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This volume presents new essays on art, mind, and narrative inspired by the work of the late Peter Goldie. Topics covered include the role of narrative thinking in our lives, the nature of our imaginative engagement with fiction, the emotions and their role in motivating action, and the nature of conceptual art.
This volume presents new essays on art, mind, and narrative inspired by the work of the late Peter Goldie, who was Samuel Hall Professor of Philosophy at the University of Manchester until 2011. Its three sections cover Narrative Thinking; Emotion, Mind, and Art; and Art, Value, and Ontology. Within these sections, leading authorities in the philosophy of mind, aesthetics and the emotions offer the reader entry points into many of the most exciting contemporary debates in these areas of philosophy. Topics covered include the role that narrative thinking plays in our lives, our imaginative engagement with fiction, the emotions and their role in the motivation of action, the connection between artistic activity and human well-being, and the appreciation and ontological status of conceptual artworks.
These beautifully illustrated picture books encourage discussion about the everyday emotive issues that children face in todays world. Your mind is a bit like an amazing garden. A garden has lots of tracks and paths that lead in different directions. It has wide open spaces where we can create and play. A garden has places to grow things and do work. It has clever parts that help us to grow and learn.
"A collection of essays, written for this volume by leaders in the field, that study the emotional and cognitive significance of narrative and its implications for aesthetics and the philosophy of art"--Provided by publisher.
Author : Frank Rose Publisher : W. W. Norton & Company Page : 385 pages File Size : 20,32 MB Release : 2012-03-05 Category : Business & Economics ISBN : 0393341259
Philosophical questions about the arts go naturally with other kinds of questions about them. Art is sometimes said to be an historical concept. But where in our cultural and biological history did art begin? If art is related to play and imagination, do we find any signs of these things in our nonhuman relatives? Sometimes the other questions look like ones the philosopher of art has to answer. Anyone who thinks that interpretation in the arts is an activity that leaves the intentions of the author behind needs to explain how and why this differs so fundamentally from ordinary conversational interpretation, where the only decent models we have are ones that depend crucially on the recovery of intention. Anyone who thinks that imaginative literature has anything to tell us about time had better have a position on how earlier and later relate to past and future. Anyone who thinks that empathy plays a role in literary engagement had better have a psychologically plausible account of what empathy is. Philosophical questions about the arts also go naturally with other kinds of philosophical questions: we can't think constructively about representation in art without thinking about representation; text, meaning, reference and existence get similarly drawn into the conversation. Some ideas that philosophers of art deal with emerge from other disciplines. In literary theory an enormous amount of attention has been lavished on tracing the sources of unreliability in narrative. Is the result adequate to the details of the particular works we call unreliable? Contemporary film theory is generally hostile to the fiction/documentary distinction. Are there in fact any grounds for this? This book of thirteen connected essays examines questions of all these kinds. It ranges from the semantics of proper names, through the pragmatics of literary and filmic interpretation, to the aesthetic function of stone age implements. Some of the essays have not been published before; some that have are here substantially revised.
Peter Goldie explores the ways in which we think about our lives—our past, present, and future—in narrative terms. The notion of narrative is highly topical, and highly contentious, in a wide range of fields including philosophy, psychology and psychoanalysis, historical studies, and literature. The Mess Inside engages with all of these areas of discourse, and steers a path between the sceptics who are dismissive of the idea of narrative as having any worthwhile use at all, and those who argue that our very selfhood is somehow constituted by a narrative. After introducing the notion of narrative, Goldie discusses the way we engage with the past in narrative terms. This involves an exploration of the essentially perspectival nature of narrative thinking, which gains support from much recent empirical work on memory. Drawing on literary examples and on work in psychoanalysis, Goldie considers grief as a case study of this kind of narrative thinking, extending to a discussion of the crucial notion of 'closure'. Turning to narrative thinking about our future, Goldie discusses the many structural parallels between our imaginings of the future and our memories of the past, and the role of our emotions in response to what we imagine in thinking about our future in the light of our past. This is followed by a second case study—an exploration of self-forgiveness. In this ground-breaking book, Goldie supports scepticism about the idea that there is such a thing as a narrative self, but argues that having a narrative sense of self, quite distinct from any metaphysical notion of selfhood, is at the heart of what it is to think of ourselves, and others, as having a narratable past, present, and future.
Peter Goldie explores the ways in which we think about our lives in narrative terms. He draws on work in philosophy, psychology history, and literature, and argues that having a narrative sense of self is at the heart of what it is to understand ourselves.
Narratives enable readers to vividly experience fictional and non-fictional contexts. Writers use a variety of language features to control these experiences: they direct readers in how to construct contexts, how to draw inferences and how to identify the key parts of a story. Writers can skilfully convey physical sensations, prompt emotional states, effect moral responses and even alter the readers' attitudes. Mind, Brain and Narrative examines the psychological and neuroscientific evidence for the mechanisms which underlie narrative comprehension. The authors explore the scientific developments which demonstrate the importance of attention, counterfactuals, depth of processing, perspective and embodiment in these processes. In so doing, this timely, interdisciplinary work provides an integrated account of the research which links psychological mechanisms of language comprehension to humanities work on narrative and style.
Psychiatry that recognizes the essential role of community in creating a new story of mental health • Provides a critique of conventional psychiatry and a look at what mental health care could be • Includes stories used in the author’s healing practice that draw from traditional cultures around the world Conventional psychiatry is not working. The pharmaceutical industry promises it has cures for everything that ails us, yet a recent study on antidepressants showed there is no difference of success in prescribed pharmaceuticals from placebos when all FDA-reported trials are considered instead of just the trials published in journals. Up to 80 percent of patients with bipolar depression remain symptomatic despite conventional treatment, and 10 to 20 percent of these patients commit suicide. In Healing the Mind through the Power of Story, Dr. Mehl-Madrona shows what mental health care could be. He explains that within a narrative psychiatry model of mental illness, people are not defective, requiring drugs to “fix” them. What needs “fixing” is the ineffective stories they have internalized and succumbed to about how they should live in the world. Drawing on traditional stories from cultures around the world, Dr. Mehl-Madrona helps his patients re-story their lives. He shows how this innovative approach is actually more compatible with what we are learning about the biology of the brain and genetics than the conventional model of psychiatry. Drawing on wisdom both ancient and new, he demonstrates the power and success of narrative psychiatry to bring forth change and lasting transformation.