Jun 6, 2016 06:11 AM
(This post was last modified: Jun 7, 2016 06:31 PM by C C.)
I am not a story (Galen Strawson)
https://aeon.co/essays/let-s-ditch-the-d...is-a-story
EXCERPT: ‘Each of us constructs and lives a “narrative”,’ wrote the British neurologist Oliver Sacks, ‘this narrative is us’.
Likewise the American cognitive psychologist Jerome Bruner: ‘Self is a perpetually rewritten story.’ And: ‘In the end, we become the autobiographical narratives by which we “tell about” our lives.’
Or a fellow American psychologist, Dan P McAdams: ‘We are all storytellers, and we are the stories we tell.’
And here’s the American moral philosopher J David Velleman: ‘We invent ourselves… but we really are the characters we invent.’
And, for good measure, another American philosopher, Daniel Dennett: ‘we are all virtuoso novelists, who find ourselves engaged in all sorts of behaviour… and we always put the best “faces” on it we can. We try to make all of our material cohere into a single good story. And that story is our autobiography. The chief fictional character at the centre of that autobiography is one’s self.’
So say the narrativists. We story ourselves and we are our stories. There’s a remarkably robust consensus about this claim, not only in the humanities but also in psychotherapy. It’s standardly linked with the idea that self-narration is a good thing, necessary for a full human life.
I think it’s false – false that everyone stories themselves, and false that it’s always a good thing. These are not universal human truths – even when we confine our attention to human beings who count as psychologically normal, as I will here. They’re not universal human truths even if they’re true of some people, or even many, or most. The narrativists are, at best, generalising from their own case, in an all-too-human way. At best: I doubt that what they say is an accurate description even of themselves.
What exactly do they mean? It’s extremely unclear. Nevertheless, it does seem that there are some deeply Narrative types among us, where to be Narrative with a capital ‘N’ is (here I offer a definition) to be naturally disposed to experience or conceive of one’s life, one’s existence in time, oneself, in a narrative way, as having the form of a story, or perhaps a collection of stories, and – in some manner – to live in and through this conception. The popularity of the narrativist view is prima facie evidence that there are such people.
Perhaps. But many of us aren’t Narrative in this sense. We’re naturally – deeply – non-Narrative. We’re anti-Narrative by fundamental constitution. It’s not just that the deliverances of memory are, for us, hopelessly piecemeal and disordered, even when we’re trying to remember a temporally extended sequence of events. The point is more general. It concerns all parts of life, life’s ‘great shambles’, in the American novelist Henry James’s expression. This seems a much better characterisation of the large-scale structure of human existence as we find it. Life simply never assumes a story-like shape for us. And neither, from a moral point of view, should it....
Hegel's Dialectics (First published Fri Jun 3, 2016)
http://plato.stanford.edu/entries/hegel-dialectics/
EXCERPT: “Dialectics” is a term used to describe a method of philosophical argument that involves some sort of contradictory process between opposing sides. In what is perhaps the most classic version of “dialectics”, the ancient Greek philosopher, Plato (see entry on Plato), for instance, presented his philosophical argument as a back-and-forth dialogue or debate, generally between the character of Socrates, on one side, and some person or group of people to whom Socrates was talking (his interlocutors), on the other. In the course of the dialogues, Socrates’ interlocutors propose definitions of philosophical concepts or express views that Socrates challenges or opposes. The back-and-forth debate between opposing sides produces a kind of linear progression or evolution in philosophical views or positions: as the dialogues go along, Socrates’ interlocutors change or refine their views in response to Socrates’ challenges and come to adopt more sophisticated views. The back-and-forth dialectic between Socrates and his interlocutors thus becomes Plato’s way of arguing against the earlier, less sophisticated views or positions and for the more sophisticated ones later.
“Hegel’s dialectics” refers to the particular dialectical method of argument employed by the 19th Century German philosopher, G.W.F. Hegel, which, like other “dialectical” methods, relies on a contradictory process between opposing sides. Whereas Plato’s “opposing sides” were people (Socrates and his interlocutors), however, what the “opposing sides” are in Hegel’s work depends on the subject matter he discusses. In his work on logic, for instance, the “opposing sides” are different definitions of logical concepts that are opposed to one another. In the Phenomenology of Spirit, which presents Hegel’s epistemology or philosophy of knowledge, the “opposing sides” are different definitions of consciousness and of the object that consciousness is aware of or claims to know. As in Plato’s dialogues, a contradictory process between “opposing sides” in Hegel’s dialectics leads to a linear evolution or development from less sophisticated definitions or views to more sophisticated ones later. The dialectical process thus constitutes Hegel’s method for arguing against the earlier, less sophisticated definitions or views and for the more sophisticated ones later. Hegel regarded this dialectical method or “speculative mode of cognition” as the hallmark of his philosophy, and used the same method in the Phenomenology of Spirit [PhG], as well as in all of the mature works he published later—the entire Encyclopaedia of Philosophical Sciences (including, as its first part, the “Lesser Logic” or the Encyclopaedia Logic [EL]), the Science of Logic [SL], and the Philosophy of Right [PR].
Note that, although Hegel acknowledged that his dialectical method was part of a philosophical tradition stretching back to Plato, he criticized Plato’s version of dialectics. He argued that Plato’s dialectics deals only with limited philosophical claims and is unable to get beyond skepticism or nothingness. According to the logic of a traditional reductio ad absurdum argument, if the premises of an argument lead to a contradiction, we must conclude that the premises are false—which leaves us with no premises or with nothing. We must then wait around for new premises to spring up arbitrarily from somewhere else, and then see whether those new premises put us back into nothingness or emptiness once again, if they, too, lead to a contradiction. Because Hegel believed that reason necessarily generates contradictions, as we will see, he thought new premises will indeed produce further contradictions. As he puts the argument, then,
Hegel argues that, because Plato’s dialectics cannot get beyond arbitrariness and skepticism, it generates only approximate truths, and falls short of being a genuine science....
Plato on Friendship and Eros (First published Fri Feb 20, 2004; substantive revision Wed Jun 1, 2016)
http://plato.stanford.edu/entries/plato-friendship/
EXCERPT: Plato discusses love (erôs) and friendship (philia) primarily in two dialogues, the Lysis and the Symposium, though the Phaedrus also adds significantly to his views. In each work, Socrates as the quintessential philosopher is in two ways center stage, first, as a lover of wisdom (sophia) and discussion (logos), and, second, as himself an inverter or disturber of erotic norms. Plato’s views on love are a meditation on Socrates and the power his philosophical conversations have to mesmerize, obsess, and educate. In what follows, section 1 deals with the Lysis and Symposium. Sections 2–4 primarily with the Symposium alone. Section 5 deals with the Phaedrus. Section 6 with the closing section of the Symposium and with parts of the Ion, Protagoras, and Laws. Sections are not self-contained, however, and are intended to be read sequentially. Most scholars agree that the order of composition of the “erotic” dialogues is Lysis, Symposium, Phaedrus, though some put the Phaedrus earlier than the Symposium....
https://aeon.co/essays/let-s-ditch-the-d...is-a-story
EXCERPT: ‘Each of us constructs and lives a “narrative”,’ wrote the British neurologist Oliver Sacks, ‘this narrative is us’.
Likewise the American cognitive psychologist Jerome Bruner: ‘Self is a perpetually rewritten story.’ And: ‘In the end, we become the autobiographical narratives by which we “tell about” our lives.’
Or a fellow American psychologist, Dan P McAdams: ‘We are all storytellers, and we are the stories we tell.’
And here’s the American moral philosopher J David Velleman: ‘We invent ourselves… but we really are the characters we invent.’
And, for good measure, another American philosopher, Daniel Dennett: ‘we are all virtuoso novelists, who find ourselves engaged in all sorts of behaviour… and we always put the best “faces” on it we can. We try to make all of our material cohere into a single good story. And that story is our autobiography. The chief fictional character at the centre of that autobiography is one’s self.’
So say the narrativists. We story ourselves and we are our stories. There’s a remarkably robust consensus about this claim, not only in the humanities but also in psychotherapy. It’s standardly linked with the idea that self-narration is a good thing, necessary for a full human life.
I think it’s false – false that everyone stories themselves, and false that it’s always a good thing. These are not universal human truths – even when we confine our attention to human beings who count as psychologically normal, as I will here. They’re not universal human truths even if they’re true of some people, or even many, or most. The narrativists are, at best, generalising from their own case, in an all-too-human way. At best: I doubt that what they say is an accurate description even of themselves.
What exactly do they mean? It’s extremely unclear. Nevertheless, it does seem that there are some deeply Narrative types among us, where to be Narrative with a capital ‘N’ is (here I offer a definition) to be naturally disposed to experience or conceive of one’s life, one’s existence in time, oneself, in a narrative way, as having the form of a story, or perhaps a collection of stories, and – in some manner – to live in and through this conception. The popularity of the narrativist view is prima facie evidence that there are such people.
Perhaps. But many of us aren’t Narrative in this sense. We’re naturally – deeply – non-Narrative. We’re anti-Narrative by fundamental constitution. It’s not just that the deliverances of memory are, for us, hopelessly piecemeal and disordered, even when we’re trying to remember a temporally extended sequence of events. The point is more general. It concerns all parts of life, life’s ‘great shambles’, in the American novelist Henry James’s expression. This seems a much better characterisation of the large-scale structure of human existence as we find it. Life simply never assumes a story-like shape for us. And neither, from a moral point of view, should it....
Hegel's Dialectics (First published Fri Jun 3, 2016)
http://plato.stanford.edu/entries/hegel-dialectics/
EXCERPT: “Dialectics” is a term used to describe a method of philosophical argument that involves some sort of contradictory process between opposing sides. In what is perhaps the most classic version of “dialectics”, the ancient Greek philosopher, Plato (see entry on Plato), for instance, presented his philosophical argument as a back-and-forth dialogue or debate, generally between the character of Socrates, on one side, and some person or group of people to whom Socrates was talking (his interlocutors), on the other. In the course of the dialogues, Socrates’ interlocutors propose definitions of philosophical concepts or express views that Socrates challenges or opposes. The back-and-forth debate between opposing sides produces a kind of linear progression or evolution in philosophical views or positions: as the dialogues go along, Socrates’ interlocutors change or refine their views in response to Socrates’ challenges and come to adopt more sophisticated views. The back-and-forth dialectic between Socrates and his interlocutors thus becomes Plato’s way of arguing against the earlier, less sophisticated views or positions and for the more sophisticated ones later.
“Hegel’s dialectics” refers to the particular dialectical method of argument employed by the 19th Century German philosopher, G.W.F. Hegel, which, like other “dialectical” methods, relies on a contradictory process between opposing sides. Whereas Plato’s “opposing sides” were people (Socrates and his interlocutors), however, what the “opposing sides” are in Hegel’s work depends on the subject matter he discusses. In his work on logic, for instance, the “opposing sides” are different definitions of logical concepts that are opposed to one another. In the Phenomenology of Spirit, which presents Hegel’s epistemology or philosophy of knowledge, the “opposing sides” are different definitions of consciousness and of the object that consciousness is aware of or claims to know. As in Plato’s dialogues, a contradictory process between “opposing sides” in Hegel’s dialectics leads to a linear evolution or development from less sophisticated definitions or views to more sophisticated ones later. The dialectical process thus constitutes Hegel’s method for arguing against the earlier, less sophisticated definitions or views and for the more sophisticated ones later. Hegel regarded this dialectical method or “speculative mode of cognition” as the hallmark of his philosophy, and used the same method in the Phenomenology of Spirit [PhG], as well as in all of the mature works he published later—the entire Encyclopaedia of Philosophical Sciences (including, as its first part, the “Lesser Logic” or the Encyclopaedia Logic [EL]), the Science of Logic [SL], and the Philosophy of Right [PR].
Note that, although Hegel acknowledged that his dialectical method was part of a philosophical tradition stretching back to Plato, he criticized Plato’s version of dialectics. He argued that Plato’s dialectics deals only with limited philosophical claims and is unable to get beyond skepticism or nothingness. According to the logic of a traditional reductio ad absurdum argument, if the premises of an argument lead to a contradiction, we must conclude that the premises are false—which leaves us with no premises or with nothing. We must then wait around for new premises to spring up arbitrarily from somewhere else, and then see whether those new premises put us back into nothingness or emptiness once again, if they, too, lead to a contradiction. Because Hegel believed that reason necessarily generates contradictions, as we will see, he thought new premises will indeed produce further contradictions. As he puts the argument, then,
Quote:the scepticism that ends up with the bare abstraction of nothingness or emptiness cannot get any further from there, but must wait to see whether something new comes along and what it is, in order to throw it too into the same empty abyss.
Hegel argues that, because Plato’s dialectics cannot get beyond arbitrariness and skepticism, it generates only approximate truths, and falls short of being a genuine science....
Plato on Friendship and Eros (First published Fri Feb 20, 2004; substantive revision Wed Jun 1, 2016)
http://plato.stanford.edu/entries/plato-friendship/
EXCERPT: Plato discusses love (erôs) and friendship (philia) primarily in two dialogues, the Lysis and the Symposium, though the Phaedrus also adds significantly to his views. In each work, Socrates as the quintessential philosopher is in two ways center stage, first, as a lover of wisdom (sophia) and discussion (logos), and, second, as himself an inverter or disturber of erotic norms. Plato’s views on love are a meditation on Socrates and the power his philosophical conversations have to mesmerize, obsess, and educate. In what follows, section 1 deals with the Lysis and Symposium. Sections 2–4 primarily with the Symposium alone. Section 5 deals with the Phaedrus. Section 6 with the closing section of the Symposium and with parts of the Ion, Protagoras, and Laws. Sections are not self-contained, however, and are intended to be read sequentially. Most scholars agree that the order of composition of the “erotic” dialogues is Lysis, Symposium, Phaedrus, though some put the Phaedrus earlier than the Symposium....