Each of us "narrates" by internally characterising, contextualising, narrativising, emphasising and interpreting the content of one's observation of and interaction with one's environment. — Judaka
Each of us "narrates" by internally characterising, contextualising, narrativising, emphasising and interpreting the content of one's observation of and interaction with one's environment. Our narration is biased, generally going unchallenged, its production is on one hand composed of elements outside of our control, in that others perceive or would perceive what you do, largely, as you do. On the other, how we narrate is influenced by our biases and intentions.
Why are narration and bias connected, is it not possible to narrate in an unbiased way? By the word ‘biased’ I’m taking it to mean being exposed as predisposed to making decisions in an unfair or prejudiced way; is this the way you mean it? — kudos
What’s frequently called ‘objective truth’ is like narration. However, narration is associated with unreality, but narration is the sublation of unreality so as to appear in the guise of plainly concrete reality. In film for instance, narration guides the story but has the common characteristic feature of being real events experienced by a subject. As I see it bias and challenging of narration is opposed to this because it’s about emphasis and definitiveness.
To talk about narration as if the real and unreal could be easily distinguished is something like weaving a narrative within a narrative. As if there is a position from which our actions - in a narrative sense - could be judged like a movie where we claim to know what is real and what not, isn’t that a kind of illusion don’t you think? — kudos
They involve juxtaposition of individual and group ideals with practicality — kudos
Their role as a whole masks their implicit and symbolic side, which constructs their transitory existence to appear like something static. — kudos
But essential to it is that it differs on each viewing and is constantly reordering and reimagining the ideals of individuals and the group. — kudos
Narratives also tend to craft language with which to express themselves, like “narrative logic.” From my own experience, the magnitude of the language is related to it’s form and content. The more radical, sexual, or violent the form and content is, the more so the types of desires and ideals that tend to present themselves. This is no surprise if you think of it as being expressive or at least something that can only be fully realized through expression. — kudos
They involve juxtaposition of individual and group ideals with practicality
So, it is not my intention to say that we can distinguish between the real and personal, the process of narration blends them together so well that although it is surely true that these two components are what is being blended together, once they have been blended, it not a simple matter to undo what has been done, or to even recognise what has been done. — Judaka
Can’t we just agree with Nietzsche that the ‘real’ and the ‘true’ are themselves only kinds of useful fictions?
— Joshs
Really? Is that true? — Banno
I don't doubt the cat's on the mat, or that gravity doesn't apply the next county over, but as I move from the set of things certain toward the Great Uncertain, I arrive at some point that is somewhere in the middle. — csalisbury
There isn't any contradiction (though, yes, there is when Nietzsche is too casually cited as a cheat-code for Pure Relativism — csalisbury
what does "fiction" mean in " kinds of useful fictions" - not true? — Banno
Why shouldn't the world that is relevant to us – be a fiction? And if someone asks: “But doesn't fiction belong with an author?” – couldn't we shoot back: “Why? Doesn't this ‘belonging' belong, perhaps, to fiction as well? Aren't we allowed to be a bit ironic with the subject, as we are with the predicate and object? Shouldn't philosophers rise above the belief in grammar? With all due respect to governesses, isn't it about time philosophy renounced governess-beliefs?” – The world with which we are concerned is false, i.e., is not fact but fable and approximation on the basis of a meager sum of observations; it is "in flux," as something in a state of becoming, as a falsehood always changing but never getting near the truth: for--there is no "truth" (1901/1967 Will to Power) — Joshs
For this I will appeal to the textbook definition: — kudos
So, what do you think it means in the definition mean where it says, "...in such a way as to reflect or conform to an overarching set of aims or values"? The word has an admixture of usage in psychological and sociological writing, but why choose this word 'narrative,' as opposed to just 'subjective reality'? — kudos
The word is sometimes used as a type of metaphor for form and content that represents to us something about individuals and the group. — kudos
In the stories we typically see narratives revolve around some clear quest of good against evil or conflict to be resolved. But ideals are more than just our goals and desired outcomes, they can also be states that reassure, confirm, satisfy, and amalgamate. In a story, when you see the hero fail, doesn't it become so much more powerful when he does so because of some trait we envisage as being worth overcoming? And it makes it more satisfying to see when they do finally confirm and satisfy our shared beliefs about such things as the need for bravery, friendship, and so on. So it is in individual and group life, where failed states do not follow only cold machinations, but can take on a narrative tint in the sense that they reflect what is considered good and right by the group and the individuals that make it up. — kudos
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