Hanna Meretoja – författare

Against the backdrop of the polarized debate on the ethical significance of storytelling, Hanna Meretoja's The Ethics of Storytelling: Narrative Hermeneutics, History, and the Possible develops a nuanced framework for exploring the ethical complexity of the roles narratives play in our lives. Focusing on how narratives enlarge and diminish the spaces of possibilities in which we act, think, and re-imagine the world together with others, this book proposes a theoretical-analytical framework for engaging with both the ethical potential and risks of storytelling. Further, it elaborates a narrative hermeneutics that treats narratives as culturally mediated practices of (re)interpreting experiences and articulates how narratives can be oppressive, empowering, or both. It also argues that the relationship between narrative unconscious and narrative imagination shapes our sense of the possible.In her book, Meretoja develops a hermeneutic narrative ethics that differentiates between six dimensions of the ethical potential of storytelling: the power of narratives to cultivate our sense of the possible; to contribute to individual and cultural self-understanding; to enable understanding other lives non-subsumptively in their singularity; to transform the narrative in-betweens that bind people together; to develop our perspective-awareness and capacity for perspective-taking; and to function as a form of ethical inquiry. This book addresses our implication in violent histories and argues that it is as dialogic storytellers, fundamentally vulnerable and dependent on one another, that we become who we are: both as individuals and communities.The Ethics of Storytelling seamlessly incorporates narrative ethics, literary narrative studies, narrative psychology, narrative philosophy, and cultural memory studies. It contributes to contemporary interdisciplinary narrative studies by developing narrative hermeneutics as a philosophically rigorous, historically sensitive, and analytically subtle approach to the ethical stakes of the debate on the narrative dimension of human existence.

Narrative practice has come under attack in the current "post-truth" era. In fact, many associate "narrative hermeneutics"--the field of inquiry concerned with reflection on the meaning and interpretation of stories--directly with this putative movement beyond truth. Challenging this view, The Use and Abuse of Stories argues that this broad arena of inquiry instead serves as a vitally important vehicle for addressing and redressing the social and political problems at hand. Hanna Meretoja and Mark Freeman have gathered an interdisciplinary group of esteemed authors to explore how interpretation is relevant to current discussions in narrative studies and to the broader debate that revolves around issues of truth, facts, and narrative. The contributions turn to the tradition of narrative hermeneutics to emphasize that narrative is a cultural meaning-making practice that is integral to how we make sense of who we are and who we could be. Addressing topics ranging from the dangers of political narratives to questions of truth in medical and psychiatric practice, this volume shows how narrative hermeneutics contributes to topical debates both in interdisciplinary narrative studies and in the current cultural and political situation in which issues of truth have gained new urgency.

This book provides case-studies of how teachers and practitioners have attempted to develop more effective ‘experiential learning’ strategies in order to better equip students for their voluntary engagements in communities, working for sustainable peace and a tolerant society free of discrimination.All chapters revolve around this central theme, testing and trying various paradigms and experimenting with different practices, in a wide range of geographical and historical arenas. They demonstrate the innovative potentials of connecting know-how from different disciplines and combining experiences from various practitioners in this field of shaping historical memory, including non-formal and formal sectors of education, non-governmental workers, professionals from memorial sites and museums, local and global activists, artists, and engaged individuals. In so doing, they address the topic of collective historical traumas in ways that go beyond conventional classroom methods.Interdisciplinary in approach, the book provides a combination of theoretical reflections and concrete pedagogical suggestions that will appeal to educators working across history, sociology, political science, peace education and civil awareness education, as well as memory activists and remembrance practitioners.

In recent years there has been a huge amount of both popular and academic interest in storytelling as something that is an essential part of not only literature and art but also our everyday lives as well as our dreams, fantasies, aspirations, historical self-understanding, and political actions. The question of the ethics of storytelling always, inevitably, lurks behind these discussions, though most frequently it remains implicit rather than explicit. This volume explores the ethical potential and risks of storytelling from an interdisciplinary perspective. It stages a dialogue between contemporary literature and visual arts across media (film, photography, performative arts), interdisciplinary theoretical perspectives (debates in narrative studies, trauma studies, cultural memory studies, ethical criticism), and history (traumatic histories of violence, cultural history). The collection analyses ethical issues involved in different strategies employed in literature and art to narrate experiences that resist telling and imagining, such as traumatic historical events, including war and political conflicts. The chapters explore the multiple ways in which the ethics of storytelling relates to the contemporary arts as they work with, draw on, and contribute to historical imagination. The book foregrounds the connection between remembering and imagining and explores the ambiguous role of narrative in the configuration of selves, communities, and the relation to the non-human. While discussing the ethical aspects of storytelling, it also reflects on the relevance of artistic storytelling practices for our understanding of ethics. Making an original contribution to interdisciplinary narrative studies and narrative ethics, this book both articulates a complex understanding of how artistic storytelling practices enable critical distance from culturally dominant narrative practices, and analyzes the limitations and potential pitfalls of storytelling.

This book provides case-studies of how teachers and practitioners have attempted to develop more effective ‘experiential learning’ strategies in order to better equip students for their voluntary engagements in communities, working for sustainable peace and a tolerant society free of discrimination.All chapters revolve around this central theme, testing and trying various paradigms and experimenting with different practices, in a wide range of geographical and historical arenas. They demonstrate the innovative potentials of connecting know-how from different disciplines and combining experiences from various practitioners in this field of shaping historical memory, including non-formal and formal sectors of education, non-governmental workers, professionals from memorial sites and museums, local and global activists, artists, and engaged individuals. In so doing, they address the topic of collective historical traumas in ways that go beyond conventional classroom methods.Interdisciplinary in approach, the book provides a combination of theoretical reflections and concrete pedagogical suggestions that will appeal to educators working across history, sociology, political science, peace education and civil awareness education, as well as memory activists and remembrance practitioners.

Representations of violence surround us in everyday life – in news reports, films and novels – inviting interpretation and raising questions about the ethics of viewing or reading about harm done to others. How can we understand the processes of meaning-making involved in interpreting violent events and experiences? And can these acts of interpretation themselves be violent by reproducing the violence that they represent? This book examines the ethics of engaging with violent stories from a broad hermeneutic perspective. It offers multidisciplinary perspectives on the sense-making involved in interpreting violence in its various forms, from blatant physical violence to less visible forms that may inhere in words or in the social and political order of our societies. By focusing on different ways of narrating violence and on the cultural and paradigmatic forms that govern such narrations, Interpreting Violence explores the ethical potential of literature, art and philosophy to expose mechanisms of violence while also recognizing their implication in structures that contribute to or benefit from practices of violence.

Representations of violence surround us in everyday life – in news reports, films and novels – inviting interpretation and raising questions about the ethics of viewing or reading about harm done to others. How can we understand the processes of meaning-making involved in interpreting violent events and experiences? And can these acts of interpretation themselves be violent by reproducing the violence that they represent? This book examines the ethics of engaging with violent stories from a broad hermeneutic perspective. It offers multidisciplinary perspectives on the sense-making involved in interpreting violence in its various forms, from blatant physical violence to less visible forms that may inhere in words or in the social and political order of our societies. By focusing on different ways of narrating violence and on the cultural and paradigmatic forms that govern such narrations, Interpreting Violence explores the ethical potential of literature, art and philosophy to expose mechanisms of violence while also recognizing their implication in structures that contribute to or benefit from practices of violence.

Literary trauma studies is a rapidly developing field which examines how literature deals with the personal and cultural aspects of trauma and engages with such historical and current phenomena as the Holocaust and other genocides, 9/11, climate catastrophe or the still unsettled legacy of colonialism.The Routledge Companion to Literature and Trauma is a comprehensive guide to the history and theory of trauma studies, including key concepts, consideration of critical perspectives and discussion of future developments. It also explores different genres and media, such as poetry, life-writing, graphic narratives, photography and post-apocalyptic fiction, and analyses how literature engages with particular traumatic situations and events, such as the Holocaust, the Occupation of France, the Rwandan genocide, Hurricane Katrina and transgenerational nuclear trauma.Forty essays from top thinkers in the field demonstrate the range and vitality of trauma studies as it has been used to further the understanding of literature and other cultural forms across the world.

In recent years there has been a huge amount of both popular and academic interest in storytelling as something that is an essential part of not only literature and art but also our everyday lives as well as our dreams, fantasies, aspirations, historical self-understanding, and political actions. The question of the ethics of storytelling always, inevitably, lurks behind these discussions, though most frequently it remains implicit rather than explicit. This volume explores the ethical potential and risks of storytelling from an interdisciplinary perspective. It stages a dialogue between contemporary literature and visual arts across media (film, photography, performative arts), interdisciplinary theoretical perspectives (debates in narrative studies, trauma studies, cultural memory studies, ethical criticism), and history (traumatic histories of violence, cultural history). The collection analyses ethical issues involved in different strategies employed in literature and art to narrate experiences that resist telling and imagining, such as traumatic historical events, including war and political conflicts. The chapters explore the multiple ways in which the ethics of storytelling relates to the contemporary arts as they work with, draw on, and contribute to historical imagination. The book foregrounds the connection between remembering and imagining and explores the ambiguous role of narrative in the configuration of selves, communities, and the relation to the non-human. While discussing the ethical aspects of storytelling, it also reflects on the relevance of artistic storytelling practices for our understanding of ethics. Making an original contribution to interdisciplinary narrative studies and narrative ethics, this book both articulates a complex understanding of how artistic storytelling practices enable critical distance from culturally dominant narrative practices, and analyzes the limitations and potential pitfalls of storytelling.Chapter 7 of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons [Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.

Literary trauma studies is a rapidly developing field which examines how literature deals with the personal and cultural aspects of trauma and engages with such historical and current phenomena as the Holocaust and other genocides, 9/11, climate catastrophe or the still unsettled legacy of colonialism.The Routledge Companion to Literature and Traumais a comprehensive guide to the history and theory of trauma studies, including key concepts, consideration of critical perspectives and discussion of future developments. It also explores different genres and media, such as poetry, life-writing, graphic narratives, photography and post-apocalyptic fiction, and analyses how literature engages with particular traumatic situations and events, such as the Holocaust, the Occupation of France, the Rwandan genocide, Hurricane Katrina and transgenerational nuclear trauma.Forty essays from top thinkers in the field demonstrate the range and vitality of trauma studies as it has been used to further the understanding of literature and other cultural forms across the world.Chapter 2 of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.

In this special issue, contributors argue that narrative studies can challenge the late capitalist storytelling industry to direct instrumental storytelling toward more ethically and rhetorically sustainable directions. Given this, the authors suggest, narrative studies should take a more prominent role in contemporary discourses of the storytelling boom. Seeking to redefine the role of narrative theorists and analysts in that boom, the authors address its critically different aspects while also showing how narrative studies can be made compelling, engaging, and societally relevant.

Why we read literature and why we should read literature are age-old questions that have, in recent years, gained unprecedented scope and intensity, against the backdrop of what has been perceived as a world-wide crisis in the humanities. While scholars frequently discuss different types of value separately, in this volume values of literature are approached in the plural: we argue that the ethical, aesthetic, cognitive, affective, social, historical, and existential values of literature should be explored in connection with each other. The three parts of the book explore the relationship between ethics and aesthetics; the cognitive, affective, and social values of literature; and the construction and questioning of literary values in society. Throughout the book, we discuss the different things literature can do – ranging from affirmation of social dogmas to its capacities for self-questioning and challenging of moral certainties – through the dynamic interplay of its ethical and aesthetic, cognitive and affective aspects. Literature not only reflects and draws on the values of the historical world from which it stems; it also actively addresses, challenges, and transforms those values and explores new ways to understand value. Through these complementary processes, literature engages in its own distinctively literary forms of value inquiry.