Conviction Narrative Theory (CNT) is a theory of choice underradical uncertainty– situations where outcomes cannot be enumerated and probabilities cannot be assigned. Whereas most theories of choice assume that people rely on (potentially biased) probabilistic judgments, such theories cannot account for adaptive decision-making when probabilities cannot be assigned. CNT proposes that people usenarratives– structured representations of causal, temporal, analogical, and valence relationships – rather than probabilities, as the currency of thought that unifies our sense-making and decision-making faculties. (...) According to CNT, narratives arise from the interplay between individual cognition and the social environment, with reasoners adopting a narrative that feels “right” to explain the available data; using that narrative to imagine plausible futures; and affectively evaluating those imagined futures to make a choice. Evidence from many areas of the cognitive, behavioral, and social sciences supports this basic model, including lab experiments, interview studies, and econometric analyses. We identify 12 propositions to explain how the mental representations (narratives) interact with four inter-related processes (explanation, simulation, affective evaluation, and communication), examining the theoretical and empirical basis for each. We conclude by discussing how CNT can provide a common vocabulary for researchers studying everyday choices across areas of the decision sciences. (shrink)

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

Conviction Narrative Theory bears a close resemblance to the Theory of Narrative Thought, although the two were designed to address different questions. In this commentary, we detail some of the more pronounced similarities and differences and suggest that resolving the latter could produce a third theory of narrative cognition that is superior to either of these two.

Conviction Narrative Theory (CNT) is a convincing descriptive theory, and Johnson et al.'s formal model is a welcome contribution to building more precise, testable hypotheses. However, some extensions to the proposed model would make it better defined and more powerful. The suggested extensions enable the model to go beyond CNT, predicting choice outcomes and explaining affective phenomena.

These two books on fictional narratives and neuroscience adopt cultural constructivist perspectives that reject the idea of evolved human motives and emotions. Both books contain information that could be integrated with other research in a comprehensive and empirically grounded theory of narrative, but they both fail to construct any such theory. In order to avoid subordinating the humanities to the sciences, Comer and Taggart avoid integrating their separate disciplines: neuroscience (Comer) and narrative theory (Tag­gart). They draw no significant (...) conclusions from the research they summarize. Armstrong subordinates neuroscience to the paradoxes of phenomenology and 4E cognition. His prose develops not by consecutive reasoning but by the repetitive intonation of paradoxical formulas. The failures in theoretical construction displayed by these two books run parallel with weaknesses in the interpretive criticism with which they illustrate their ideas. The different ways in which the books fail are sometimes comical but nonetheless instructive. The failures inadvertently point toward the radical changes in humanist thinking that would be necessary for success in integrating neuroscience and narrative theory. (shrink)

This set of volumes sketches the history, breadth, and applicability of narrative theory, thus demonstrating its value as an analytical instrument. The collection includes articles from the leading names of narrative theory, such as Roland Barthes, Mikhail Bakhtin, Tzvetan Todorov and Jean-Françoise Lyotard, as well as lesser-known, though equally important, contributions. Titles already available in this series include _Deconstruction_ and _Modernism_. Forthcoming titles include _Romanticism_ and _Structuralism_.

Any comprehensive theory of narrative must accommodate both the justificational and the creative elements of narrative, the activities leading to narrative, and reflections upon the finished product. This examination of four levels of theory reveals the incompleteness of most extant theories, including those of Hayden White and Ricoeur. The four levels are: 1. narrative discourse and temporal language; 2. narrative and historical constructions; 3. narrative objects or stories; and 4. narrative functions and (...) purposes. We remain far from our goal of achieving a comprehensive theory. However, by placing theories and partial theories within a metatheoretical framework, we can see more clearly their nature, ramifications, and limits, thereby differentiating between the contributions and the philosophical fads. (shrink)

Situating narrative: philosophical and theological context -- Ethical being: the storied self as moral agent -- Reconciled being: narrative and pardon -- Pedagogies of pardon in praxis -- Towards a narrative pedagogy of reconciliation -- Ricoeur's legacy: A Praxis of Peace.

Hannah Arendt is often--but somehow not unfailingly--credited, together with Alasdair MacIntyre, Paul Ricoeur and Charles Taylor, as being one of the central voices in the philosophical turn to the concept of narrative of a generation or more ago. Some have even cited her 1958 The Human Condition as providing a particular impetus for later accounts of narrative. This essay examines what contemporary philosophical accounts of narrative might still owe Arendt, exploring her approach to narrative in theory (...) as well as practice. The first part looks at Arendt's use of philosophical sources from the tradition--Aristotle, Augustine and Hegel--with an eye to how her appropriation of these figures differs from that of contemporary philosophers of narrative. Three of Arendt's typically bold and rich claims about narrative action emerge as important: the notion of action as revealing an agent's own daimon: the condition that such action be revealable within a world or shared public space which has resilience yet vulnerability; and the potential for agents revealed within such a world to discover some form of narrative rebirth in their efforts at storytelling. The second section examines the extent to which Arendt herself allowed those claims to be tested and thought through in her own attempts (in Men in Dark Times, Rahel Varnhagen and elsewhere) at constructing biographical narratives. (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)

We connect Conviction Narrative Theory to an account that views people as intuitive scientists who can flexibly create, evaluate, and modify representations of decision problems. We argue that without understanding how the relevant complex narratives (or indeed any representation, simple to complex) are themselves constructed, we also cannot know when and why people would rely on them to make choices.

This paper examines recovery from a narrative perspective. Narrativity theory is the view that life takes the form of a story. Human experience happens within an ongoing storyline. My aim here is not to indulge in disclosure or claim that I developed otherwise unattainable insight through the course of my illness. We will instead be looking at how the process of recovery brings on opportunities for moral understanding in the form of insights into the nature of suffering, increased sensitivity (...) to what is going around you, and appreciation of how certain things can affect the whole of life. (shrink)

Contemporary philosophy of technology, in particular mediation theory, has largely neglected language and has paid little attention to the social-linguistic environment in which technologies are used. In order to reintroduce and strengthen these two missing aspects we turn towards Ricoeur’s narrative theory. We argue that technologies have a narrative capacity: not only do humans make sense of technologies by means of narratives but technologies themselves co-constitute narratives and our understanding of these narratives by configuring characters and events in (...) a meaningful temporal whole. We propose a hermeneutic framework that enables us to categorise and interpret technologies according to two hermeneutic distinctions. Firstly, we consider the extent to which technologies close in on the paradigm of the written text by assessing their capacity to actively configure characters and events into a meaningful whole; thereby introducing a linguistic aspect in the theory of technological mediation. Secondly, we consider the extent to which technologieshave the capacity to abstract from the public narrative time of actual characters and events by constructing quasi-characters and quasi-events, thereby introducing the social in our conception of technological mediation. This leads us to the outlines of a theory of narrative technologies that revolves around four hermeneutic categories. In order to show the merits of this theory, we discuss the categories by analysing paradigmatic examples of narrative technologies: the bridge, the hydroelectric power plant, video games, and electronic money. (shrink)

Education often relies on an implicit assumption that decisions are made rationally, and focuses on situations in which there are correct answers that can be known with certainty. The proposal that decision-making is often narrative, especially in contexts of radical uncertainty, suggests important changes to education practice and new questions for education research.

We propose extrapolating Conviction Narrative Theory (CNT) to clinical psychology and psychiatry. We demonstrate how CNT principles may benefit assessment, therapy, and possibly even modify public health views of neuropsychiatric disorders. Our commentary focuses on hoarding disorder as a model, elaborates on discrepancies in the scientific literature and suggests how the CNT may resolve them.

I am grateful for the responses from Serife Tekin and James Phillips to my paper (Lumsden 2013), for they allow me to clarify my position. Tekin (2013) accurately characterizes me as attempting to salvage the value of narrative theory without accepting the more stringent demands that have been required or implied, notably the necessity for personhood of a whole life narrative. She notes that I attempt to provide an alternative view of the unity of a person, to the (...) degree that there is that unity, by seeing a self as a bundle of narrative threads. She acknowledges my suggestion that the bundling involves connections at both conscious and unconscious levels. She says we are left with a problem, the .. (shrink)

ExcerptNarrative today is a commanding term for individual and group definition. Within literature and literary discussions, narrative structure has been treated in increasingly complex and multifaceted ways. However, as narrative has moved from literature into wider cultural circulation, such multiplicity and complexity can be lost. Narrative is embraced as the form in which experience takes meaningful shape. Each individual or each group has a story as their version of who they are, interpreted in each one’s terms and (...) affirming each one’s right to such interpretation. On the one hand, this promises the airing and sharing of viewpoints and versions on the part of each self or group. On the other hand, certain tendencies and implications of narrative structure close off each version from the others. Narrative can then become a claim to one’s own story in ways that refuse the stories of others. Instead of interchange among many voices in an open forum, what emerge are competitive accounts that deny the validity of the accounts of others. (shrink)

A theory of musical narrative. An introduction to narrative analysis : Chopin's prelude in G major, op. 28, no. 3 ; Perspectives and critiques ; A theory of musical narrative : conceptual considerations ; A theory of musical narrative : analytical considerations ; Narrative and topic -- Archetypal narratives and phases. Romance narratives and Micznik's degrees of narrativity ; Tragic narratives : an extended analysis of Schubert, piano sonata in B flat major, D. 960, first (...) movement ; Ironic narratives : subtypes and phases ; Comic narratives and discursive strategies ; Summary and conclusion. (shrink)

In this paper we introduce narrative and hermeneutical perspectives to clinical ethics support services (CESS). We propose a threefold consideration of ‘theory’ and show how it is interwoven with ‘practice’ as we go along. First, we look at theory in its foundational role: in our case ‘narrative ethics’ and ‘philosophical hermeneutics’ provide a theoretical base for clinical ethics by focusing on human identities entangled in stories and on moral understanding as a dialogical process. Second, we consider the role (...) of theoretical notions in helping practitioners to understand their situation in clinical ethics practice, by using notions like ‘story’, ‘responsibility’, or ‘vulnerability’ to make explicit and explain their practical experience. Such theoretical notions help us to interpret clinical situations from an ethical perspective and to foster moral awareness of practitioners. And, thirdly, we examine how new theoretical concepts are developed by interpreting practice, using practice to form and improve our ethical theory. In this paper, we discuss this threefold use of theory in clinical ethics support services by reflecting on our own theoretical assumptions, methodological steps and practical experiences as ethicists, and by providing examples from our daily work. In doing so, we illustrate that theory and practice are interwoven, as theoretical understanding is dependent upon practical experience, and vice-versa. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Fictions of Discourse: Reading Narrative TheoryCarol S. GouldFictions of Discourse: Reading Narrative Theory, by Patrick O’Neill; x & 188 pp. Toronto: University of Toronto Press, 1994, $35.00 paper.Patrick O’Neill serves up a rich stew of narratology, reader-reception theory, and a postmodern theory of truth. Many narratologists have taken the postmodern turn, while others have pursued a reception-theory route. Either path requires careful navigation, and the combined (...) one even more so. Classical narratology focuses on the textual structure with its network of various narratological relations. Reader-reception theory assigns to the reader a leading role in the creation of the text. O’Neill in various ways challenges or at least reformulates the notions of both text and reader, endorsing as he does a postmodern theory of truth which he terms the “Zeno Principle.” This principle is that “narrative discourse is always potentially subversive of the story it would seem to reconstruct” (p. 7). The Zeno Principle is a version of what he understands to be the Heisenberg Principle, namely that “discourse (including theoretical discourse) at least potentially subverts the story it sets out to narrate, and ultimately itself also” (p. 9). O’Neill contends that his narratological project will support the Zeno Principle. If successful, though, his endeavor will of course meet the usual self-destructive fate of such theories. But its self-annihilation seems not to discourage O’Neill, who finds all theories essentially “ludic.” O’Neill’s undertaking is ambitious; I shall focus on just a few of his moves.First of all, it is no surprise to hear that postmodernism is not new nor even that it has a classical pedigree. But it will probably astound—not to say sadden—the reader to see O’Neill locate its origins in the paradoxes of Zeno—the fifth-century Eleatic, the logician so well known for defending the epistemic primacy of reason, one of the uncontested intellectual progenitors of Plato, who remains the explicit target of Derridean fire. This is not simply a persnickety objection to O’Neill’s terminology, but a reflection on the broad implications he draws from his narratological investigations.Plato, working in the Eleatic (Zenoian) tradition, draws our attention to the perspectival nature of literature and would extend this to all empirical discourse. Any empirical narrative—history, biography, or literature—is in principle illusory because merely perspectival. Plato, true intellectual heir of Zeno, anticipates the narratological enterprise in this respect, while demonstrating [End Page 532] the exclusive epistemic integrity of logical thought. One finds this of course in his Republic, but nowhere are his narratological sympathies more evident than in the Symposium, with its many tiers of narration. He prefigures, then, the modern insight that all narrative is, in Wayne Booth’s terms, rhetoric and in narratological terms, focalized.If we grant with Zeno, Plato, and other friends of rationality that empirical discourse is perspectival or focalized, we can see that narrative must place us in some hypothetical vantage point: from another standpoint, the world looks different and assumes new contours and mood. Once we acknowledge that no one point of view is more privileged than another, our perceptions seem less stable. Lolita, for example, told from the viewpoint of the nymphet herself, would be a different story. Moreover, any narrative must be mediated by narrative perspective, and as O’Neill indicates, the narrative vantage point may not be that of the narrator or implied author. As he puts it, “Voice and vision... [may] derive from separate points of origin” (p. 84).In a sense, then, all empirical discourse is subversive. But does it follow that all theoretical discourse is therefore subversive? O’Neill scrutinizes fictional discourse, and helpfully so for us. But the perspectival nature of literary or empirical narrative hardly suffices to cast doubt on the notion of truth per se. The real Zeno Principle is the Platonic one that however arbitrarily empirical perspective might shift, rational intuition does not. If one wants to challenge that view, one must defend the Protagoras Principle, the true classical articulation of postmodernism. Aristotle, after all, wrestles with this in his Metaphysics rather than in his Poetics.O’Neill... (shrink)

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

In this essay I compare Nussbaum's and Arendt's approach to narrativity. The point of the comparison is to find out which approach is more adequate for practical philosophy: the approach influenced by cognitive theory or the one influenced by hermeneutic phenomenology. I conclude that Nussbaum's approach is flawed by methodological solipsism, which is due to her application of cognitive theory.

Quantum technologies can be presented to the public with or without introducing a strange trait of quantum theory responsible for their non-classical efficiency. Traditionally the message was centered on the superposition principle, while entanglement and properties such as contextuality have been gaining ground recently. A less theoretical approach is focused on simple protocols that enable technological applications. It results in a pragmatic narrative built with the help of the resource paradigm and principle-based reconstructions. I discuss the advantages and weaknesses (...) of these methods. To illustrate the importance of new metaphors beyond the Schrödinger cat, I briefly describe a non-mathematical narrative about entanglement that conveys an idea of some of its unusual properties. If quantum technologists are to succeed in building trust in their work, they ought to provoke an aesthetic perception in the public commensurable with the mathematical beauty of quantum theory experienced by the physicist. The power of the narrative method lies in its capacity to do so. (shrink)

The hope of moving beyond formalism is one of two things that unites an otherwise diverse group of literary theorists who have begun to explore the role of desire in narrative. Peter Brooks, for example, in Reading for the Plot, says in more than one place that his interest in desire “derives from my dissatisfaction with the various formalisms that have dominated critical thinking about narrative.”3 Leo Bersani sees desire as establishing a crucial link between social and literary (...) structures. Teresa de Lauretis faults structuralist models for their inability to disclose the ways in which narrative operates, through the desire it excites and fulfills, to construct the social world as a system of sexual differences. Other names could be added, both within and outside the field of narrative theory—Nancy Armstrong, Roland Barthes, Georges Bataille, Jessica Benjamin, Gilles Deleuze and Félix Guattari, René Girard, Luce Irigaray, Fredric Jameson, Peggy Kamuf, Linda Kauffman, Julia Kristeva, Jacques Lacan, Jean Laplance, Catharine A. McKinnon, and Eve Kosofsky Sedgwick—for desire has become one of the master tropes of contemporary criticism. 3. Peter Brooks, Reading for the Plot: Design and Intention in Narrative , p. 47; hereafter abbreviated RP.4. Leo, Bersani, A Future for Astyanax: Character and Desire in Literature , p. 13; hereafter abbreviated FA.5. Bersani and Ulysse Dutoit, The Forms of Violence: Narrative in Assyrian Art and Modern Culture , p. v; hereafter abbreviated FV. Although Bersani coauthored this book with Dutoit, for convenience I refer to it by Bersani’s name alone. This practice is justified by two considerations: first, most of the arguments about narrative, violence, and desire are elaborations of positions that Bersani has taken in earlier works; second, passages and examples in the sections with which I shall be dealing are reprinted with only minor changes from an article that Bersani published under his own name. Jay Clayton, associate professor of English at Vanderbilt University, is the author of Romantic Vision and the Novel and coeditor of Contemporary Literature and Contemporary Theory . He is currently completing a study of contemporary American literature and theory, Narrative Power. (shrink)

Narrative Representation Theory, an evolved framework of Verse Analysis, has come into existence with the mission of explaining the operation of macro-systemic structure that could be hardwired in the brain. Based on the analyses of creoles or archetypal human languages, the theory puts forward the premise stating that the fundamental design of the human language faculty possesses the computational system for internalized discourse. The theory preserves the principles of Quint-patterning, Idea-formatting, N-ary-branching and X-numbering, complying respectively with the hierarchical orderings (...) of constituency, the atomic elements of componentiality, the linear sequences of precedence and the specific measurement of terminal nodes. NRT tells that the macro-system of narrative superstructure must have emerged autonomously, yet links closely with the micro-system of phonology, morphology and syntax. This article explores for the first time scientific insights into the nature of human language, referring to recent research on the right cerebrum as well as on the prefrontal lobes of the brain, the relationship between mental disorders and their genetic deficiencies, and the investigations of human evolution during the period 200,000–40,000 years BP. All the converging evidence in biological sciences reinforces the hypothesis that the narrative superstructure of language faculty manifests as an inherent linguistic capacity in our mind. (shrink)

What defence does the Narrative Practice Hypothesis have against the charge that it is a covert form of externalist theory theory ? I discuss and reject Dan Hutto's own strategies and argue that the NPH remains vulnerable to a threat of collapse into externalist TT as long as narrative folk-psychological explanation is differentiated from simple belief-desire explanation merely by a degree of complexity, subtlety and/or context-sensitivity. It is entirely plausible, however, that there is a more principled distinction between (...) these two types of explanation of human behaviour. I defend such a distinction and show how it eliminates the threat of collapse into TT entirely. (shrink)

The first in a two-volume anthology of Hayden White's uncollected essays from the last two decades of his life, revealing White as a public intellectual. It places White's thought in context, explaining its major themes, sources, and frames of reference, and features five previously unpublished lectures as well as more complete versions of several published essays.

Anti-realists like Paul Roth conceive of historical narratives as having no genuine explanatory power, because historical events are not ready-made and reveal themselves only to the retrospective gaze of the historian. For that reason, the categories with the help of which historians identify historical events do not map onto categories of general theories of the world required for a genuine explanation of them. While I agree with Paul Roth that the significance of a historical event is revealed only retrospectively, (...) I argue that this does not imply that historical narratives do not provide genuine explanations. In this context, it is however important to distinguish between the description used by historians to identify the event as being part of the narrative and the description under which the occurrence of the very same event could be causally explained within the narrative. Both types of descriptions possess a certain degree of conceptual independence from each other. I argue that historical narratives incorporate both dimensions: what I also call the view from and with the view from below. Historical narratives do explain, even though they differ from scientific theories. (shrink)

Soon after the 2013 military coup, state-sponsored violence and human rights abuses have begun to shake Egyptian society. The regime of president Abdel Fattah al-Sisi has attempted to rationalize them, claiming that this is the only path to save the most populous Middle Eastern country from civil unrest, terrorism, and economic decay. Al-Sisi, the former army chief during the 2013 coup, initially portrayed his ascendency to power as the only way to restore security and end the threat of terrorism. Egypt’s (...) generals have also recognized that they cannot rely only on the promise of restoring security to justify ending of the democratic opening and their heavy-handed ruling techniques. Therefore, they have also been using a web of alternative narratives to justify their approach and have been spreading these narratives using security-controlled public and private media institutions. Conspiracy theories, defamation campaigns, and hate speech against voices of dissent have assumed central positions... (shrink)