overt speeches of characters can include bad arguments. The storytelling can be argumentatively evil in that it purveys false premises, or purveys reasoning that is formally or informally fallacious. My main thesis is that as a rule, the shorter the fictional narrative, the (...) greater the potential for argumentative evil. Here, the notion of length is to be understood such that it is generally a proxy for more abstract features such as how complex and nuanced the piece is. In other argumentative contexts, length generally appears to make no comparable difference. This feature would put fictional narrative arguments in a special class beyond what is determined by obvious features, such as the definitional fact that they in some way(s) collapse two of the four traditional types of discourse: exposition, description, narration, and argument. The nonobvious features that distinguish this class have been a source of puzzlement and inquiry. (shrink)

If novels can be arguments, that fact should shape logic or argumentation studies as well as literary studies. Two senses the term ‘narrative argument’ might have are (a) a story that offers an argument, or (b) a distinctive argument form. I consider whether there is a principled way of extracting a novel’s argument in sense (a). Regarding the possibility of (b), Hunt’s view is evaluated that many fables and much fabulist literature inherently, and as wholes, (...) have an analogical argument structure. I argue that a better account is that some novels inherently exhibit a transcendental argument structure. (shrink)

Societies change; and sociology has, since its inception, described and evaluated these changes. This article proposes a revised theory of collective learning processes, a conceptual framework which addresses ways in which people make sense of and cope with change. Drawing on Habermas’ classic proposal, but shifting the focus from argumentation towards storytelling, it explains how certain articulations allow for collective learning processes (imagining more inclusive orders), while others block learning processes (imagining more exclusive orders). More specifically, the article points to (...) narrative genres (romance, tragedy, comedy and irony) which organize feelings and shape the social bond, proposing that ironic and tragic stories have the potential to trigger collective learning processes, while romantic and comic stories tend to block them. (shrink)

While much has been written about verbal narratives, we still lack a clear account of what makes images narrative. I argue that there are narrative characteristics of images and show this with examples of single images. The argument proceeds in three steps. First, I propose that from a semantic perspective, the following two characteristics are necessary for an image to be narrative: a representation of an event and a representation of time. Second, I argue that there (...) are paradigmatic characteristics, such as at least two events, bridging connections, and unifying subjects between these events, characters with intentions, and the representation of goal-directed actions. Third, I show that it is possible to differentiate between narrative and non-narrative images while also accounting for the idea that narrativity is a matter of degree. While I do not provide a full definition of narrative images, my account constitutes a necessary first step in this direction. (shrink)

Argument and imagination are often interdependent. The Aesthetics of Argument is concerned with how this relationship may bear on argument's concern with truth, not just persuasion, and with the enhancement of understanding such interdependence may bring. The rationality of argument, conceived as the advancement of reasons for or against a claim, is not simply a matter of deductive validity. Whether arguments are relevant, have force, or look foolish cannot always be assessed in these terms. Martin Warner (...) presents a series of case studies which explore how analogy, metaphor, narrative, image, and symbol can be used in different ways to frame one domain in terms of another, and how criteria drawn from the study of imaginative literature may have a bearing on their truth-aptness. (shrink)

In Philo of Alexandria and Greek Myth: Narratives, Allegories, and Arguments, a fresh and more complete image of Philo of Alexandria as a careful reader, interpreter, and critic of Greek literature is offered. Greek mythology plays a significant role in Philo of Alexandria's exegetical oeuvre. Philo explicitly adopts or subtly evokes narratives, episodes and figures from Greek mythology as symbols whose didactic function we need to unravel, exactly as the hidden teaching of Moses' narration has to be revealed by interpreters (...) of Bible. By analyzing specific mythologems and narrative cycles, the contributions to this volume pave the way to a better understanding of Philo's different attitudes towards literary and philosophical mythology. (shrink)

Narratives are everywhere. We tell narratives about ourselves and we make the world meaningful through storytelling. We position others through the narratives we tell and are positioned by stories told about us. And yet, while narratives have, of course, been analysed in critical discourse studies (CDS), including in one of its most popular approaches, the discourse-historical approach (DHA), this article proposes to go a step further by systematically integrating the concept of narrative into the core of the DHA. More (...) specifically, I consider narrative from the perspective of the concept of narrative genre. That is, I propose a focus on how meaning arises via the narrative genres of romance, tragedy, comedy and irony, i.e. through (modes of) emplotment. Such an integration does not contradict the DHA’s (and CDS’) focus on detailed textual analysis or reject existing foci, e.g. on argumentation, but recognises the centrality of the narrative form for social life and offers further concepts for empirical analyses. This focus on narrative genre contributes, furthermore, to the critical study of meaning-making by revising Jürgen Habermas’ Critical Theory and offering a novel integration of the latter into the DHA, thus providing a theoretically justified, immanent foundation for its critique. (shrink)

ABSTRACT Narratives are everywhere. We tell narratives about ourselves and we make the world meaningful through storytelling. We position others through the narratives we tell and are positioned by stories told about us. And yet, while narratives have, of course, been analysed in critical discourse studies (CDS), including in one of its most popular approaches, the discourse-historical approach (DHA), this article proposes to go a step further by systematically integrating the concept of narrative into the core of the DHA. (...) More specifically, I consider narrative from the perspective of the concept of narrative genre. That is, I propose a focus on how meaning arises via the narrative genres of romance, tragedy, comedy and irony, i.e. through (modes of) emplotment. Such an integration does not contradict the DHA’s (and CDS’) focus on detailed textual analysis or reject existing foci, e.g. on argumentation, but recognises the centrality of the narrative form for social life and offers further concepts for empirical analyses. This focus on narrative genre contributes, furthermore, to the critical study of meaning-making by revising Jürgen Habermas’ Critical Theory and offering a novel integration of the latter into the DHA, thus providing a theoretically justified, immanent foundation for its critique. (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.

The expression "analytic narratives" is used to refer to a range of quite recent studies that lie on the boundaries between history, political science, and economics. These studies purport to explain specific historical events by combining the usual narrative approach of historians with the analytic tools that economists and political scientists draw from formal rational choice theories. Game theory, especially of the extensive form version, is currently prominent among these tools, but there is nothing inevitable about such a technical (...) choice. The chapter explains what analytic narratives are by reviewing the studies of the major book Analytic Narratives (1998), which are concerned with the workings of political institutions broadly speaking, as well as several cases drawn from military and security studies, which form an independent source of the analytic narratives literature. At the same time as it gradually develops a definition of analytic narratives, the chapter investigates how they fulfil one of their main purposes, which is to provide explanations of a better standing than those of traditional history. An important principle that will emerge in the course of the discussion is that narration is called upon not only to provide facts and problems, but also to contribute to the explanation itself. The chapter distinguishes between several expository schemes of analytic narratives according to the way they implement this principle. From all the arguments developed here, it seems clear that the current applications of analytic narratives do not exhaust their potential, and in particular that they deserve the attention of economic historians, if only because they are concerned with microeconomic interactions that are not currently their focus of attention. (shrink)

The analysis of events has been a central issue for social sciences for a long time. The problem of an event's definition and distinction is still at stake in sociological debates. The purpose of this paper is to demonstrate the contribution of Paul Ricoeur's narrative theory to social events studies. First, this is done through the explication of the concept in the framework of narrative approach. Secondly, the paper highlights the narrative's capacity of 'refiguring' the social by (...) re-describing social events, subordinating their succession to the logic of story-telling and transforming temporal characteristics as well. Apart from some insights, interpretative explanations and illustrations the paper provides critical arguments concerning the limitations of Paul Ricoeur's narrative approach with respect to sociological event-analysis. L'analyse des événements a toujours été une question centrale pour l'histoire et les sciences sociales. Le problème de la définition et de la distinction des événements est encore en jeu dans les débats sociologiques contemporains. L'objectif de cet article est de s'attarder sur la contribution de la théorie de Paul Ricœur aux études des événements sociaux. Après avoir montré les limites d'une conception impersonnelle de l'événement, l'auteur se penche sur la solution narrative proposée par Ricœur, à savoir la capacité du récit à “refigurer” du Social par la re-description des événements sociaux. Il s'agit de soumettre la logique de la succession temporelle à la logique de la narration. Tout en rendant justice à la valeur heuristique de telles analyses (à travers une série d'explicitations et d'illustrations), l'article pointe les limites de l'approche narrative de Paul Ricœur au regard des analyses sociologique des événements.  . (shrink)

In this paper, we respond to a critique by Erik Thorstensen of the ‘Deepening Ethical Engagement and Participation in Emerging Nanotechnologies’ project concerning its ‘realist’ treatment of narrative, its restricted analytical framework and resources, its apparent confusion in focus and its unjustified contextualisation and overextension of its findings. We show that these criticisms are based on fairly serious misunderstandings of the DEEPEN project, its interdisciplinary approachand its conceptual context. Having responded to Thorstensen’s criticisms, we take the opportunity to clarify (...) and develop our approach to narrative. We articulate the need for novel, theoretically robust approaches to the formation of public attitudes which transcend the limitations of both survey-based approaches—which remain wedded to methodological individualism and which presume that individuals hold distinct and relatively stable attitudes and preferences—and interactionist approaches to public talk, which focus too strongly on individuals-in-interaction as reasoning agents and which ignore the constitutive role of culture and discourse in the formation of public opinion. We suggest that our use of narrative can help to better understand the process through which public attitudes to emerging technology develop out of interactive an engagement with wider cultural arguments and accounts of science and technology. We finish by pointing to parallel developments in social thought—from Charles Taylor’s treatment of social imaginaries to recent developments in post-Bourdieuian cultural sociology—as related projects in understanding the cultural resources and grammars that provide the conceptual infrastructure for modern social life. (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)

In cultural as well as social science studies of discourses (e.g. of discourses on climate change), the concept of narrative is used in a very broad sense – as an umbrella term that lacks analytical accuracy. From the perspective of linguistics, it seems obvious to acknowledge five elementary generic patterns. In addition to narration, linguists differentiate between argumentation, description, explication and instruction. Each of these patterns fulfils a different basic pragmatic function. This article tries to make clear and justify (...) why it is important, both theoretically and practically, to make a distinction between these five generic patterns. It is argued and shown that narrativization tends to go hand in hand with a relief of action, historicization, potential fictionalization, subjectivization and relativization. With respect to discourses on the climate crisis, these prototypical characteristics of narratives undermine both scientific attempts to justify claims of truth relating to the existence, causes and consequences of global warming as well as practical attempts to motivate people to adopt a more sustainable lifestyle. (shrink)

Marya Schechtman's The Constitution of Selves presented an impressive attempt to persuade those working on personal identity to give up mainstream positions and take on a narrative view instead. More recently, she has presented new arguments with a closely related aim. She attempts to convince us to give up the view of identity as a matter of psychological continuity, using Derek Parfit's story of the “Nineteenth Century Russian” as a central example in making the case against Parfit's own view, (...) and offers a form of narrative theory as a way out of the problem. In this paper I consider this new case, and argue that we should not be persuaded towards the narrative. (shrink)

While environmental philosophers have been striving to extend ethics to deal with future generations and nonhuman life forms, very little work has been undertaken to address what is perhaps a more profound deficiency in received ethical doctrines, that they have very little impact on how people live. I explore Alasdair MacIntyre’s work on narratives and traditions and defend a radicalization of his arguments as a direction for making environmental ethics efficacious.

Western scholars have written on the theory of Buddhist argumentation. They have also analyzed examples of arguments found in philosophical and polemical writing. However, little has been written to date about what might have transpired when Buddhists and their opponents met in face-to-face debates in classical India. Drawing on Chinese and Tibetan historical and biographical writings about famous Indian debates, this essay analyzes the structure and conventions of these accounts as a literary form. While it is difficult to assess the (...) historicity of particular narratives, an analysis of this literature as a whole gives us clues about what might have occured when Indian scholars faced their adversaries in live debates. These sources provide us with a picture of the etiquette, rules of engagement, and strategies that may have been used in such encounters. They also suggest what constituted defeat in ancient Indian verbal contests, and they point to some of the real-political and material benefits of victory. The essay ends by reflecting on the function of these narratives vis-à-vis Tibetan Buddhist scholastic identity. (shrink)

ver since the traditional criteria for medical decision-making capacity (understanding, appreciation, reasoning, evidencing a choice) were formulated, they have been criticized for not taking sufficient account of emotions or values that seem, according to the critics and in line with clinical experiences, essential to decision-making capacity. The aim of this paper is to provide a nuanced and structured overview of the arguments provided in the literature emphasizing the importance of these factors and arguing for their inclusion in competence evaluations. Moreover, (...) a broader reflection on the findings of the literature is provided. Specific difficulties of formulating and measuring emotional and valuational factors are discussed inviting reflection on the possibility of handling relevant factors in a more flexible, case-specific, and context-specific way rather than adhering to a rigid set of operationalized criteria. (shrink)

In this paper I explore how and why personal identity might be essentially narrative in nature. My topic is the question of personal identity in the strict sense of identity—the question of which person you are, and how that person is extended in space, time, and quality. In this my question appears to contrast with the question of personal identity in the sense sought by teenagers and sufferers of mid-life crises who are trying to ‘find themselves’. But in fact (...) it will be key to my argument that these questions are not distinct and independent. Whereas Parfit was concerned, in his work on personal identity, with how he was extended over time, the teenager who is finding themselves is concerned with how they are extended in quality. Indeed, the core of my argument is that because narrative is the key to understanding how we are extended in quality, and quality is just one more dimension along which we are extended, along with space and time, narrative must also be the clue as to how we are extended in space and time. You, I will argue, are the protagonist in the best story of your life. (shrink)

This paper responds to Dan Hutto’s paper, ‘Narrative Self-Shaping: a Modest Proposal’. Hutto there attacks the “strong” narrativism defended in my recent book, ‘Self, Value and Narrative’ and in recent work by Marya Schechtman. I rebut Hutto’s argument that non-narrative forms of evaluative self-shaping can plausibly be conceived, and defend the notion of implicit narrative against his criticisms. I conclude by briefly indicating some difficulties that arise for the “modest” form of narrativism that Hutto defends.

In the innovative and engaging _Philosophy, Literature and Understanding_, Jukka Mikkonen investigates a range of developments in multiple disciplines that have complicated traditional debates between cognitivists and non-cognitivists about literature. To avoid the extremes this debate has fallen into, Mikkonen develops a middle course that grounds the cognitive value of literature in its contributions to cultural and self-understanding. As part of this argument, Mikkonen offers an account of how literature can contribute to self-understanding via its narrative form despite (...) what he sees as deep differences between real-life and literary narratives. He concludes that literature can (obliquely) aid our understanding of emotions like grief due to their shared processual nature, and self-understanding generally through its artificiality, the awareness of which allows us to recognize and correct fictionalizing narrative tendencies in our life-narratives. While I agree with Mikkonen’s conclusions, I believe they are too modest and that he provides the resources to claim even greater cognitive benefits from literature. Focusing on what it means to ‘have a self-narrative’ and describing narrative work as it occurs both unreflectively and through self-conscious reflection, this paper argues that that the selectivity, interpretation, and revision said to fictionalize life-narratives are in fact critical to self-understanding, which requires imaginative engagement of the sort Mikkonen sees as characteristic of the practice of literature. This suggests additional and more direct potential cognitive benefits of literature for self-understanding than Mikkonen describes, strengthening and supporting his broader position. (shrink)

Our ability to tell stories about ourselves has captivated many theorists, and some have taken these developments for an opportunity to answer long-standing questions about the nature of personhood. In this essay I employ two skeptical arguments to show that this move was a mistake. The first argument rests on the observation that storytelling is revisionary. The second implies that our stories about ourselves are biased in regard to our existing self-image. These arguments undercut narrative theories of identity, (...) but they leave room for a theory of narrative self-knowledge. The theory accommodates the first skeptical argument because there are event descriptions with retrospective assertibility conditions, and it accommodates the second argument by denying us epistemic privilege in regard to our own past. The result is that we do know our past through storytelling, but that it is a contingent feature of some of our stories that they are about ourselves. (shrink)

Building on the account of a pattern-theory of self introduced by Shaun Gallagher, this article investigates the unique role of the narrative dimension of the self within the self-pattern. According to a pattern-theory, the self is constituted by a cluster of dimensions that interact with each other. A particular variation of this pattern constitutes a self. This article advances the argument that for selves who narrate, the narrative dimension of the self takes a special role that cuts (...) across the other dimensions. First, the pattern-theory of self is introduced and a conceptual and ethical argument for employing a pattern-theory is developed. Second, the distinct role of the narrative dimension of the self is analysed. Through the narrative dimension of the self, we engage in self-definition, integrate and connect the other dimensions of the self, make them intelligible, and ascribe personal meaning to them. And third, the narrator type of self is characterized. Organizing one’s experiences through a self-narrative changes the self. Narrators constitute a unified self, they can actively plan and lead a life and engage in forensic practices, and they integrate the subjective and objective nature of the self. (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)