Background: Electroconvulsive therapy is one of the most effective treatments for major depressive disorder. Recently, there has been increasing attention to evaluate the effect of ECT on resting-state functional magnetic resonance imaging. This study aims to compare rs-fMRI of depressive disorder patients with healthy participants, investigate whether pre-ECT dynamic functional network connectivity network estimated from patients rs-fMRI is associated with an eventual ECT outcome, and explore the effect of ECT on brain network states.Method: Resting-state functional magnetic resonance imaging data were (...) collected from 119 patients with depression or depressive disorder, and 61 healthy participants, with an age mean of 52.25 years old. The pre-ECT and post-ECT Hamilton Depression Rating Scale were 25.59 ± 6.14 and 11.48 ± 9.07, respectively. Twenty-four independent components from default mode and cognitive control network were extracted, using group-independent component analysis from pre-ECT and post-ECT rs-fMRI. Then, the sliding window approach was used to estimate the pre-and post-ECT dFNC of each subject. Next, k-means clustering was separately applied to pre-ECT dFNC and post-ECT dFNC to assess three distinct states from each participant. We calculated the amount of time each subject spends in each state, which is called “occupancy rate” or OCR. Next, we compared OCR values between HC and DEP participants. We also calculated the partial correlation between pre-ECT OCRs and HDRS change while controlling for age, gender, and site. Finally, we evaluated the effectiveness of ECT by comparing pre- and post-ECT OCR of DEP and HC participants.Results: The main findings include depressive disorder patients had significantly lower OCR values than the HC group in state 2, where connectivity between cognitive control network and default mode network was relatively higher than other states, Pre-ECT OCR of state, with more negative connectivity between CCN and DMN components, is linked with the HDRS changes. This means that those DEP patients who spent less time in this state showed more HDRS change, and The post-ECT OCR analysis suggested that ECT increased the amount of time DEP patients spent in state 2.Conclusion: Our finding suggests that dynamic functional network connectivity features, estimated from CCN and DMN, show promise as a predictive biomarker of the ECT outcome of DEP patients. Also, this study identifies a possible underlying mechanism associated with the ECT effect on DEP patients. (shrink)

Biology is seen not merely as a privileged oppressor of women but as a co-victim of masculinist social assumptions. We see feminist critique as one of the normative controls that any scientist must perform whenever analyzing data, and we seek to demonstrate what has happened when this control has not been utilized. Narratives of fertilization and sex determination traditionally have been modeled on the cultural patterns of male/female interaction, leading to gender associations being placed on cells and their components. We (...) also find that when gender biases are controlled, new perceptions of these intracellular and extracellular relationships emerge. (shrink)

This paper argues that professionals who make boundary-related decisions should be guided by relationship-based practice. In our roles as service users and professionals, drawing from our lived experiences of professional relationships, we argue we need to move away from distance-based practice. This includes understanding the boundary stories and narratives that exist for all of us – including the people we support, other professionals, as well as the organisations and systems within which we work. When we are dealing with professional boundary (...) issues, we should centre relationship-building skills that are central to many other aspects of our work. Skills that foster relationships at all levels – between professionals, service users, and services – need to be revalued. Our final recommendation is to create, develop, and foster safer spaces within and outside of organisations, as well as inter-professionally, for the discussion and exploration of boundary-related issues and practice. We are interested in hearing from those with experiences of being marginalised by boundaries so that they can inform a reshaping of our collective ideas around boundary related practices. To foster relationship-based practices in organisations, we have outlined several recommendations here; however, we recognize that these do not go far enough, and that collective action is needed to inform systemic change. (shrink)

"Ever Since This World Began" from Love Dog (Penny-Ante Editions, 2013) by Masha Tupitsyn continent. The audio-essay you've recorded yourself reading for continent. , “Ever Since the World Began,” is a compelling entrance into your new multi-media book, Love Dog (Success and Failure) , because it speaks to the very form of the book itself: vacillating and finding the long way around the question of love by using different genres and media. In your discussion of the face, one of the (...) themes of Love Dog , I think there is something to be said about the surfaces media create and how you constantly manipulate them in your work. This seems important for thinking also about your book LACONIA: 1,200 Tweets on Film ; a book on film written in tweets, interposing already three sets of expectations and pushing the boundaries of each medium's faciality, it's surface tension. In Love Dog , is there another kind of facial interaction? Perhaps the discursive faces of approaching love as topic and love as method? If so, how did/do these intersect for you, do/did they drive the creation of this book? MASHA TUPITSYN With LACONIA and Love Dog , I wanted to pay homage to the work modernism has done on subjective time and chronological time by carrying that experiment over into the digital economy. Because LACONIA is a time-based work of cultural criticism that employs the aphorism to look at 21 st century American culture, it is also an archival work of cultural mourning and memory. And in Love Dog , which is also a work about mourning as it relates to love, I wanted to think with all my senses, and to reflect that in the writing itself by using a multi-media form. LACONIA tackled the sound bite and the promotional image--the everyday language of consumer culture--which often wants to communicate ideological agendas through the repetition of a single image or reductive phrase. I had always been interested in the approaches of artists like Barbara Kruger and Jenny Holzer and essayistic, typographical filmmakers, like Chris Marker and Godard. In both cases, I felt it was important to try to compose a book in which deep—critical—thinking happens in so-called immediate, informal, and disposable contexts. That is, in places where you are either not supposed to be serious or are not required to take things seriously. To me the most intervention is needed in every day instances of culture and representation. In order to do that, I had to utilize and interrogate the very structures I was critiquing. In other words, the writing had to materialize in that live, digital, public space. It couldn’t simply happen at home on a piece of paper or in a word document on my computer that no one could see until it was finished. It had to unfold in real time, amidst everything else. And it had to literally be surrounded by the cultural landscape I wanted to assess. In both LACONIA and Love Dog , I wanted to know how and if we can get away from what we cannot get away from? From which there is no respite. Given this, I don’t think hypertexts can really be called hypertexts anymore. Hypertexts are simply the world today. This is not only the way we read the world now. It is the way the world reads. Likewise, interfaciality, as you put it, works on a number of levels for me, both on and off the page. There is my relation to epistemological and phenomenological surfaces—the screen, the body, the face, the voice, gender; the official story. Then there is the way this dovetails formally, and to which the digital adds yet another dimension. It’s also where sound comes into Love Dog (giving the book a sound; giving tonality to the book’s ideas and feelings). As Anne Carson pointed out in her essay “The Gender of Sound,” the two are connected, and of course so are love and gender. In “Ever Since This World Began,” I wanted to think about the phenomenology of the voice, which is why I visualize the sonic in the book and why in my writing about faces, I look at the tonal aspects (the things a face voices and a voice faces) of a face. This was standard to do when images and faces were “silent” in the silent era. Those images/faces were extraordinarily audible. The greatest screen face, to me, is still Falconetti’s in Dreyer’s The Passion of Joan of Arc . We can hear her face—even though there is no actual sound on screen of her speaking. The internet is a similarly “silent” space where actual voices are lacking. So intertextuality goes with interfaciality. I’ve also talked a lot about how categorization worked when it came to the reception of my first book, Beauty Talk & Monsters . How despite the fact that Beauty Talk is a text that crisscrosses form and content in a variety of ways, not pinpointing its exact genre—choosing one genre over another—only made things worse. Fiction was the category people were most adverse to me using, even though of course there is a lot of fiction in the book. Part of how fiction works in Beauty Talk is in the reader not knowing exactly where the fiction resides. In Godard’s 1967 film, Weekend , for example, everything matters. Everything is political, whether it’s real or imaginary, film or reality. In Weekend , life is not a game and neither is the game a game. The game is really life. Either everything is important or nothing is. But many people want clear answers and demarcations so that they can decide what is important and what is not important. My use of the “I,” subjective criticism, made everything “real” in Beauty Talk . But fiction is in the construction. It is in the blending. This is why I perforate the movie screen and connect the onscreen and the offscreen; the official story and the backstory. Although I don’t think there is a difference between onscreen and offscreen anymore. Nor is there a dialectic. It’s all screen all the time now. Non-fiction, on the other hand, was more tolerated as a moniker. Unlike Love Dog , Beauty Talk wasn’t explicitly or tangibly (what is tangible is a question in all these books) working with digital forms or within this digital economy, so some people resisted the book’s hypertextuality or intertextuality because they couldn’t see its other forms, if that makes sense. It was a problem of invisibility; of how to make something appear (this is where Nietzsche, big presence in Love Dog , comes in—the nature of appearances). Something people don’t necessarily want to see. Some readers couldn’t see the way forms were interfacing in that book. On the surface, Beauty Talk was simply a text about media culture—the domination of entertainment as a mode of being and knowing—and most readers could only see that one side of the book. But as Godard puts it in Wim Wenders’ documentary about the future of cinema, Room 666 , “Films are made, images are made, when there’s no one looking. That’s what the invisible is, that which we don’t see. That’s what the incredible is, that which we don’t see. And cinema shows you that which we don’t see, the incredible.” We are living in the aftermath of narrative and temporal collapse, which means we don’t read or feel in the same way. I began to use digital forms in my writing because I don’t see us as traditional book people anymore. I would add that power also resides in the invisible, in the things we make invisible by making them visible. Or it did for a long time. The new face of power is quickly becoming so-called transparency, which is even more corrupt because even though we now live in a behind-the-scenes culture, and see and know how the mechanisms of power and corruption operate, we still don't change. The world still doesn't change. Finally, another important thing that Godard says in Room 666 that relates to Love Dog is: “I’m here in front of the camera, and yet in my body and in my head, I’m behind it. My world is the imaginary and the imaginary is a journey between forwards and backwards.” This idea of visible/invisible, foresight and hindsight , backwards and forwards is an important dialectic in relation to time and the idea of the destinal. This is why I wanted Love Dog to travel, literally, figuratively, and discursively. You have to be open to not knowing. To epistemological, geographical, chronological, and emotional aporias. In Love Dog my story is both visible and invisible to me. Sometimes I could see where I was going. Other times I was completely in the dark existentially. Truth procedure, which love is, as bell hooks and Badiou tell us, requires expedition and openness to possibility. Unless you want a story you already know, but that is not truth procedure. So I tried to create this backwards and forwards journey in the book—this sense of travel and motion, hope and doubt—by jumping between forms, media, time; traveling to different places, texts, and emotional registers. The book’s “Time-Jump series,” which mostly takes the form of music—songs—but also a series of “green” videos that I shot, is the most obvious tribute to this idea of subjective and chronological time. continent. Your work aligns with writers that play with the form of their language, or have assumed the role of performance artist at some point: Kathy Acker, Chris Kraus, Avital Ronell, and Anne Carson to name a few representing varied approaches that show up in Love Dog . At the risk of ossifying the work, or missing the point—as these experimental modes of writing stack-up in piles of published works, do they approach a genre? MASHA As I noted in my book Life As We Show It , in Chelsea Girls the poet Eileen Myles points out, “You can’t get money without a category.” More importantly, you can’t get a category—or respect, rank—without a clear genre. This makes genre and gender an obvious pair. The two words are even linked etymologically and both genre and gender concern taxonomies of legitimacy—of sorting through what and who is valuable. So the words share common prejudices. The things one does not want to read is often synonymous with who one doesn't want to read about. Therefore a break-up of or with genre is maybe the genre or anti-genre that could be said to link these writers. Avital Ronell breaks up with philosophical tradition and modes of inquiry. Like Nietzsche, she revaluates methods of evaluation, testing out things you are not supposed to use philosophy to test (and, by the same token, testing philosophy in ways it’s not supposed to be tested), like drugs and stupidity—where philosophy fails and we fail philosophy. And Chris Kraus does something similar in her experimental fiction, using different forms to put female subjectivity “to the test,” so to speak. All these female writers and thinkers have tried to destabilize the systems that have been set up in (and against) writing. Thus missing the mark with genre, even intentionally, means that we have missed the point in some sense as writers and thinkers. And that to me is a good thing, however difficult. We’ve started at the wrong point and gone somewhere else instead. We’ve acknowledged that writing and thinking are also about failure, and that failure is always embedded in the act of writing and in our reasons for writing. So that missing the point is also the point. Derrida insisted: “We must invent a name for those ‘critical’ inventions which belong to literature while deforming its limits.” But how can you give something that resists and deforms, a name? Wouldn’t the name also be deformed? Isn't this why the aforementioned writers get hyphenated descriptors like ficto-criticism? Do we need a proper name to be able to read something carefully? I don’t think so. I don’t need it as a reader. I’ve always taken a work on its own terms. But for most people, if you don’t have an address, people don’t know how to find you. A lot of time, they won’t even know how to look. And in some cases, they’ll think you’re not even worth finding. You are not on the map because you have to literally make the map in order to exist. In her essay, “The Gender of Sound” Carson asks, “Why is female sound bad to hear?” I think for the same reason something uncategorizable (pedagogically, creatively, racially, and sexually)—Other—is hard to read. *For an audio recording of Florida , read by Masha Tupitsyn click here . continent. : We're also curious to hear know how you see the significance of 'performance' (and why the label sticks to the shoes of these authors like toilet paper) in describing this kind of writing work? MASHA I think I responded to the parenthetical portion of this question in my previous answer. As far as how performance relates to Love Dog , in Acker’s Don Quixote , which is another big presence in the book, she writes, “there is no other reality than anthropomorphism.” In Don Quixote , the dog is human and the human is dog. Which brings us to the title of Love Dog and the totemic function of the dog in the book: giving human things animal characteristics and animal things human characteristics. Rather than investing all our human love ideals into dogs, which we do constantly as a culture of dog lovers, I wanted to put the dog into love. It is the difference between the consumption of love as a patriarchal institution or status position and the essence of a type of radical and liberatory relation that would benefit humans in their bonds with other humans. So the dog in Love Dog is not simply the book’s cover or performative affect, so to speak. Love has always needed the dog, which is why the dog is the very embodiment of belief in love . Recall Argos The Great Dog and Odysseus. Argos is the only one who remembers and recognizes the ragged and old Odysseus even after his 20-year absence. So love is the high ideal and the dog, both common and dependable, is the bridge between the sacred and the profane. The dog is the house of love. And because Love Dog is a digital project, it seemed impossible to think about the post-human, technology, the virtual, or difference (which Badiou says is essential to love in In Praise of Love ) without thinking about animal-being and being-animal. Instead of simply “performing” these ideas and characteristics as literary affects, I’m interested in being-becoming. Which means the book’s tropes, leitmotifs, series, and even its titles are in service of that truth procedure. In other words, I actually want to live this way, not just write this way. And, more importantly, I want to live this way not just think this way. So Love Dog became both my totem animal and my autobiographical animal. This made the book organic, anthropomorphic—beyond literary. See the trailer to Masha Tupitsyn's new book available now from Penny Ante Editions. (shrink)

Investigates the intent, method and structural unity of Thomas Aquinas's Summa Contra Gentiles. The author of this study argues that the intended audience is Christian and that the subject is Christian wisdom.

Aryeh Goldberg compellingly argues for a Narrative Coherence Standard (NCS) to bolster existing methods of assessing patients' mental capacity. But his account fails to distinguish between the cognitive abilities of children and adults; consequently, worries may be raised about the scope of the NCS, in particular when we consider child patients. In this article, I argue the NCS cannot plausibly apply to children. Since children's self-conception does not arrive fully formed — but rather is a product of both incomplete (...) cognitive development and socializing factors — I claim children may not possess a sufficiently intimate knowledge of self, and therefore a sufficiently coherent sense of self, as Goldberg demands. Therefore, we should either revise the NCS to accommodate children, adopt an incremental view of consent, or revert to the relevant form of the MacArthur competence criteria to establish children’s capacity to consent. (shrink)

This article examines the narrative approach to self found in philosophy and related disciplines. The strongest versions of the narrative approach hold that both a person's sense of self and a person's life are narrative in structure, and this is called the hermeneutical narrative theory. This article provides a provisional picture of the content of the narrative approach and considers some important objections that have been raised to the narrative approach. It defends the view (...) that the self constitutes itself in narrative and argues for something less than the hermeneutical view insofar as the narrative is less agency-oriented and without an overarching thematic unity. (shrink)

In this article, I outline various ways in which artifacts are interwoven with autobiographical memory systems and conceptualize what this implies for the self. I first sketch the narrative approach to the self, arguing that who we are as persons is essentially our (unfolding) life story, which, in turn, determines our present beliefs and desires, but also directs our future goals and actions. I then argue that our autobiographical memory is partly anchored in our embodied interactions with an ecology (...) of artifacts in our environment. Lifelogs, photos, videos, journals, diaries, souvenirs, jewelry, books, works of art, and many other meaningful objects trigger and sometimes constitute emotionally-laden autobiographical memories. Autobiographical memory is thus distributed across embodied agents and various environmental structures. To defend this claim, I draw on and integrate distributed cognition theory and empirical research in human-technology interaction. Based on this, I conclude that the self is neither defined by psychological states realized by the brain nor by biological states realized by the organism, but should be seen as a distributed and relational construct. (shrink)

The Narrative Practice Hypothesis (NPH) is a recently conceived, late entrant into the contest of trying to understand the basis of our mature folk psychological abilities, those involving our capacity to explain ourselves and comprehend others in terms of reasons. This paper aims to clarify its content, importance and scientific plausibility by: distinguishing its conceptual features from those of its rivals, articulating its philosophical significance, and commenting on its empirical prospects. I begin by clarifying the NPH's target explanandum and (...) the challenge it presents to theory theory (TT), simulation theory (ST) and hybrid combinations of these theories. The NPH competes with them directly for the same explanatory space insofar as these theories purport to explain the core structural basis of our folk psychological (FP)-competence (those of the sort famously but not exclusively deployed in acts of third-personal mindreading). (shrink)

In this article, I outline various ways in which artifacts are interwoven with autobiographical memory systems and conceptualize what this implies for the self. I first sketch the narrative approach to the self, arguing that who we are as persons is essentially our life story, which, in turn, determines our present beliefs and desires, but also directs our future goals and actions. I then argue that our autobiographical memory is partly anchored in our embodied interactions with an ecology of (...) artifacts in our environment. Lifelogs, photos, videos, journals, diaries, souvenirs, jewelry, books, works of art, and many other meaningful objects trigger and sometimes constitute emotionally laden autobiographical memories. Autobiographical memory is thus distributed across embodied agents and various environmental structures. To defend this claim, I draw on and integrate distributed cognition theory and empirical research in human-technology interaction. Based on this, I conclude that the self is neither defined by psychological states realized by the brain nor by biological states realized by the organism, but should be seen as a distributed and relational construct. (shrink)

This paper examines systematically which features of a life story (or history) make it good for the subject herself - not aesthetically or morally good, but prudentially good. The tentative narrative calculus presented claims that the prudential narrative value of an event is a function of the extent to which it contributes to her concurrent and non-concurrent goals, the value of those goals, and the degree to which success in reaching the goals is deserved in virtue of exercising (...) agency. The narrative value of a life is a simple sum of the values of individual events that comprise it. I claim that this view best explains and support common intuitions about the significance of the shape of a life. (shrink)

This paper promotes the view that our childhood engagement with narratives of a certain kind is the basis of sophisticated folk psychological abilities —i.e. it is through such socially scaffolded means that folk psychological skills are normally acquired and fostered. Undeniably, we often use our folk psychological apparatus in speculating about why another may have acted on a particular occasion, but this is at best a peripheral and parasitic use. Our primary understanding and skill in folk psychology derives from and (...) has its primary application in special kinds of second-personal engagements. (shrink)

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

Surely since the Enlightenment, if not before, the study of mind has centered principally on how man achieves a “true” knowledge of the world. Emphasis in this pursuit has varied, of course: empiricists have concentrated on the mind’s interplay with an external world of nature, hoping to find the key in the association of sensations and ideas, while rationalists have looked inward to the powers of mind itself for the principles of right reason. The objective, in either case, has been (...) to discover how we achieve “reality,” that is to say, how we get a reliable fix on the world, a world that is, as it were, assumed to be immutable and, as it were, “there to be observed.”This quest has, of course, had a profound effect on the development of psychology, and the empiricist and rationalist traditions have dominated our conceptions of how the mind grows and how it gets its grasp on the “real world.” Indeed, at midcentury Gestalt theory represented the rationalist wing of this enterprise and American learning theory the empiricist. Both gave accounts of mental development as proceeding in some more or less linear and uniform fashion from an initial incompetence in grasping reality to a final competence, in one case attributing it to the work out of internal processes or mental organization, and in the other to some unspecified principle of reflection by which—whether through reinforcement, association, or conditioning—we came to respond to the world “as it is.” There have always been dissidents who challenged these views, but conjectures about human mental development have been influenced far more by majoritarian rationalism and empiricism than by these dissident voices. Jerome Bruner is research professor of psychology at New York University, where he is also serving as Meyer Visiting Professor of Law. His most recent book, Acts of Meaning, appeared in 1990. In 1987 he received the Balzan Prize for “a lifetime contribution to the study of human psychology.”. (shrink)

Corporate social responsibility (CSR) has repeatedly been described as an “essentially contested concept,” which means that its signification is subject to continuous struggle. We argue that the “CSR institution” (CSRI; i.e., the set of standards and rules regulating corporate conduct under the banner of CSR) is legitimized by narratives which “decontest” the underlying concept of CSR in a manner that safeguards the CSRI from calls for alternative institutional arrangements. Examining several such narratives from a structuralist perspective, we find them to (...) be permeated with six recurrent ambiguities that we show to be reflective of three deep-set taboos: the taboo of the noncongruency between corporate profit objectives and societal needs, the taboo of multinational firms’ continued contribution to the emergence of global socioenvironmental issues, and the taboo of the CSRI’s moderate results in solving these problems. We contend that the perpetuation of these taboos contributes to inhibiting substantial change in the way of doing business, and we sketch out possibilities for initiating a “recontestation” of CSR’s meaning. (shrink)

The normative ideals of democracy, trust and respect are under threat from the forces of populism and extremism. I argue for a recalibration of some basic ideas in the moral and social domains in which each person sees her/himself as one among others. I defend 0093The Principle of Personal Worth0094 which asserts that persons are more valuable than non-persons such as nations, religions, ethnicities, tribes, gangs, and cultures. The 0091collectivist0092 mentality denied by this principle is often held up against a (...) strongly (individualist) or atomistic one. However, these two extremes are not the only possibilities.Collectivism and identity politics link our identities to those associations and institutions with which we identify. This link is based on a confusion between qualitative and quantitative identity. Our actual (numerical) identities are determined by a combination of semantic (conceptual) and deictic (referential) factors, not by our qualitative associations.The Alt-Right combines extremes of individualism and collectivism by way of self-serving narratives that simultaneously elevate the individual over the State, and promote the agendas of specific religious, ethnic, gender and sexuality groups. These impoverished narratives support an impoverished sense of community which functions as an echo chamber for its own ideas, while rejecting those coming from beyond its boundaries. Ultimately, the task of repairing and reconstructing such narratives lies in formal education. Teachers and students need to enact forms of discourse and community which are intellectually, ethically and affectively powerful, both as tools for better teaching and learning, and as preparation for living worthwhile lives. (shrink)

Psychologically normal adult humans make sense of intentional actions by trying to decide for which reason they were performed. This is a datum that requires our understanding. Although there have been interesting recent debates about how we should understand ‘reasons’, I will follow a long tradition and assume that, at a bare minimum, to act for a reason involves having appropriately interrelated beliefs and desires. He left the party because he believed the host had insulted him. She will head for (...) the cabin in the woods because she wants peace and quiet. These are typical examples of reason explanations, one backward looking and the other future facing. Both imply more than they say. To leave a party because of a suspected insult suggests that one desires not to be insulted, or at least it implies that the desire to avoid insult is stronger than that for some other good on offer. Similarly, to seek tranquillity in an isolated cabin implies that one believes that it can be found there, or at least more so than elsewhere. Despite the fact that the situations and characters involved in these dramas are woefully under-described, we are able to ‘make sense’ of these actions in a basic manner using the belief/desire schema. This involves designating a particular pairing of a belief and a desire, each with its own specified propositional content, in a way that rests on a quiet understanding of the way propositional attitudes inter-relate. To understand which beliefs and desires were responsible for a person’s action is normally only to understand why they acted in a quite skeletal way. Maximally, to understand why someone acted requires a more or less detailed description of his or her circumstances, other propositional attitudes (hopes, fears), more basic perceptions and emotions and perhaps even his or her character, current situation and history. In short, to fully grasp why someone took action on a particular occasion requires relating that.. (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)

In contrast to earlier accounts of the epistemic significance of narrative, it is argued that narrative is important in natural scientific knowledge. To recognize this, we must understand narrative not as a literary form in which knowledge is written, but as the temporal organization of the understanding of practical activity. Scientific research is a social practice, whereby researchers structure the narrative context in which past work is interpreted and significant possibilities for further work are projected. This (...) narrative field displays a constant tension between a need for a coherent, shared understanding of the field and the incoherence threatened by divergent projects and interpretations. The account has three parts. First, a summary of the general account of the narrative intelligibility of action which underlies the proffered view of narrative in science. This account is then applied to understanding how scientific work acquires significance, and how the scientific literature is constructed and read. Finally, it is shown how this account should transform our understanding of the unity of science, and it is suggested how it can help undercut various realist and anti?realist interpretations of scientific knowledge, while also challenging the ironic stance which many recent sociologists adopt toward the global legitimation of science attempted by many philosophers. (shrink)

This paper is an examination of the concept of recognition and its connection with identity and respect. This is related to the question of how women are or are not adequately recognised or respected for their achievements in sport and whether eliminating sex segregation in sport is a solution. This will require an analysis of the concept of excellence in sport, as well as the relationship between fairness and inclusion in an activity that is fundamentally about bodily movement. I argue (...) that attempts to address the problem of women’s recognition in sport need to do so in ways that neither eliminate sport as a fairness regulated system for developing individual excellence in bodily movement nor that prevent women’s achievement of sporting excellence, with the regard that belongs to them. Doing this requires us to decide whether sport is about champions or about individual excellence. (shrink)

Some recent approaches to narratology have presented the event as a basic constitutive element of narrativity. The event is considered either a primitive term or something that just happens or may happen, a change from one state to another. The underlying concepts are identity, state, and being. The article describes the event in general and the narrative event in particular from the perspective of the primacy of becoming, change, and flow, employing especially Whitehead’s philosophy of process and also certain (...) concepts developed by reception aesthetics. The narrative event is analyzed in the context of the following concatenation: the event -- interconnected events -- plot -- fictional world -- the real world and its potentiality. The aim is to understand a narrative event not as an interruption of the receptive flow, but as its change of course among levels of emergence. (shrink)

Scenarios are flexible means to integrate disparate ideas, thoughts and feelings into holistic images, providing the context and meaning of possible futures. The application of narrative scenarios in engineering, development of socio-technical systems or communities provides an important link between general ideas and specification of technical system requirements. They focus on how people use systems through context-related storytelling rather than abstract descriptions of requirements. The quality of scenarios depends on relevant assumptions and authentic scenario stories. In this article, we (...) will explore how the narrative approach may enrich the scenario ‘skeleton’ with ‘flesh and blood’, that is, living, detailed and consistent storytelling. In addition, criteria are suggested for evaluation of the quality of scenario storytelling. (shrink)

The aim of the present study is to evaluate the postmodern belief that selves are narrative constructions. Four theories, varying in degree of anti-realism, are presented and discussed. It is concluded that an attractive feature of the narrative approach is that it explains how we achieve a sense of unity. But the main idea, that selves are constituted or created by stories is problematic, like identifying footprints on the beach with the feet that made them.

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)

: Although philosophers often focus on the essays of Leopold's Sand County Almanac, especially "The Land Ethic," there is also a normative argument present in the stories that comprise most of the book. In fact the shack stories may be more persuasive, with a subtlety and complexity not available in his prose piece. This paper develops a narrative ethics methodology gleaned from rhetoric theory, and current interest in narrative ethics among literary theorists, in order to discern the normative (...) underpinnings of the stories in Part 1. The narrative ethics approach sidesteps the need to ground the land ethic in ethical theory—which has been a reconstructive and problematic task for the philosophical interpreters of Leopold—and suggests, instead, that it emerges in Leopold's very effort to narrate his, professional, personal, and practical experience with nature. The involves examining the stories in terms of their emotional, logical and performative aspects. The result is an analysis that shows not only how these stories express normative claims, but also justify them. One conclusion of the analyses is that, in the narratives, there is less emphasis on the problematic notion of an over-arching "community" than in the prose pieces, and more emphasis on the metaphor of other living things as "fellow travelers" in the "odyssey of evolution." Second, the narratives take on an ironic attitude toward the ecological order, less discernable in the prose essays. The order itself may not be ethically admirable, but should be preserved since it makes possible any ethical relations within it. Thus, the narrative reading suggests some temperance to the usual holistic interpretation of his land ethic and its concomitant criticisms especially the charge of ecofacism. We should not take the land ethic imperative at its face value, in the sense that the good of the order itself is an intrinsic good. In the narratives, individuals are shown not merely to be means to the ecological whole, but the focus of sympathy and concern, in a manner that demands their good should also be an object of moral consideration. (shrink)

Although philosophers often focus on the essays of Leopold's Sand County Almanac, especially "The Land Ethic," there is also a normative argument present in the stories that comprise most of the book. In fact the shack stories may be more persuasive, with a subtlety and complexity not available in his prose piece. This paper develops a narrative ethics methodology gleaned from rhetoric theory, and current interest in narrative ethics among literary theorists, in order to discern the normative underpinnings (...) of the stories in Part 1. The narrative ethics approach sidesteps the need to ground the land ethic in ethical theory—which has been a reconstructive and problematic task for the philosophical interpreters of Leopold—and suggests, instead, that it emerges in Leopold's very effort to narrate his, professional, personal, and practical experience with nature. The involves examining the stories in terms of their emotional, logical and performative aspects. The result is an analysis that shows not only how these stories express normative claims, but also justify them. One conclusion of the analyses is that, in the narratives, there is less emphasis on the problematic notion of an over-arching "community" than in the prose pieces, and more emphasis on the metaphor of other living things as "fellow travelers" in the "odyssey of evolution." Second, the narratives take on an ironic attitude toward the ecological order, less discernable in the prose essays. The order itself may not be ethically admirable, but should be preserved since it makes possible any ethical relations within it. Thus, the narrative reading suggests some temperance to the usual holistic interpretation of his land ethic and its concomitant criticisms especially the charge of ecofacism. We should not take the land ethic imperative at its face value, in the sense that the good of the order itself is an intrinsic good. In the narratives, individuals are shown not merely to be means to the ecological whole, but the focus of sympathy and concern, in a manner that demands their good should also be an object of moral consideration. (shrink)

The article compares Pope Francis's encyclical “LAUDATO SI” (2015) and the report by the Club of Rome, “”ome On!: Capitalism, Short-termism, Population and the Destruction of the Planet” (2018), in how they harness the narrative potential of the concept of home. Both with overtly religious and entirely secular arguments, the narrative of our common home is presented as a possible alternative to the prevailing narrative of growth today. The metaphor of home possesses not only conceptual but also (...) generative power to offer concrete solutions to two of humanity's most pressing issues today: the problem of waste and the problem of climate change. The narrative of home activates the power of local places while simultaneously seeking global balance on a worldwide scale. The study focuses on how the narrative of home transforms the relationship with places and the balance between the local and the global. (shrink)

The narrative approach to teaching Peace and Justice attempts to address the division between activists and church-goers that is often found on Catholiccampuses. The former, who advocate for social change, tend to regard religious faith as self-serving, while the latter, who emphasize community service, tend toregard activism as “radical.” By studying the life-stories of individuals whose contributions to the struggle for justice reflect the unfolding of a spiritual journey, students come to see that religious faith can be integral to (...) a life dedicated to social change. Barack Obama’s autobiography exemplifies the youth’s journey to self-acceptance which the theologian John Dunne identifies as the second of the four great tasks of an individual’s life. The stages of this journey involve breaking free of narcissism and what theologian Miroslav Volf calls “embracing” the other. (shrink)

This article argues that the narrative of public participation in environmental governance that emerged from the Earth Summit in 1992 can be read as a direct challenge to the neoliberal approach to environmental governance. The challenge comes from constructing the concept of public participation as (i) the practice of providing decision makers with more and better information in order to help them design more equitable policies, and (ii) the practice of potentially influencing policy decisions by bringing new perspectives and (...) values into the decision-making process. The article shows how this counter-narrative has itself now become a contested terrain: among a variety of normative presuppositions justifying practices of public participation, one can also find a market friendly rationale. (shrink)

The survival and significance of the Latin American liberation theology movement relies, to some extent, on the power of the narratives of martyrdom. Precisely by relying on these narratives, through the dynamics of the theological category of memory that leads to solidarity, liberation theology situates itself in the tension between modernity and postmodernity. The categories of narrative, memory and solidarity, which are at play in the whole dynamic of martyrdom, constitute a postmodern way of doing a modern liberation theology. (...) Liberation theology will only be able to retain its “liberative” and “theological” element insofar as it continues to be “modern” and “postmodern” at the same time. Against the postmodern disbelief in the possibility of human emancipation, liberation theology continues to labor precisely under principium liberationis grounded in the promise of liberation contained in God’s revelation in the Scriptures. However, against the “modern” conception of emancipation based on reason and governed by the idea of progress, liberation theology envisions liberation as an integral process which takes place in a concrete, particular historical reality and under the eschatological promise of God. Keywords: liberation theology, martyrdom, modern, postmodern, narrative, memory, solidarity. Abstrak: Relevansi dan pertumbuhan teologi pembebasan, sampai tingkat tertentu, juga bergantung pada kekuatan kisah kemartiran. Dengan mendasarkan diri pada kisah (narrative) yang diolah lewat kategori pengingatan (memory) yang mengarah pada solidaritas, teologi pembebasan menempatkan diri dalam tegangan antara modernitas dan posmodernitas. Kategori kisah, pengingatan, dan solidaritas, yang berada dalam jantung narasi kemartiran, mengetengahkan sebuah cara posmodern untuk melakukan teologi pembebasan yang modern. Teologi pembebasan hanya akan berhasil mempertahankan unsur “teologi” dan “pembebasan” sejauh bersifat modern dan posmodern pada saat yang sama. Melawan ketidakpercayaan posmodernitas terhadap kemungkinan proyek pembebasan, teologi pembebasan mempertahankan prinsip pembebasan atas dasar isi pewahyuan Allah dalam Kitab Suci. Akan tetapi, melawan pemahaman modern tentang pembebasan berdasarkan akalbudi dan kemajuan, teologi pembebasan memahami pembebasan sebagai sebuah proses integral yang terjadi dalam waktu dan tempat yang nyata, dalam realitas sejarah yang partikular dan dalam kerangka janji eskatologis Allah. Kata-kata kunci: teologi pembebasan, kemartiran, modern, posmodern, narasi, pengingatan, solidaritas. (shrink)