Relating Narratives is a major new work by the philosopher and feminist thinker Adriana Cavarero. First published in Italian to widespread acclaim, Relating Narratives is a fascinating and challenging new account of the relationship between selfhood and narration. Drawing a diverse array of thinkers from both the philosophical and the literary tradition, from Sophocles and Homer to Hannah Arendt, Karen Blixen, Walter Benjamin and Borges, Adriana Cadarero's theory of the `narratable self' shows how narrative models in philosophy and literature can open new ways of thinking about formation of human identities. By showing how each human being has a unique story that can be told about them, Adriana Cavarero inaugurates an important shift in thinking about subjectivity and identity which relies not upon categorical or discursive norms, but rather seeks to account for `who' each one of us uniquely is.
Drawing from a diverse array of thinkers from philosophical and literary traditions, this text shows how narrative models can open new ways of thinking about formation of human identities.
This volume represents the culmination of an extensive research project that studied the development of linguistic form/function relations in narrative discourse. It is unique in the extent of data which it analyzes--more than 250 texts from children and adults speaking five different languages--and in its crosslinguistic, typological focus. It is the first book to address the issue of how the structural properties and rhetorical preferences of different native languages--English, German, Spanish, Hebrew, and Turkish--impinge on narrative abilities across different phases of development. The work of Berman and Slobin and their colleagues provides insight into the interplay between shared, possibly universal, patterns in the developing ability to create well-constructed, globally organized narratives among preschoolers from three years of age compared with school children and adults, contrasted against the impact of typological and rhetorical features of particular native languages on how speakers express these abilities in the process of "relating events in narrative." This volume also makes a special contribution to the field of language acquisition and development by providing detailed analyses of how linguistic forms come to be used in the service of narrative functions, such as the expression of temporal relations of simultaneity and retrospection, perspective-taking on events, and textual connectivity. To present this information, the authors prepared in-depth analyses of a wide range of linguistic systems, including tense-aspect marking, passive and middle voice, locative and directional predications, connectivity markers, null subjects, and relative clause constructions. In contrast to most work in the field of language acquisition, this book focuses on developments in the use of these early forms in extended discourse--beyond the initial phase of early language development. The book offers a pioneering approach to the interactions between form and function in the development and use of language, from a typological linguistic perspective. The study is based on a large crosslinguistic corpus of narratives, elicited from preschool, school-age, and adult subjects. All of the narratives were elicited by the same picture storybook,Frog, Where Are You?, by Mercer Mayer. (An appendix lists related studies using the same storybook in 50 languages.) The findings illuminate both universal and language-specific patterns of development, providing new insights into questions of language and thought.
Relating Events in Narrative, Volume 2: Typological and Contextual Perspectives edited by Sven Strömqvist and Ludo Verhoeven, is the much anticipated follow-up volume to Ruth Berman and Dan Slobin's successful "frog-story studies" book, Relating Events in Narrative: A Crosslinguistic Developmental Study (1994). Working closely with Ruth Berman and Dan Slobin, the new editors have brought together a wide range of scholars who, inspired by the 1994 book, have all used Mercer Mayer's Frog, Where Are You? as a basis for their research. The new book, which is divided into two parts, features a broad linguistic and cultural diversity. Contributions focusing on crosslinguistic perspectives make up the first part of the book. This part is concluded by Dan Slobin with an analysis and overview discussion of factors of linguistic typology in frog-story research. The second part offers a variety of theoretical and methodological perspectives, all dealing with contextual variation of narrative construction in a wide sense: variation across medium/modality (speech, writing, signing), genre variation (the specific frog story narrative compared to other genres), frog story narrations from the perspective of theory of mind, and from the perspective of bilingualism and second language acquisition. Several of the contributions to the new book manuscript also deal with developmental perspectives, but, in distinction to the 1994 book, that is not the only focused issue. The second part is initiated by Ruth Berman with an analysis of the role of context in developing narrative abilities. The new book represents a rich overview and illustration of recent advances in theoretical and methodological approaches to the crosslinguistic study of narrative discourse. A red thread throughout the book is that crosslinguistic variation is not merely a matter of variation in form, but also in content and aspects of cognition. A recurrent perspective on language and thought is that of Dan Slobin's theory of "thinking for speaking," an approach to cognitive consequences of linguistic diversity. The book ends with an epilogue by Herbert Clark, "Variations on a Ranarian Theme."
This book is about relating the concepts of rape and murder in both senses of the term; that is the way rape and murder are linked and related and also how stories of rape and murder are related or told.
Only the most naïve or tendentious among us would deny the extent and intensity of suffering in the world. Can one hold, consistently with the common view of suffering in the world, that there is an omniscient, omnipotent, perfectly good God? This book argues that one can. Wandering in Darkness first presents the moral psychology and value theory within which one typical traditional theodicy, namely, that of Thomas Aquinas, is embedded. It explicates Aquinas's account of the good for human beings, including the nature of love and union among persons. Eleonore Stump also makes use of developments in neurobiology and developmental psychology to illuminate the nature of such union. Stump then turns to an examination of narratives. In a methodological section focused on epistemological issues, the book uses recent research involving autism spectrum disorder to argue that some philosophical problems are best considered in the context of narratives. Using the methodology argued for, the book gives detailed, innovative exegeses of the stories of Job, Samson, Abraham and Isaac, and Mary of Bethany. In the context of these stories and against the backdrop of Aquinas's other views, Stump presents Aquinas's own theodicy, and shows that Aquinas's theodicy gives a powerful explanation for God's allowing suffering. She concludes by arguing that this explanation constitutes a consistent and cogent defense for the problem of suffering.
Andrew Bennett argues in this fascinating book that ignorance is part of the narrative and poetic force of literature and is an important aspect of its thematic focus: ignorance is what literary texts are about. He sees that the dominant conception of literature since the Romantic period involves an often unacknowledged engagement with the experience of not knowing. From Wordsworth and Keats to George Eliot and Charles Dickens, from Henry James to Joseph Conrad, from Elizabeth Bowen to Philip Roth and Seamus Heaney, writers have been fascinated and compelled by the question of ignorance, including their own. Bennett argues that there is a politics and ethics as well as a poetics of ignorance: literature’s agnoiology, its acknowledgement of the limits of what we know both of ourselves and of others, engages with the possibility of democracy and the ethical, and allows us to begin to conceive of what it might mean to be human. This exciting approach to literary theory will be of interest to lecturers and students of literary theory and criticism.
This is a landmark anthology of international feminist theatre research. A three-part structure orientates readers through Cartographies of feminist critical navigations of the global arena; the staging of feminist Interventions in a range of international contexts; and Manifestos for today's feminist practitioners, activists and academics.
The Arc and the Machine is a timely and original defense of narrative in an age of information. Stressing interpretation and experience alongside affect and sensation it convincingly argues that narrative is key to contemporary forms of cultural production and to the practice of contemporary life. Re-appraising the prospects for narrative in the digital age, it insists on the centrality of narrative to informational culture and provokes a critical re-appraisal of how innovations in information technology as a material cultural form can be understood and assessed.
