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Narratives are artefacts of a special kind: they are devices which function to tell stories, and do so by conveying the storytelling intentions of their makers. But, narrative itself is too inclusive a category for much more to be said about it than this; we should focus attention instead on the vaguely defined but interesting category of things rich in narrative structure. Such devices offer significant possibilities, not merely for the representation of stories, but for the expression of point of view; they have also played an important role in the evolution of reliable channels of information, an issue pursued in three chapter appendices. This book argues that much of the pleasure of narrative depends on early developing tendencies in human beings to imitation and to joint attention, and imitation turns out to be the key to understanding such important literary techniques as free indirect discourse and character‐focused narration. The book also examines irony in narrative, with an emphasis on the idea of the expression of ironic points of view; a case study of this phenomenon is offered. Finally, the book examines the idea of Character, as evidenced in robust, situation‐independent ways of acting and thinking, and its important role in many narratives. It is asked whether scepticism about the notion of Character should have us reassess the dramatic and literary tradition which places such emphasis on Character.

In the late 20th and early 21st century United States, the production and misuse of methamphetamine was a growing and urgent public health, criminal justice, and child welfare problem affecting whole families and communities, particularly in rural areas. Yet, child welfare professionals, social workers, educators, and others working within rural areas had little systematic, descriptive data on which to build effective interventions for the growing numbers of children affected by methamphetamine misuse. This book describes a program of mixed methods research combining strategies from developmental and child clinical psychology, psychiatry, and ethnography to examine the psychological functioning of rural children from methamphetamine-involved families. Participants were twenty-nine children in foster care because of parental methamphetamine misuse, four mothers recovering from methamphetamine addiction, seven foster parents of children from methamphetamine-involved families, and twenty-eight knowledgeable rural professionals (child welfare and law enforcement professionals, substance abuse and mental health providers and educators). Children whose parents abuse methamphetamine are often exposed to toxic chemicals, violence, criminal behavior, and neglect as well as physical, sexual, and emotional abuse. Many school-aged children in foster care because of parental methamphetamine misuse have high levels of trauma symptoms and behavior problems. Descriptive information on the contexts in which children are reared, participant observation, psychological testing, and in-depth interviews with children, in conjunction with existing research were used to develop and pilot test an intervention — Life Story Intervention — for rural children in foster care because of parent substance misuse.

This book ranges from the tools of modern linguistics, to the recent work of neuroscientists such as Antonio Damasio and Gerald Edelman, to literary masterpieces by Homer, Dante, Shakespeare, and Proust, to explain how story and projection — and their powerful combination in parable — are fundamental to everyday thought. In simple and traditional English, the author reveals how we use parable to understand space and time, to grasp what it means to be located in space and time, and to conceive of ourselves, other selves, other lives, and other viewpoints. He explains the role of parable in reasoning, in categorizing, and in solving problems. He develops a powerful model of conceptual construction and, in a far-reaching final chapter, extends it to a new conception of the origin of language that contradicts proposals by such thinkers as Noam Chomsky and Steven Pinker. This book argues that story, projection, and parable precede grammar, and that language follows from these mental capacities as a consequence. The author concludes that language is the child of the literary mind. Offering revisions to our understanding of thought, conceptual activity, and the origin and nature of language, The Literary Mind presents a unified theory of central problems in cognitive science, linguistics, neuroscience, psychology, and philosophy.

First published in 1986, this ground-breaking work addresses two complex and very human emotions—love and erotic passion—as these appear in the great love stories of the world. Starting with the story of Romeo and Juliet and its roots in European Christianity, the authors uncover hidden depths of cultural and universal significance in famous romantic tales of the Middle East and the Indian subcontinent—‘Layla and Majnun’, ‘Heer and Ranjha’, ‘Sohni and Mahinwal’, ‘Vis and Ramin’, and ‘Radha and Krishna’. Moving westward again, the authors look at the Greek myth of Oedipus, the Celtic saga of Tristan and Isolde, the tragic drama of Hamlet, the legend of Phaedra and Hippolytus, and a contemporary handling of the love theme in the writings of Vladimir Nabokov. With each love story including within its gambit all of love’s paradoxical associations and radii—from conquest and possession to surrender, sensuality and sensuousness, time held still in a poised nostalgia, and the loss of visual, distal perceptions in another mode of knowing—this book elaborates on the phenomenology and what it calls the ontogeny of love, sex, and danger. In this second edition, the authors revisit their earlier assertions about romantic and erotic love in the light of contemporary psychoanalysis and literary theory.

Thérèse of Lisieux (1873-1897), also known as St. Thérèse of the Child Jesus and the Holy Face, and popularly referred to as the Little Flower, is arguably one of the most beloved women in modern history. A Carmelite nun, doctor of the church, and patron of a score of causes, she was famously acclaimed by Pope Pius X as the greatest saint of modern times, and called a living icon of God by Pope John Paul II. Her autobiography, Story of a Soul, has been translated into more than sixty languages. Having long transcended national and linguistic boundaries, she has crossed even religious ones; as daughter of Allah, she is venerated widely in Islamic cultures. This book draws on previously untapped archival sources from the Carmel of Lisieux, numerous untranslated documents, formative texts of Carmelite spirituality, childhood readings, and unpublished photographs to provide a portrait of the saint's life and thoughts. It explores the dynamics of her family life and the early development of her spirituality, drawing on the correspondence of her mother and documenting her influence on Thérèse's autobiography and spirituality. It also charts the development of Thérèse 's career as a writer and gives close attention to her poetry and plays usually dismissed as undistinguished arguing that they have great value as texts by which she addressed and informed her Carmelite community.

This book is a practical and direct handbook for grieving. It presents 30 stories from real life that examine how we grieve and how we can help those who grieve—whether the griever is oneself, someone we care about, or a client or patient. The authors present vignettes from practice that show how death—lingering, unexpected, violent, or self-inflicted—and the loss of a relationship—to oneself or with a child, sibling, parent, mate, grandparent, or friend—give life to grief, together with the process by which each person fully encounters his or her grief. Each story is no more than two or three pages, and the authors follow each one with a short summary of its teachings and a selection of annotated recent references for those who wish to read more about a topic.

Listening carefully to patients at the end of life is at the heart of good palliative care and this book provides a means of recognizing and talking about spiritual needs even when religious language is not used. The author refers to this as a ‘language of spirit’. The book is based on interviews with patients who are dying and the language that they use to describe their experiences. It deals with death, dying, the experiences of patients, and the relief of spiritual pain by looking closely at patient stories, drawings, and behaviour. The book explains why it is often easier to recognize than to explain spiritual issues. Part One explores the psychological, spiritual, and theological interpretations of human experience. A detailed account is given of how the patients' own stories were collected. Drawing on a broad literature that is grounded in patients' words and deeds, Part Two introduces a non-religious ‘language of spirit’. Illuminated by patient art, Part Three shows what patients use this language to ‘say’ about their situation and how it is mediated through various metaphors. Part Four suggests ways of responding positively to patients' spiritual needs.

The book argues that the contemporary theological practice of describing Christian doctrines or beliefs as ‘narratives’ or ‘stories’ leads to a non-realistic idea of God, that is, to conceiving God as a story or narrative invented by ourselves. The idea that doctrines are narratives derives from an emphasis on the method of theology, that is, the substitution of a self-reflective description of how we know about God for saying what God is. The aspect of how we know about God upon which descriptive or narrative theologies focus is visual, and hence we characterize such theologies as cinematic or ‘movieish’. The book considers four ways in which narrative theologies replace content with method. Within ecclesiology, Barthian narrative theologians stress our grasp of the resurrected Christ at the expense of the resurrection witnesses. In the context of arguing for God's existence, Thomistic narrativists discuss the rationality of our questioning rather than the evidence for God's existence. Since, therefore, neither Barthian nor Thomistic narrative theologies can assume that the Creator God is metaphysically known, they visualize the problem of evil, presenting it like a melodramatic conflict. Fourthly, the attempt to elucidate the Trinity by means of narration or description tends toward modalism or Sabellianism. The focus of narrative theologies on methodological or epistemic issues entails that they reflect either the faith of the believer (rather than the object of belief) or the reason of the reasoner (rather than its target). This book proposes that theology can bypass this fideism/rationalism axis by making love the basis of theology, and that in four ways: the source of the Church and its scriptures is an act of love; the evidential image on which proofs for the existence of God can be based is the love of mother for child; the appearance of the Trinity in our history is the expression of the love of God; and hence, since its principal object is God's active love, theology refers, not to a melodrama, but to a real drama.

This book is a classic work on the anthropology of the Book of Numbers. Up to now Bible scholars have tended to dismiss Numbers — Wellhausen called it the junk room of the Bible, and most contemporary commentaries feel called upon to say something about its apparent lack of coherence. This book argues that Numbers is composed of twelve alternating sections of law and narrative arranged in a ring, with each law and narrative section corresponding to its pair on the other side. Notes from a Hebrew scholar confirm the pattern by identifying objectively the beginnings and endings of law and narrative. On this showing Numbers turns out to be an extremely coherent example of a well-known antique rhetorical system. The meaning of the book comes out very differently according to whether it is read linearly or as written, synoptically. This book shows that Numbers is not heavy or obscure but reads like a detective story.

“We know that it matters crucially to be able to say who we are, why we are here, and where we are going,” this book claims. Many of us are also uncomfortably aware that we cannot provide a convincing account of our identity to others or even ourselves. Despite, or because of that failure, we keep searching for identity, making it up, trying to authenticate it, and inventing excuses for our unpersuasive stories about it. This wide-ranging book draws on literature, law, and psychoanalysis to examine important aspects of the emergence of identity as a peculiarly modern preoccupation. In particular, the book addresses the social, legal, and personal anxieties provoked by the rise of individualism and selfhood in modern culture. Paying special attention to Rousseau, Freud, and Proust, the book also looks at the intersection of individual life stories with the law, and considers the creation of an introspective project that culminates in psychoanalysis. In doing so, it offers new insights into the questions and clues about who we think we are.

This book explores the legacy of the Brothers Grimm in Europe and North America, from the nineteenth century to the present. The book reveals how the Grimms came to play a pivotal and unusual role in the evolution of Western folklore and in the history of the most significant cultural genre in the world—the fairy tale. Folklorists Jacob and Wilhelm Grimm sought to discover and preserve a rich abundance of stories emanating from an oral tradition, and encouraged friends, colleagues, and strangers to gather and share these tales. As a result, hundreds of thousands of wonderful folk and fairy tales poured into books throughout Europe and have kept coming. The book looks at the transformation of the Grimms' tales into children's literature, the Americanization of the tales, the “Grimm” aspects of contemporary tales, and the tales' utopian impulses. It shows that the Grimms were not the first scholars to turn their attention to folk tales, but were vital in expanding readership and setting the high standards for folk-tale collecting that continue through the current era. The book concludes with a look at contemporary adaptations of the tales and raises questions about authenticity, target audience, and consumerism. The book examines the lasting universal influence of two brothers and their collected tales on today's storytelling world.