Time and Narrative, Volume 1

Ricœur, Paul; McLaughlin, Kathleen; Pellauer, David

doi:10.7208/chicago/9780226713519.001.0001

Cited by 1,349 publications

(308 citation statements)

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“…Erfaringa var dermed at opplegget ikke fungerte som en oppskrift med garantert godt resultat. Da de uka etter gjennomførte en skrivedag basert på et selvutvikla eksperiment med tilhørende støtteark/skriverammer (Kringstad & Kvithyld, 2014) og forberedte, veiledende spørsmål, kunne de derimot registrere både skriveglede og gode tekster, 8 En kan si at studentene hadde klart å lage en kreativ etterligning i tråd med Ricoeur (1984) som var tilpasset konteksten.…”

Section: Studentenes Eierforhold Til Verktøyeneunclassified

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Dons¹,

Strømman²,

Nilssen³

et al. 2016

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Section: Studentenes Eierforhold Til Verktøyeneunclassified

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Dons¹,

Strømman²,

Nilssen³

et al. 2016

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“…In other words, mimesis3 "marks the intersection of the world of the text and the world of the hearer or reader." 58 In doing so, Ricoeur contends that the existential encounter with the text inherent in mimesis3 actualizes a "transcendence immanent in the text" that can directly affect the development of the reader's experience of self and world. Mimesis3, consequently, names the revelatory and transformative competency of narrativity that can evoke both a present realization of clarity in comprehending a transfigured reality and also a future hope and expectation for a persistent transformation of experience that could be considered as religiously redemptive.…”

Section: Mimesis Fiction and Abstract Re-figurationmentioning

confidence: 99%

Blurring the Edges: Ricoeur and Rothko on Metaphorically Figuring the Non-Figural

Putt

2017

errs

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Abstract:This essay examines Ricoeur's mimetic and transfigurative perspective on non-objective art and adopts it as an idiom for examining Mark Rothko's artistic intention in the multiform canvases of his "classical" period from 1949 until his death in 1970. Rothko unequivocally denied being an abstractionist, a colorist, or a formalist, insisting, on the contrary, that he desired to communicate discrete dimensions of experience and emotions to his viewers, specifically, experiences of the sacred and the spiritual. His large canvases, with their blurred edges, force the spectator into an intimacy of experience that opens the potentiality of heterogeneous interpretations. In other words, one might consider his paintings to be metaphors of dense meanings that imitate reality, not through facile representation, but through a Kierkegaardian repetition of worlds that track Ricoeur's own ideas of prefiguration, configuration, and re-figuration. I contend in this essay that Rothko's "abstract expressionism" adequately illustrates Ricoeur's contention that non-figurative art succeeds far better than representational art in refiguring new worlds of meaning. Keywords: Metaphor, Mimesis, Abstract Art, Mystery. Résumé:Cet essai examine la perspective mimétique et transfigurative de Ricoeur concernant l'art non objectif et l'adopte comme un idiome pour examiner l'intention artistique de Mark Rothko dans les toiles multiformes de sa période "classique" de 1949 jusqu'à sa mort en 1970. Rothko a nié catégoriquement être un peintre abstrait, un coloriste ou un formaliste, insistant, au contraire sur le fait qu'il voulait communiquer des dimensions distinctes de l'expérience et des émotions à ses spectateurs, en particulier, les expériences du sacré et du spirituel. Ses grandes toiles, avec leurs contours flous, forcent le spectateur à entrer dans une intimité d'expérience qui ouvre la possibilité d'interprétations hétérogènes. En d'autres termes, on pourrait considérer ses tableaux comme des métaphores de significations denses qui imitent la réalité, non pas à travers une représentation facile, mais à travers une répétition kierkegaardienne de mondes qui suivent les notions ricoeuriennes de préfiguration, de configuration et de re-figuration. Je soutiens dans cet essai que "l'expressionnisme abstrait" de Rothko illustre adéquatement l'affirmation de Ricoeur selon laquelle l'art non figuratif réussit bien mieux que l'art représentatif à refigurer de nouveaux mondes de sens.

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“…If we say this, however, we should be clear about why it is so. Phenomenologists such as Carr and Ricoeur often argue that we necessarily experience the past as narrative (Carr, 1986;Norman, 1991;and Ricoeur, 1984-88). The nature of time or mind is allegedly such that all human experience of the past has a narrative form.…”

Section: Narrative and Fictionmentioning

confidence: 99%

Historical explanation, folk psychology, and narrative

Bevir¹

2000

Philosophical Explorations

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This paper argues history differs from natural science in relying on folk psychology and so narrative explanations. In narratives, actions, beliefs, and proattitudes are joined by conditional and volitional connections. Conditional connections exist when beliefs and pro-attitudes pick up themes from one another.Volitional connections exist when agents command themselves to do something having decided to do it because of a pro-attitude they hold. The paper defends the epistemic legitimacy of narratives by arguing we have legitimate grounds for postulating conditional and volitional connections since they are given to us by a folk psychology we accept as true. HISTORICAL EXPLANATION, FOLK PSYCHOLOGY, AND NARRATIVE I. PreliminariesWhen we say that Susan crossed the road to buy a sandwich, we explain her action by attributing to her a desire to buy a sandwich and a belief that she can do so across the road. Our standard way of explaining human actions is by reference to the beliefs and pro-attitudes of actors. We should not be surprised, therefore, that historical explanations often appeal to beliefs and pro-attitudes. The most obvious examples are explanations of particular actions, whether decided upon by an individual or a group. Consider, for example, Colin Matthew's explanation of W. E.Gladstone's sensational production in 1886 of the controversial Government of Ireland Bill. Matthew describes how the Liberal Party was excluded from the process of discussion and how even the Cabinet was not given adequate time to examine the proposals. 'Gladstone,' he explains, 'hoped to trump Cabinet doubts and party unease by the production of a great bill' (Matthew, 1995, p. 236). The tactics Gladstone deployed are explained here by reference to both his wish to win support for his proposals and his belief, albeit surrounded by doubts, that he could do so through the drama of a great bill. A similar form of explanation appears whenever historians treat collective entities such as classes, institutions, and states as akin to people by ascribing to them things such as intentions.Numerous historical explanations work by pointing to the beliefs and proattitudes that informed an action or set of actions. Historians explain all sorts of aspects of life in this way, including not only particular actions or sets of actions, but

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Time and Narrative, Volume 1

Cited by 1,349 publications

References 0 publications

På vei til å bli skrivelærer

På vei til å bli skrivelærer

Blurring the Edges: Ricoeur and Rothko on Metaphorically Figuring the Non-Figural

Historical explanation, folk psychology, and narrative

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