A narrative-discourse analysis was conducted to study the narratives of mental health service users talking about their engagement with art. The sample was drawn from a group of people who had attended arts workshops organized by a mental health service provider. Eleven people were interviewed and were asked to tell the story of their involvement in art and its significance to their lives. The data were analysed using a discourse analysis approach. Art is constructed as therapeutic within an illness repertoire. Emotions are inseparable from creative expression and identity claims are made in relation to being an artist.
In this paper, we develop an understanding of recognition in terms of individuals’ capacity for conflict. Our goal is to overcome various shortcomings that can be found in both the positive and negative conceptions of recognition. We start by analyzing paradigmatic instances of such conceptions—namely, those put forward by Axel Honneth and Judith Butler. We do so in order to show how both positions are inadequate in their elaborations of recognition in an analogous way: Both fail to make intelligible the fundamental nexus between relations of recognition and individuals’ capacity for conflict. We then move on to reconsider aspects of Hegel's view of recognition—ones that, from our viewpoint, have been unjustly neglected in the debate about recognition: his focus on the constitution of relations of recognition in conflict and on the status of being an author of acts of recognition. On this basis, we then spell out in a more systematic way what we take to be a more convincing conception of recognition. This puts us in the position to gesture at some consequences of this conception in practical contexts, above all with regard to the justification, role and structure of political institutions..
AbstractThe article presents the conceptual groundwork for an understanding of the essentially improvisational dimension of human rationality. It aims to clarify how we should think about important concepts pertinent to central aspects of human practices, namely, the concepts of improvisation, normativity, habit, and freedom. In order to understand the sense in which human practices are essentially improvisational, it is first necessary to criticize misconceptions about improvisation as lack of preparation and creatio ex nihilo. Second, it is necessary to solve the theoretical problems that derive from misunderstandings concerning the notions of normativity, habit, and freedom – misunderstandings that revolve around the idea that rationality is a form that is developed out of itself and thus works in a way similar to algorithms. One can only make sense of normativity, habit, and freedom if one understands that they all involve conflictual relationships with the world and with others, which in turn enables one to adequately take into account their constitutive connection to improvisation, properly understood. In outlining these conceptual connections, we want to prepare the foundations for an explanation of rational practices as improvisational practices. The article concludes by stating that human rational life is improvisatory because the conditions of human practice arise out of practice itself.
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