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The article is an analysis of the meaning of autobiography and biography in Dilthey’s hermeneuticsof the historical life. In this way, it shows Dilthey’s influence on the concept ofin contemporary philosophy. Starting from the methodological and epistemological aspectof research on the autobiography, this article shows the role of autobiography in selfunderstanding,and in understanding their own identity. The reference to Ricoeur, Mac-Intyre and Taylor enables discovery of similarities and differences between them and thephilosophy of Dilthey. The most important difference lies in the fact that contemporaryauthors direct their attention to the ethical dimension of the concept of narrative identity.
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This work is an attempt at reading Tadeusz Różewicz’s book entitled Mother Departs from the perspective of literary genetics. A literary genre has been treated as a factor in the interpretation, which could influence the reception of the text. The first part concerns proposals indicated by scholars and critics in the context of this work, such as the Lament, the Treaty of poetry, collage or silva. In the second part the interpretation was carried out taking into account the author's concept of genre, which is narrative Assemblage Art.
PL
Artykuł jest analizą znaczenia autobiografii i biografii w Diltheyowskiej hermeneutyceżycia historycznego. W ten sposób ukazuje wpływ Wilhelma Diltheya na kształtowaniesię koncepcji tożsamości narracyjnej we współczesnej filozofii. Wychodząc od metodologicznegoi epistemologicznego aspektu badań nad autobiografią, tekst wskazuje rolę owejkoncepcji w rozumieniu samego siebie i własnej tożsamości. Odwołanie do współczesnychautorów: Paula Ricoeura, Alasdaira MacIntyre’a oraz Charlesa Taylora umożliwiaodkrycie podobieństw między nimi a filozofią Diltheya oraz podstawowej różnicy. Polegaona na wyraźnym akcentowaniu u współczesnych autorów wymiaru etycznego koncepcjitożsamości narracyjnej.
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Celem artykułu jest przedstawienie „zwrotu narratywistycznego” w odniesieniu do filozofii.Aby nakreślić jego charakterystykę, skupiono się na zagadnieniu tożsamości narracyjnej,ukazującej przejście od substancjalnego do dynamicznego rozumienia człowieka.Pozwala to dostrzec – w perspektywie filozofii Paula Ricoeura – konsekwencje myśleniao podmiocie w obrębie narratywizmu, dotyczące etyki i antropologii filozoficznej.
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The text is an analysis of interrelations binding autobiographical narration to individual and social identity. The first part tackles the fundamental connection between narration and individual, personal identity of the narrator – Paul Ricoeur, serving as a guide to this fundamental part of the proposed analysis, assumes that the narrative continuum follows and imitates the temporal continuum, constituting a flow in which it becomes possible to inscribe stories modifying and corroborating the reflected course of life. Conceptualizing and bringing to consciousness one’s course of life, auto-narration constitutes both a form of conscientious self-judgement and an occasion for self-deception. In the second part, the author attempts to show how auto narration and its significance for the individual identity changes, when it gets written down in the form of autobiography, subjected to the rigor of the writing and entering in complex interrelationships with social memory and identity. Here the author’s guides are among others Philippe Lejeune, Janet Verner Gunn and Georges Gusdorf. In the third part, the hitherto reconstructed structure of auto-narration and autobiography is destroyed: referring to such authors as Louis A. Renza, Jean Starobinski, John Sturrock, Michel Beaujour and Jacques Derrida, I demonstrate that the autobiographical undertaking is doubtful, and that the optimistic project of saving oneself by means of auto-narration and autobiography is an illusion. The presence of Derrida in the text is scarcely visible; yet it is Derrida, in dialogue with the late Ricoeur, that show us the way out from the autobiographical and identitary trap.
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Paul Ricoeur declares that “being-entangled in stories” is an inherent property of the human condition. He introduces the notion of narrative identity-a form of identity constructed on the basis of a self-constructed life-narrative, which becomes a source of meaning and self-understanding. This article wishes to present chosen instances of life writing whose subjects resist yielding a life-story and reject the notions of narrative and identity. In line with Adam Phillips’s remarks regarding Roland Barthes by Roland Barthes (1975), such works-which I refer to as fragmentary life writing-emerge out of a profound scepticism about any form of “fixing” oneself and confining the variety and randomness of experience to one of the available autobiographical plots. The primary example of the genre is Joe Brainard’s I Remember (1975)-an inventory of approximately 1,500 memories conveyed in the form of radically short passages beginning with the words “I remember.” Despite the qualified degree of unity provided by the fact that all the recollections come from the consciousness of a single person, the book does not arrange its content in any discernible order-chronological or thematic; instead, the reader is confronted with a life-in-fragments. Although individual passages could be part of a coming-of-age, a coming-out or a portrait-of-the-artist-as-a-young-man narrative, Brainard is careful not to let any of them consolidate. An attempt at defining the characteristics of the proposed genre will be followed by an indication of more recent examples of fragmentary life writing and a reflection on its prospects for development
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Human identity is a complex process linked to the subject and his environment, both constantly evolving. Personality is developed and changed throughout lifetime, but it has a core that remains constant. Thus a person can secure his continuity; he recognizes himself and is recognized by the others as time goes by. In fact, we are all the same, even after experiencing changes and years later. The constitution of the other and the self are – from the phenomenological point of view – two components of the same process, which is the origin of the subjectivity of self and the objectivity of me. These are conditions for the identity’s construction, a continuous process that takes place throughout time. (Ballerini, 2005) Human tendency to the community emerges with priority from the above definition. That deep desire of being part of a social group interprets others as constituent of the identity of the self. (Pulcini, 2002) “Having an identity” actually means not only a set of characteristics noticed by ourselves after actions done or the “image” of us, but also to be recognized by the rest of society. (Andrea, 2004) Therefore, community turns out in the ultimate horizon that responds to an individual’s recognition need. The recognition of self by me is linked to the issue of the recognition of self through the other until mutual recognition as reciprocal act is reached. (Ricoeur, 2005) Hence, “gift” becomes an emblem of mutual recognition, highlighting the relational and inter-subjective structure of the person. The identity development goes through the mutual recognition experience and gift. (Castiglioni, 2008) Somebody who gives himself recognizes the others and simultaneously, participates in his constitution and his self-understanding.
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This paper attempts to answer the questions of how present perception and conceptualizations of everyday life in the city recreate representations of the past and the image of a long demolished neighbourhood of a workers’ colony, and how this image is used as a “mnemonic device” when narrators seek to respond to the perceived socio-spatial problems. We deal with what we call “oppressed memory” of a neighbourhood that does not exist in its “memory form” anymore, but is, though, lived as a communal memory space and used as a memory device to respond to the perceived current social and spatial problems of the city of Pilsen and beyond.
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The aim of the article is to discuss the issue of narrative turn in the context of philosophy.In order to present a specificity in philosophical narrative turn, I have characterized theconception of “narrative identity” as a representation of the anti-metaphysical, which isaiming to recognize the dynamic, open and unspecified character of self-identity. This willindicate – according to P. Ricoeur’s philosophical standpoint – that the implications ofthe idea of “narrative identity” are significant for philosophical anthropology and ethics.
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Content available Gaming mirrors at play through ludic data-selves
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The focus of the article is on data-self technology in digital entertainment - virtual entities that replicate and/or are influenced by players’ behaviors and actions, working as agential mirrors on the screen. Little efforts have been done in investigating their potential in social research and educational technology; however, data-selves can serve as promising self-revealing tools toward personal identities and narrations. In order to enlighten their effectiveness, a multidisciplinary framework led by the core concepts of “narrative identity” and “discursive-practical consciousness” is advanced. The proposal has been tested (pre-post interviews and play sessions) with an empirical exploration involving n:32 participants and the video games Black and White 2 and Forza: Motorsprint 5, which include data-self features. Results show that this technology can make a difference in engaging and stimulating subjects’ interest and feedback, but further researches are needed to deepen its scope and range of application.
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The paper sets out to analyse Conrad’s novella A Smile of Fortune and its narrator-protagonist’s crisis of identity in terms of the Jungian concept of individuation. The dynamic process of constructing the narrative identity, as defined by Ricoeur, finds its psychological equivalent in the concept of individuation which involves recognizing and assimilating the opposites that reside within the unconscious and aims at transforming the psyche into the Self or coincidentia oppositorum. The paper focuses on the narrator’s interaction with Jacobus and Alice as the stages of the individuation process which include a confrontation with the shadow and the anima, the archetypes of the unconscious.
EN
The article is devoted to the concept of narrative identity created by Charles Taylor, a contemporaryCanadian philosopher of politics and religion. This approach places particularemphasis on the meaning of temporal perspective and ethical horizon in the process offorming personal identity, and also stresses its dialogical nature. Subjectivity is thereforeinseparably connected here with a certain horizon of realized and affirmed good, whereasthe subject perceives his way of living as a continuous narration. The essence of a thesisproposed by Taylor, who wishes to remind the postmodern individual of what constitutesthe fullness of his/her identity, is therefore a belief, that ‘human is a self-interpreting animal’– a being, whose identity depends on the way in which he/she defines himself/herself. The human person can and should be involved in enriching identity transition, and activatingforgotten moral reserves.
EN
Acting and suffering subjectivity makes a grand sujet in Ricoeur's philosophy. In his Time and Narrative Ricoeur created the notion of narrative identity which is an individual internalized and evolving life strory. The narrative alone might define the “who”. Whoever lives and exists, suffers. Ricoeur metaphorically defined life as a cloth. We can add, Wiercinski continues, that this cloth is woven with pain. It is pain which makes the cloth, and, at the same time, it is also a joy of the human condition. As humans, we are called to wear this cloth as well as to understand what does it mean - from the hermeneutic perspective.
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Zgodnie z definicją tożsamości narracyjnej, zaprezentowanej przez Dana P. McAdamsa,obecność artysty w przestrzeni społecznej można odbierać przez pryzmat Heideggerowskiego„bycia-w-świecie”. Taka forma zanurzenia, bezpośrednio związana z kategorią doświadczenia(fenomenologicznego), pozwala odczytywać konkretną twórczość w sposóblinearny. Szczególnym przykładem lub też sposobem pojęciowej eksplikacji tożsamościnarracyjnej są dzieła będące autorefleksją artysty – myślą poświęconą jego własnej drodzetwórczej. Celem niniejszej pracy będzie więc wskazanie elementów i narzędzi, za pomocąktórych kształtowana jest tożsamość narracyjna. Analiza, bazująca na wiedzy filozoficznej,skupi się na konkretnym przykładzie – płycie pt. Anima będącej podsumowaniemdwudziestoletniej drogi artystycznej Justyny Steczkowskiej.
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Content available Pre-Service English Teachers’ Narrative Identity
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Aim. This phenomenological study probes the experiences of pre-service English as Foreign Language (EFL) teachers in the practicum process. Thus, this paper aims at bringing a light to the effects of practicum experiences of pre-service EFL teachers on their professional identity. Methods. Based upon a narrative identity method, this phenomenological inquiry examines the experiences of pre-service EFL teachers (N= 20) in their practicum. A one-shot question was directed to the informants with the aim of clarifying their personal constructs. Results. Practicum has got a significant role in education faculties all over the world. The theories applied in teaching practicum are quite common and universal. However, the practices utilised in practicum may show variations among education faculties. Further, the practicum content, and the characteristics of teacher candidates and supervisors may cause practicum to be carried out in diverse ways. The practicum aspect of pre-service teacher education is contemporarily given significant emphasis all around the world. Further, the exact theory of practicum and the desired outcomes of the related practices are relatively identical in education faculties throughout the world. Nonetheless, the practicum practices represent diversities among institutions. Yet, the characteristics and experiences of pre-service teachers may lead the practicum to be carried out in diverse ways in dissimilar contexts. Conclusion. The results of the study suggest that teacher candidates developed both positive and negative cognitive constructs during their practicum. Related implications are provided to overcome the problems encountered during practicum, as well as to suggest ways to develop EFL pre-service teachers’ practicum process. Keywords: EFL teachers, pre-service EFL teachers, practicum, narrative identity, professional identity
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According to the definition of narrative identity introduced by Dan P. McAdams, the presenceof an artist in a public space may be perceived through the prism of Heidegger’s “being-in-the-world”. This form of immersion, which is directly connected with the categoryof (phenomenological) experience, lets us read/interpret a precise work in linear terms.Artworks, which are a kind of a self-reflection of an artist, a process of thought which isdedicated to his or her own creative path, are a particular example or form of explicationof narrative identity. As a matter of fact, the aim of this work is to indicate elements andtools which are necessary to form narrative identity. The analysis, based on philosophical knowledge, focuses on a precise example, the album entitled Anima which is a summaryof 20 years of Justyna Steczkowska’s artistic path.
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Research about health loss shows that the way we experience critical moments and build a new identity are important in giving meaning to disease. It allow to integrate the experience of illness into the whole of life. The aim of the research was to analyze the narrative identity reflected in the life history and to explore the factors contributing to the differences in the formed narratives. A research question was: what narrative about one’s life does a person with an oncological disease create? The Polish adaptation of Dan McAdams’ life story interview was used. The study was conducted in group of four people with cancer remission. The research material was subjected to McAdams’ proposed sequence and consistency analysis. Elements of hermeneutic analysis were also used. The patients identity is coherent and mature, their narrative include the time from childhood to the present. Narratives differ in the degree of paying attention on the description of emotional experiences, the level of detail and the way of moving to the next stages of the story. Patient include the disease in their narratives, doing so in an individual way. However, it is possible to distinguish two ways of storytelling. One of them is the location of the disease in the broader background of the life situation, the other – recognizing the disease as the main moment in a given part of the story, constituting its title. It seems interesting to perform comparative research in a group of people, who are during diagnosis of cancer and relate them to the results of people in remission stage.
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Celem tego artykułu jest refleksja nad tożsamością w epoce elektralności (fazie cywilizacji,następującej po oralności i piśmienności). Esej ten czerpie inspiracje przede wszystkimz filozofii mediów (Marka C. Taylora i Gregory L. Ulmera). Teoria tożsamości narracyjnejpozwala zrozumieć przejście między „stabilinym” i „mobilnym” podmiotem,który jest aktywny w cyberprzestrzeni. Tekst krótko opisuje różne poziomy tożsamościi rozważa fenomen podmiotu-medium oraz awatara, które stanowią sposoby kreowaniatożsamości wirtualnej w sieci. Jest ona skupiona raczej wokół narratora i postaci niż wokółfabuły i historii. Nie jest możliwe, by w krótkim tekście zawrzeć wszystkie implikacjetej zmiany – aspiruje on raczej do stymulacji myślenia o nowym wymiarze tożsamości.Chodzi tu nie tylko o filozoficzne odsłanianie podmiotu w sieci, ale też o krytyczną interpretacjęprzemian kultury, która może być ważna i użyteczna dla aktywnych użytkownikównowych mediów.
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The main aim of this article is to discuss some common and tragic human fate, that is making the decisions in state of incertitude (of our real motiva- tions as well as of further consequences of our choices), and especially natu- ral human’s reactions to them, that is searching the hints how to proceed (in- side us, from authority, from ‘the signs of the world’). The examples taken to analyse are: Biblical story of Abraham (Do I really hear the voice of God telling me to kill my son?), philosophical story of Sartre’s disciple (Should I join to the resistance or stay with my sick mother?), and literary story of Dostoyevsky, taken from J.M. Coetzee’s novel Master of Petersburg (How to refine the voice of revelation from the hum of world?). Philosophical con- siderations are connected with narrative analysis in order to not only describe human condition of incertitude but also observe how the medium of literature deals with it.
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