Paul Ricoeur Research Articles

NILAI PENDIDIKAN PADA KESENIAN TRADISIONAL IRING-IRING DAMAR KURUNG DALAM PERSPEKTIF HERMENEUTIKA PAUL RICOEUR (SUATU TINJAUAN BUDAYA PADA MASYARAKAT KECAMATAN ASTANAJAPURA KABUPATEN CIREBON)

This study aims to explore and describe the educational value from the traditional art of Iring-iring Damar Kurung in Astanajapura sub-district, Cirebon Regency under Paul Ricoeur's hermeneutic theory. This research is a qualitative method employing a phenomenological approach. The results findings and conclusions of this study revealed that the educational values in the art of the procession of Iring-iring Damar Kurung in Astanajapura are in accordance with Education Ministry Act Number 20 of 2018 regarding strengthening of Educational Character (Penguatan Pendidikan Karakter/PPK) as described in Presidential Decree Number 87 of 2017. Thus, in procession of the traditional art, Damar Kurung showed some educational values such as (1) religious values, (2) independence, (3) nationalism, (4) mutual cooperation, and (5) integrity. In addition to that, the symbols and meanings of this art are (1) nine decorative lights, symbolizing Wali Songo as a symbol of the spread of Islam in Indonesia, especially in the Java Island, (2) the umbrella is a symbol of protection, (3) Pedicab Stage is a symbol of honor, (4) genjring has a symbol of preaching the spread of Islam in Cirebon, (5) nine children carrying decorative lights are symbols of mutual cooperation, (6) night means dark or a symbol of ignorance, and (7) reading sholawat is a symbol of blessing and savior.Keywords: The educational values, traditional arts, Iring-iring Damar Kurung, Paul Ricoeur’s hermeneutics theory

Imitating Africans, Listening for Angels

Church ensembles of Spaniards across the Spanish Empire regularly impersonated African and other non-Castilian characters in the villancicos they performed in the Christmas Matins liturgy. Although some scholars and performers still mistakenly assume that ethnic villancicos preserve authentic Black or Native voices, and others have critiqued them as Spaniards’ racist caricatures, there have been few studies of the actual music or of specific local contexts. This article analyzes Al establo más dichoso (At the happiest stable), an ensaladilla composed by Juan Gutiérrez de Padilla for Christmas 1652 at Puebla Cathedral. In this performance his ensemble impersonated an array of characters coming to Christ’s mangers, including Indian farm laborers and African slaves. The composer uses rhythm to differentiate the speech and movement of each group, and at the climax he even has the Angolans and the angels sing together—but in different meters. Based on the first edition of this music, the article interprets this villancico within the social and theological context of colonial Puebla and its new cathedral, consecrated in 1649. I argue that through this music, members of the Spanish elite performed their own vision of a hierarchical and harmonious society. Gutiérrez de Padilla was himself both a priest and a slaveholder, and his music elevates its characters in certain ways while paradoxically also mocking them and reinforcing their lowly status. Building on Paul Ricoeur’s concept of the “three worlds of the text,” the article compares the representations imagined within the musical performance with archival evidence for the social history of the people represented and the composer’s own relationships with them (the world behind the text). Looking to the world projected “in front of” the text, I argue that these caricatured representations both reflected and shaped Spaniards’ attitudes toward their subjects in ways that actively affected the people represented. At the same time, I argue that Spanish representations mirrored practices of impersonation among Native American and African communities, especially the Christmastide Black Kings festivals, pointing to a more complex and contradictory vision of colonial society than what we can see from the slaveholder’s musical fantasy alone.

허먼 멜빌의 「베니토 세리노」의 유럽중심주의 담론과 서사적 해체

This paper examines how Amasa Delano’s limited thought-process is represented in Herman Melville"s novella, “Benito Cereno,” and how the novella ultimately deconstructs Delano’s misleading insight on the San Dominick by focusing on the narrativity and textuality of the novel. In “Benito Cereno,” Delano’s process of unearthing the mysterious past of the San Dominick and its elusive captain, Benito Cereno, entails a constant reading of signs and stories. However, by the end of the first section, we as readers realize that Delano’s speculations and suspicions were miscalculated, if not entirely wrong. By representing Delano’s thought process and its limitations, I argue that the novella serves as Melville’s reflexive criticism on Eurocentric discourse and its racist implications. While the first half of the novel tracks Delano’s (mis)reading, informed by Eurocentric discourses of history and race, the second half of the novel subversively deconstructs the legitimization of Eurocentric power by inviting the reader to participate in refiguring the plot. Here, I take cue from Paul Ricoeur’s theory of narrativity that puts emphasis on the reader in relation to fictional narratives. As the plot departs from Delano’s point of view and ventures into the deposition of the mutiny trial, the reader can reread, undermine, and question Delano’s reading. This experience, in turn, subverts the progression of narrativity, and creates the possibility of a multilayered, non-linear temporality that can further question the progress of Eurocentric modernity.

A Study on the Self-Awareness of the Essay by Yi Yuk-sa -Focusing on Paul Ricoeur's Narrative Identity

A Study on the Self-Awareness of the Essay by Yi Yuk-sa -Focusing on Paul Ricoeur's Narrative Identity

Not The Only Story: Narrative, Memory, and Self-becoming in Julian Barnes’ Novel

"Not the Only Story: Narrative, Memory and Self-becoming in Julian Barnes’ Novel. Julian Barnes’s The Only Story depicts the affair of the narrator, Paul, with an older, married woman, Susan. Yet while the obvious subject matter may be trite, the writer’s treatment of it is noteworthy. More specifically, the present paper aims to explore the manner in which this story is remembered by the narrator. Using Paul Ricoeur’s work on the narrative self, we suggest that the protagonist does not wish to deliver an accurate account of the events that shaped his life, but rather he attempts to come to terms with the latter through storytelling. Thus, “the only story” is not necessarily that of Paul’s first love. It is, rather, the only story that matters to him, which must include all others and which he must tell in order to shape and understand his own process of becoming. Keywords: The Only Story, Julian Barnes, Paul Ricoeur, memory, storytelling, self-becoming, identity "

Incorporating Virtues: A Speech Act Approach to Understanding how Virtues Can Work in Business

One of the key debates about applying virtue ethics to business is whether or not the aims and values of a business actually prevent the exercise of virtues. Some of the more interesting disagreement in this debate has arisen amongst proponents of virtue ethics. This article analyzes the central issues of this debate in order to advance an alternative way of thinking about how a business can be a form of virtuous practice. Instead of relying on the paired concepts of internal and external goods that define what counts as virtuous, I offer a version of speech act theory taken from Paul Ricoeur to show how a business can satisfy several aims without compromising the exercise of the virtues. I refer to this as a polyvalent approach where a single task within a business can have instrumental, conventional, and imaginative effects. These effects correspond to the locutionary, illocutionary, and perlocutionary dimensions of meaning. I argue that perlocution provides a way in which the moral imagination can discover the moral significance of others that might have not been noticed before, and furthermore, that for such effects to be practiced, they require appropriate virtues. I look at two cases taken from consultation work to thresh out the theoretical and practical detail.

Perspectivas de la metáfora y el símbolo desde la teoría de Paul Ricoeur

This paper proposes some approaches to the concepts of metaphor and symbol from Paul Ricoeur’s discourse in The Rule of Metaphor, and some other essays such as From Text to Action and The Conflict of Interpretations. Likewise, to contextualize certain terms, I will use some of the notes by Mauricio Beuchot as he approaches the concept of symbol. Symbol and metaphor transport us to reconfigure the literary work of art as a whole and take us into another horizon. The application of this exercise will fall in an excerpt of “El prodigioso miligramo” by Juan José Arreola.

The Great City Is Fragile

Abstract This article explores issues covered in Wuhan Diary, a day-by-day account by the Chinese author Fang Fang of her experiences during the height of the pandemic crisis in the city of Wuhan during the early months of 2020. It seeks to bring out what is distinctive and innovative about the text. Most notably, this concerns the mobilization of social media, such as Weibo and WeChat, as a basis for social communication and the dissemination of information within and beyond the city. The resultant text is not a diary in the conventional sense but, rather, a vast montage of diverse kinds of material that have been electronically cut up and pasted together. A particular focus of the discussion concerns ethical support and solidarity among citizens of Wuhan at this time of acute disruption. In this context, the article suggests a significant, and maybe surprising, affinity between Fang Fang's immediate concerns and issues raised in the ethical philosophies of Paul Ricoeur and Gabriel Marcel.

The Bounds of Narrative in Don DeLillo’s Underworld: Action and the Ecology of Mimêsis

The interrelationship of natural and cultural history in Don DeLillo’s Underworld presents an ecology of mimesis. If, as Timothy Morton argues, ecological thought can be understood as a “mesh of interconnection,” DeLillo’s novel studies the interpretation of connection. Underworld situates its action in the Cold War era. DeLillo’s formal techniques examine the tropes of paranoia, containment, excess, and waste peculiar to the history of the Cold War. Parataxis and free-indirect discourse emphasize the contexts of reference in the novel, illustrating how hermeneutics informs the significance of boundaries. DeLillo’s use of parataxis exemplifies the conditions that propose and limit metaphor’s reference to reality, conditions that offer the terms for meaningful action. I utilize Paul Ricoeur’s hermeneutics to demonstrate how Underworld situates the reference to reality in its temporal and narrative condition. The historical situation of the novel’s narrative structure allows DeLillo to interrogate the role of discourse in producing and interpreting connection. Underworld offers layers of significance; the reader’s engagement with the novel’s discourse reaffirms the conditions of a meaningful relationship with reality in the pertinence of a metaphor.

Práticas de roteiro: conceitos revisitados

In ABC of Reading, Ezra Pound recalls the importance of listening to poets to understand poetry and to observe pictures (rather than books about pictures) to understand art history. We’ll talk about the screenplay. The premise is that used by Pound. To listen to screenwriters to understand poetry. To observe the screenplay to understand the history of cinematographic art. The study of the practice of different screenwriters of contemporary Brazilian cinema led us to review prevalent concepts in the bibliographies of this field. Among them, the concept of the screenplay itself. Other concepts revisited in this study are the concepts of narrative and spectator. The screenwriters whose practices contributed to this study are Anna Muylarte, Eliane Caffé, Karim Ainouz, Alê Abreu, Cão Guimarães and Leonardo Mouramateus. The analysis method consists of the mixed study of communicative practices and creative strategies, identified in the process records (screenplays, creation reports, and interviews), under the theoretical and methodological support of the Critical Theory of Creative Processes, as proposed by Cecília Almeida Salles. This research is also complemented by the concepts of continuity of mind, by Charles Sanders Peirce; of narrative as a creative process, by Paul Ricoeur.

La passion du soin et du travail psychiques, un paradoxe ?

Is passion, a concept difficult to define, disturbing affect by its double emotional and representative dimension, “a normal pathological state”? It concerns any relation to an “object” that wants to occupy a considerable place in existence. Can a therapist be passionate or be crossed by passion? Whether it is cultural, artistic, sporting, passion can provoke, we know it well, a passionate outburst. How can one accept its necessity while being wary of its destructive side (mystical passion, delusional passion) where the subject ends up getting lost? Etymology may provide a partial response to the polysemy of the word that has created confusion. Passion comes from the Latin “passio” which refers to the fact of suffering, experiencing. The Greek root “pathos” gave pathology whose original meaning is the study of passions and then that of diseases, and also non-medical terms (pathetic…). The semantic confusion has been based on this for centuries. Passion remains difficult to pin down. What maintains my desire, my passion in this solitary work? I need to remain in the unceasing research, in the questioning. Here are the basics inscribed in me: reading, working meetings that bring pleasure to think while maintaining openness to the unconscious by better grasping the counter-transference, belonging to a society to share the same passion of human knowledge and the same desire to heal. Passions remain pervasive and some take up more space than the object of passion. This is one of the many paradoxes. An other: the passion, this “dark complacency to vertigo” (Paul Ricoeur), allows to alienate oneself in the bond to better find oneself, to recreate oneself. We cannot, escape knowledge about ourselves. Beyond its excess, constitutes a real psychic work of elaboration and symbolization. Let us keep alive this passion for psychic care and work. To do this, let us remain confident in our theoretic-clinical commitments as well as in the changes we deem necessary to help those who come to tell us about their suffering. Who are they? Interest in their own mental health is initially acquired for neurotic patients; it is legitimate and useful. With patients working on a psychotic register, this is not the case and we are faced with an obstacle cited by Marcel Sassolas, which is “the distrust developed by these people towards their own psychic activity”. The only real objective of psychiatric care remains the safeguarding and restoration of their psychic activity, knowing full well that being present is a source of danger. What maintains our desire for care and psychic work with the attention we pay to it? The way we work with the richness of the commitments it unders understands – psychoanalysis for me – allows us to understand the human in an exceptional and exciting way. Here are two of my tools. First empathy. It is a dialectic between understanding and feeling that manifests, occurs, in an unseeded manner at the level of the preconscious of one (therapist) or the other (patient). My other tool is this therapeutic device that is co-work (shared associative movement). Daniel Widlöcher's co-thought… The latter has taken up the Freudian concept of “induction of thought”. This allows him to link empathy, through “the transfer of thought”, to the associative and representational co-thinking of the therapist and the patient. What is this co-work? In psychoanalytic relaxation, for example, we know that a particular word, a phrase, a phoneme can have, for the relaxer, an emotional impact that is inscribed in his thought (reverie) and in his body (sensation). Passion allows creative psychic care by producing from living. It strengthens our need for new projects that boost our motivation and confidence. It maintains our desire to be at the heart of psychic work and that of transmitting that strength. Creativity is not the ability to create a work, it is the ability to creatively live a meaningful life (Winnicott). It is vitality in the service of self-building. Stay alive and passionate, even late in practice, not because of knowledge, experience, but because of the uninterrupted work in self-discovery. To conclude? I consider that a living therapeutic process, that is, subjective appropriation, implies a passionate character in the therapist who offers a place for what is to be deposited there. We are often in paradoxical situations. To better understand its scope, I rely on the Oxford Dictionary's definition: a paradox is an assertion that seems absurd, though maybe truly well-founded. It's all in the maybe. Isn’t the psyche that heals the psyche the passion of dialogue with our unconscious?

Narrative Approach To Living Heritage

This paper attempts to sketch out a theoretical framework that addresses the particular needs of living heritage. ICCROM has been at the forefront of developing a conservation practice which addresses the concerns of living heritage such as religious and pilgrimage sites (e.g. Wijesuriya 2015; Wijesuriya, Thompson, and Court 2017), and others have considered the implications for the conservation process (e.g. Poulios 2014). However, to date there has been no attempt to develop a theoretical foundation for these practices. In place of the still-dominant understanding (at least as encountered in much Western practice) of historic buildings as primarily art-historical, this paper proposes a narrative approach that allows the site or building to remain within its cultural/religious context, including an acceptance of ongoing change. While the argument proceeds from Western sources, it invites dialogue with complementary understandings of the working of tradition from other regions of the world.
 
 Any theoretical model for living heritage must address the central question of how living buildings endure between generations, that is, their continuity between past, present and future. Since modernity entails a commitment to a radical discontinuity with the past, such an approach must engage with the resources of premodernity to develop (or perhaps return to) a non-modern understanding of tradition as developmental and creative (Author, 2017). The principal sources used in the investigation of this proposed narrative approach include Alasdair MacIntyre’s rehabilitation of tradition, Hans-Georg Gadamer’s development of philosophical hermeneutics and Paul Ricoeur’s work on narrative and time.

Kontrowersje wokół autorytetu w świetle analiz Józefa M. Bocheńskiego na tle współczesnej recepcji idei Oświecenia

The subject of the article is the underlying assumptions and consequences of the logic of authority Józef M. Bocheński’s concerning the contemporary discussion on the crisis of authority (Hanna Arendt, Paul Ricoeur). In the article, I present an answer to the question of whether the categorical analysis proposed by Bocheński sufficiently explains the problems and aporias related to the understanding of authority and freedom. I want to answer this question based on a historical source analysis of his works, such as Analysis of Authority (1965) and Was ist Autorität? (1974).

Estudo de revisão sistemática de Literatura na Educação: Paul Ricoeur em foco

O presente estudo trata-se de uma Revisão Sistemática de Literatura, no Manancial - Repositório Digital da Universidade Federal de Santa Maria. Possui como propósito identificar as pesquisas em nível de Mestrado e Doutorado que tem como foco as produções e o pensamento do filósofo Paul Ricoeur. Os achados da investigação foram submetidos a tratamento de dados e análise, permitindo identificar suas especificidades no contexto de investigação. Os dados apontam para a pluralidade de possibilidades que o Repositório possui, bem como uma série de publicações que estão vinculadas à ênfase conceitual e de abordagem decorrentes da compreensão de Ricoeur, principalmente no Programa de Pós-graduação em Filosofia, apontando para seu potencial de exploração em demais áreas, como no caso a área da educação.

For a political dimension of meaning in tourism research

Este texto expõe uma reflexão preliminar, apoiada na tríplice mimese, de Paul Ricoeur e o processo de tradução, de Boaventura Sousa Santos, como uma proposta teórico-metodológica para as investigações de produção de sentido. Sendo o turismo um fenômeno complexo e em constante transformação, seguimos pelo campo da hermenêutica, entendendo que o discurso revela o conhecimento que o sujeito tem do mundo, em um ato narrativo compreendido pela prefiguração, configuração e refiguração. Combinamos ao tempo de refiguração o processo de tradução, sendo este um procedimento interpretativo, que visa identificar as aporias, as aproximações e distanciamentos das práticas de modo a identificar as possibilidades e os limites de articulação para a criação de zonas de contato entre os diferentes discursos e saberes. Dessa forma, por meio do arco hermenêutico, buscamos demonstrar como as experiências produzidas no turismo podem ser ampliadas se nos comprometermos em uma reconfiguração por meio da lógica da tradução.

Theaetetus2 *

This article examines what constitutes knowledge in art, law, journalism, and more specifically in artistic research. Taking its formal departure in the famous Theaetetus-dialogue by Plato, the article employs three different approaches to examine conceptions of knowledge.
 The first part, Knowledge is perception, examines narratives and imaginary qualities of key figures involved in huge money laundering scandals and other financial crimes in Denmark in 2018. The second part, Knowledge is true belief, elaborates on the concept of knowledge in art, law, and journalism through a series of abstracted dialogues-turned-monologues based on the material presented in the first part. It aims at a better understanding of how Facts, Truth, Time, Relevance, and Knowledge are conceptualized in the three disciplines. Finally, the third part, Knowledge is true belief with an account, elaborates on the core belief underpinning this artistic research project, using a dialogical form with footnotes. This core position is that knowledge in artistic research is based on the merging of knowledge and account, and functions through a specific type of extended discourse which, as conceptualized by Paul Ricoeur, is at once poetic and epistemologically productive imagination.

The poetics of vulnerability: creative writing among young adults in treatment for psychosis in light of Ricoeur\u2019s and Kristeva\u2019s philosophy of language and subjectivity

There is a growing interest in the application of creative writing in the treatment of mental illness. Nonpharmacological approaches have shown that access to poetic, creative language can allow for the verbalisation of illness experiences, as well as for self-expressions that can include other facets of the subject outside of the disease. In particular, creative writing in a safe group context has proven to be of particular importance. In this article, we present a pilot on a creative writing group for young adults in treatment for psychosis. We set the texts and experiences from the writing group in dialogue with Paul Ricoeur’s and Julia Kristeva’s philosophies on poetic language as meaning making and part of subject formation. The focus is on language as materiality and potentiality and on the patient’s inherent linguistic resources as founded in a group dynamic. As a whole, the project seeks to give an increased theoretical and empirical understanding of the potentiality of language and creativity for healing experiences, participation and meaning-making processes among vulnerable people. Furthermore, a practice founded in poetic language might critically address both the general and biomedical understanding of the subject and disease.

Y-a-t-il une ville pour définir Ubisoft ? Enjeux poétiques et philosophiques d'un monde de l'action.

A partir d'une réflexion préliminaire autour de la mimêsis aristotélicienne, commentée principalement par le philosophe Paul Ricoeur, nous nous intéressons à la représentation de la ville dans Watch Dogs et la place que se donne le héros, en tant que force autoritaire instituant son changement. Nous reprenons la définition de mise en intrigue, le mythos d'Aristote, afin élargissant son champ de réflexion à ce que nous appelons une mise en intrigue de l'objet, en tant que récepteur et créateur des actions des personnages. Cette configuration par les lieux participe de signifier autrement afin de dégager le sens de l'oeuvre. 
 En reconfigurant (mimêsis) ville et héros, Ubisoft en présente une matière apparente et des vérités métaphoriques qui doivent permettre de réinterroger notre réel et de rédéfinir, ainsi, la place même de la poésie.

Discourse, structure and history

Mostra Paul Ricoeur que o sentido do discurso se constrói, de um lado, por meio de coerções internas e, de outro, pela relação com outros discursos. Isso significa que ele é, ao mesmo tempo, integralmente linguístico e inteiramente histórico. Em outras palavras, é uma estrutura e um objeto histórico. Este texto pretende mostrar que na análise discursiva é preciso, de um lado, levar em conta os mecanismos linguísticos de organização discursiva; de outro, sua historicidade constitutiva. O texto, manifestação do discurso, não é uma grande frase nem um amontoado de frases, mas possui uma organização semântica própria. O discurso, por sua vez, não é reflexo de acontecimentos externos a ele. Por isso, estudar seu caráter histórico não é contar anedotas sobre suas condições de produção nem inventariar as referências que são feitas a fatos ocorridos na época em que foi produzido. A partir do conceito bakhtiniano de dialogismo, é preciso considerar que o discurso é histórico porque se constitui numa relação de conflito com outros discursos. Perceber esse movimento de contradições é que permite apreender a historicidade intrínseca do sentido, que se constitui historicamente. A historicidade atinge também a estrutura, pois ela é um modo de organização peculiar a uma dada formação discursiva. Assim, não existe uma dicotomia entre estrutural e histórico, pois a estrutura é histórica.

Does the Law Determine What Heritage to Remember?

Cultural heritage can offer tangible and intangible traces of the past. A past that shapes cultural identity, but also a past from which one sometimes wishes to detach oneself and which nevertheless needs to be remembered, even commemorated. These themes of memory, history and oblivion are examined by the philosopher Paul Ricoeur in his work La mémoire, l’histoire, l’oubli (2000). Inspired by these ideas, this paper analyses how they are closely linked to cultural heritage. Heritage serves as a support for memory, even if it can be mishandled, which in turn can affect heritage policies. Memory and heritage can be abused as a result of wounds from the past or for reasons of ideological manipulation or because of a political will to force people to remember. Furthermore, heritage, as a vehicule of memory, contributes to historical knowledge, but can remain marked by a certain form of subjectivism during the heritage and conservation operation, for which heritage professionals (representatives of the public authority or other experts) are responsible. Yet, the responsibility for conserving cultural heritage also implies the need to avoid any loss of heritage, and to fight against oblivion. Nonetheless, this struggle cannot become totalitarian, nor can it deprive the community of a sometimes salutary oblivion to its own identity construction. These theoretical and philosophical concepts shall be examined in the light of legal discourse, and in particular in Belgian legislation regarding cultural heritage. It is clear that the shift from monument to heritage broadens the legal scope and consequently raises the question of who gets to decide what is considered heritage according to the law, and whether there is something such as a collective human right to cultural heritage. Nonetheless, this broadening of the legislation extends the State intervention into cultural heritage, which in turn entails certain risks, as will be analysed with Belgium’s colonial heritage.