By Allen Speight (eds.)
This amazing assortment presents an interdisciplinary platform for trendy thinkers who've all made major contemporary contributions to exploring the nexus of philosophy and narrative. It comprises the newest tests of a number of key positions within the present philosophical debate. those views underpin a number thematic strands exploring the impression of narrative on notions of selfhood, id, temporal adventure, and the feelings, between others. Drawing from the arts, literature, background and spiritual reviews, in addition to philosophy, the quantity opens with papers on narrative intelligence and the connection among narrative and employer. It gains specific sections of in-depth statement on quite a number subject matters. How, for instance, do narrative and philosophical biography have interaction? Do celebrated biographical and autobiographical bills of the lives of philosophers give a contribution to our realizing in their paintings? This new quantity has a great remit that includes the intercultural spiritual view of philosophy’s hyperlinks to narrative including its many secular points. A important new source for extra complicated students in all its constituent disciplines, it represents an important addition to the literature of this richly effective zone of research.
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Extra resources for Narrative, Philosophy and Life
If I am charged to make my self-understanding explicit, I may illustrate my view of myself by reference to things I (GS) have done, but it certainly will not follow that I have a Diachronic outlook, still less a Narrative one. At this point Heidegger informs us, in a variation on Socrates, that a human being’s existence—‘Dasein’s’ existence—is constituted by the fact that its being is an issue for it. Fine, but it’s not at all clear that being a thing whose being is an issue for it need involve any sort of Narrative outlook.
Bruner 1987, 1990, 1994. The notion of an ‘unreliable narrator’ derives from literary criticism. In The Mind’s Past (1998a) Gazzaniga seems to support a strongly reconstructive view of human memory, but he later says only that personal memory tends to be ‘a bit fictional’ (1998b: 713). 40 Brewer (1988) argues that the evidence that supports ‘the reconstructive view of personal memory … does not seem very compelling’. See also Wagenaar 1994; Baddeley 1994: 239; Swann 1990. Ross (1989) argues that revision that seems to serve self-esteem may be motivated by nothing more than a concern for consistency.
Against that, it may be said that if one is genuinely Narrative one must also (and of course) have some sort of distinctive [S] story-telling tendency when it comes to one’s apprehension of one’s life—where story-telling is understood in such a way that it does not imply any tendency to fabrication, conscious or 34 ‘Discern’, ‘apprehend’, ‘find’, ‘detect’ all have non-factive readings. Hubbard 1909: 32. 36 I judge Stendhal to be strongly Episodic but subject to Diachronic flashes. Jack Kerouac is I think a clear case of an Episodic looking for larger form.