Narrative Inquiry Quotes

We cannot experience the world, even for an instant, without experiencing it through some myth, some narrative structure that sorts out our experiences and gives them meaning to us.

What happened during the 2020 election must be investigated and discussed, not in spite of media and political opposition to an open inquiry, but because of that opposition. The American people deserve to know what happened. They deserve answers, even if those answers are inconvenient. They deserve to know the effect flooding the system with tens of millions of mail-in ballots had on their vote. They deserve to know how and why Big Tech and the corporate political media manipulated the news to support certain political narratives while censoring stories they now admit were true. They deserve to know why courts were allowed to unilaterally rewrite the rules in the middle of the contest, often without the consent of the legislative bodies charged with writing election laws.

We next consider all the seven days in common: and there are three points of inquiry: (1) As to the sufficiency of these days; (2) Whether they are all one day, or more than one? (3) As to certain modes of speaking which Scripture uses in narrating the works of the six days.

Of the sciences today, quantum physics alone seems to have found its way back to an equitable relationship with metaphors, those fundamental tools of the imagination. The other sciences are occasionally so bound by rational analysis, or so wary of metaphor, that they recognize and denounce anthropomorphism as a kind of intellectual cancer, instead of employing it as a tool of comparative inquiry, which is perhaps the only way the mind works, that parallelism we finally call narrative.

1937 - The Arab leader, Auni Bey Abdul Hadi, told the UN Peel Commission, “There is no such country as Palestine. Palestine is a term the Zionists invented. Palestine is alien to us. Our land was for hundreds of years a part of Syria.” 1946 - Philip Hitti, Princeton’s Arab professor of Middle East history, told the Anglo-American committee of inquiry, “It’s common knowledge there is no such thing as Palestine in history.” In his testimony before the same committee, Professor Juhan Hazam said, “Before 1917, when Balfour made his declaration, there had never been a Palestinian question, and there was no Palestine as a political or geographical unit.” 1977. Zahir Muhsein, executive member of the PLO, said in an interview with the Dutch newspaper Trouw, “The Palestinian people do not exist. The creation of a Palestinian state is only a means for continuing our struggle against the State of Israel.

A dizzying array of resources across multiple fields of human inquiry has been deployed to defend this belief. By far, the strongest were theological arguments that presented white supremacy as divine mandate. Particular readings of the Bible provided the scaffolding for these arguments. Black Americans, for example, were cast as descendants of Cain, whom the book of Genesis describes as physically marked by God after killing his brother, Abel, and then lying to God about the crime. In the white Christian version of this narrative, the original ancestor was a Black criminal, and modern-day dark-skinned people continue to bear the physical mark of this ancient transgression. This story implied that Blacks likely inherited both their purported ancestor’s physical distinctiveness and his inferior moral character. These teachings persisted in many white Christian circles well into the 20th century.

We are a species that delights in story. We look out on reality, we grasp patterns, and we join them into narratives that can captivate, inform, startle, amuse, and thrill. The plural—narratives—is utterly essential. In the library of human reflection, there is no single, unified volume that conveys ultimate understanding. Instead, we have written many nested stories that probe different domains of human inquiry and experience: stories, that is, that parse the patterns of reality using different grammars and vocabularies. Protons, neutrons, electrons, and nature’s other particles are essential for telling the reductionist story, analyzing the stuff of reality, from planets to Picasso, in terms of their microphysical constituents. Metabolism, replication, mutation, and adaptation are essential for telling the story of life’s emergence and development, analyzing the biochemical workings of remarkable molecules and the cells they govern. Neurons, information, thought, and awareness are essential for the story of mind—and with that the narratives proliferate: myth to religion, literature to philosophy, art to music, telling of humankind’s struggle for survival, will to understand, urge for expression, and search for meaning. These are all ongoing stories, developed by thinkers hailing from a great range of distinct disciplines. Understandably so. A saga that ranges from quarks to consciousness is a hefty chronicle. Still, the different stories are interlaced. Don Quixote speaks to humankind’s yearning for the heroic, told through the fragile Alonso Quijano, a character created in the imagination of Miguel de Cervantes, a living, breathing, thinking, sensing, feeling collection of bone, tissue, and cells that, during his lifetime, supported organic processes of energy transformation and waste excretion, which themselves relied on atomic and molecular movements honed by billions of years of evolution on a planet forged from the detritus of supernova explosions scattered throughout a realm of space emerging from the big bang. Yet to read Don Quixote’s travails is to gain an understanding of human nature that would remain opaque if embedded in a description of the movements of the knight-errant’s molecules and atoms or conveyed through an elaboration of the neuronal processes crackling in Cervantes’s mind while writing the novel. Connected though they surely are, different stories, told with different languages and focused on different levels of reality, provide vastly different insights.

On Mr. Phipps' discovering the place of my concealment, he cocked his gun and aimed at me. I requested him not to shoot and I would give up, upon which he demanded my sword. I delivered it to him, and he brought me to prison. During the time I was pursued, I had many hair breadth escapes, which your time will not permit you to relate. I am here loaded with chains, and willing to suffer the fate that awaits me. I here proceeded to make some inquiries of him after assuring him of the certain death that awaited him, and that concealment would only bring destruction on the innocent as well as guilty, of his own color, if he knew of any extensive or concerted plan. His answer was, I do not. When I questioned him as to the insurrection in North Carolina happening about the same time, he denied any knowledge of it; and when I looked him in the face as though I would search his inmost thoughts, he replied, 'I see sir, you doubt my word; but can you not think the same ideas, and strange appearances about this time in the heaven's might prompt others, as well as myself, to this undertaking.' I now had much conversation with and asked him many questions, having forborne to do so previously, except in the cases noted in parenthesis; but during his statement, I had, unnoticed by him, taken notes as to some particular circumstances, and having the advantage of his statement before me in writing, on the evening of the third day that I had been with him, I began a cross examination, and found his statement corroborated by every circumstance coming within my own knowledge or the confessions of others whom had been either killed or executed, and whom he had not seen nor had any knowledge since 22d of August last, he expressed himself fully satisfied as to the impracticability of his attempt. It has been said he was ignorant and cowardly, and that his object was to murder and rob for the purpose of obtaining money to make his escape. It is notorious, that he was never known to have a dollar in his life; to swear an oath, or drink a drop of spirits. As to his ignorance, he certainly never had the advantages of education, but he can read and write, (it was taught him by his parents,) and for natural intelligence and quickness of apprehension, is surpassed by few men I have ever seen. As to his being a coward, his reason as given for not resisting Mr. Phipps, shews the decision of his character. When he saw Mr. Phipps present his gun, he said he knew it was impossible for him to escape as the woods were full of men; he therefore thought it was better to surrender, and trust to fortune for his escape. He is a complete fanatic, or plays his part most admirably. On other subjects he possesses an uncommon share of intelligence, with a mind capable of attaining any thing; but warped and perverted by the influence of early impressions. He is below the ordinary stature, though strong and active, having the true negro face, every feature of which is strongly marked. I shall not attempt to describe the effect of his narrative, as told and commented on by himself, in the condemned hole of the prison. The calm, deliberate composure with which he spoke of his late deeds and intentions, the expression of his fiend-like face when excited by enthusiasm, still bearing the stains of the blood of helpless innocence about him; clothed with rags and covered with chains; yet daring to raise his manacled hands to heaven, with a spirit soaring above the attributes of man; I looked on him and my blood curdled in my veins.

When I've been depressed, The Work of Byron Katie inquiry practice has helped me immensely. We humans tend to make ourselves depressed by believing bleak narratives about ourselves and other people. When you question these, often the heavy feelings tend to lift. So, definitely do that. See the Appendix for more information on The Work.

As we approach parts with curiosity and compassion, they may spontaneously release burdens and polarities, returning to the wholeness of the Self, no longer believing in separateness. The conceptual framework surrounding parts may dissolve, and the very label "part" may become superfluous. This aligns with Schwartz’s belief that in a healthy, integrated, or never-burdened system, you "hardly notice your parts." As inner harmony is achieved through this work, the practices themselves may naturally fade away, including any mindfulness or self-inquiry techniques, as our direct knowing of the unified Self stabilizes. What remains is unmediated experiencing—perception without an internal judge or narrator imposing layers of meaning. Like a bird feeling the fresh raindrop, we awaken to the pure isness of the present moment. We recognize that diversity was never truly separate—all parts reside within the vastness of the Self and feel its illuminating presence infusing life with wholeness. Self-realization does not conflict with the experience of inner multiplicity. Rather, it provides the foundation for embracing our diverse parts with love and understanding. Just as clouds naturally arise within the vast expanse of the sky, the many facets of our psyche emerge from the same unitary source of consciousness. By recognizing our fundamental oneness, we can openly accept all inner voices and perspectives as inseparable expressions of our true nature. Parts work therapies like Jungian analysis, psychosynthesis, and IFS rest on the realization that our multiplicity arises from and returns to an underlying unity. Healing separation unveils the intrinsic connectedness shining through our diversity. The many are seen to be expressions of the one infinite consciousness from which we all emerge. Awakening to our true nature does not erase our finite human form but allows us to live as embodiments of the infinite while navigating the relative world. We can embrace relationships, experiences, and inner parts as manifestations of the vast depths of being itself. Our very capacity for a richly textured existence arises from the fecundity of the source—celebrating the unlimited creativity that gives rise to all multiplicities within its all-encompassing embrace. When we unravel the tendency to view parts as separate from Self, ourselves as separate from the collective, and the collective as separate from the universe, we find interconnected wholeness underneath it all, like pieces of the same puzzle fitting perfectly together. Though each piece may seem distinct, together they form a complete picture. Just as a puzzle is not whole without all its pieces, so too are we fragments without our connections to others and the greater whole. All pieces big and small fit together to create the fullness of life. From the vantage point of the infinite, life appears as a seamless whole. Yet seen through the finite lens of the mind, it fragments into countless shapes and forms. To insist that only oneness or multiplicity is real leads to a fragmented perspective, caught between mutually exclusive extremes. With curiosity and compassion, we can integrate these views into a unified vision. Like the beads in a kaleidoscope, Self appears in endless configurations—now as particle, now as wave. Though the patterns change, the beads remain the same. All possibilities are held safely within the kaleidoscope's luminous field. The essence lies in remembering that no bead stands alone. Parts require the presence of an overarching whole that encompasses them. The individual Self necessitates the existence of a vaster, universal SELF. The love that binds all parts infuses the inside and outside alike. This unifying love can be likened to the Tao, the very fabric from which life is woven.

Kennon Smith in their delineating of critical issues in education through the studio. Central to their investigation is a connection with other fields of design and bringing common essential characteristics to the field of instructional design. Design and narrative meet in two chapters. In the first, Katherine Cennamo relates her experiences in pairing two design forms in a multidisciplinary design studio. Not all design work is alike and different cultures exist in different disciplines. At the same time, there are lessons to be learned through this innovative studio environment. Subsequently, Wayne Nelson and David Palumbo present the crossover of an interactive design firm to engagement with instructional design. Blending processes and ideas from product design and user-experience design informs their work, beginning from their entertainment-oriented experience and moving toward an educational product. How people design—whether they are instructional designers, architects, or end users—is a valuable base for practice and education. Chapters by Lisa Yamagata-Lynch and Craig Howard examine the design process using different methods of inquiry, but both help us in our quest for understanding. While Yamagata-Lynch uses Cultural Historical Activity Theory to examine design from an end-user point of view, Howard builds on an extensive use of the case study method to examine our own practices of instructional design. As we have seen in these chapters, instructional design is a diverse field and, while the specific subject matter is important, it is but one component of education. Wayne Nelson outlines the possible scope of research and practice and finds ways to integrate the field beyond traditional educational research. The qualitative and subjective aspects of instructional design must also be addressed. The specific elements of message design, judgment, and ethics are presented in chapters by M.J. Bishop, Nilufer Korkmaz and Elizabeth Boling, and Stephanie Moore. Each is critical in a holistic understanding of the field of instructional design, touching on such questions as how we convey meaning and information, our judgment of quality in our work, and our responsibilities as designers. We began the symposium with the idea of the value of design thinking, and Gordon Rowland, in his chapter, presents a method for improving the use of design in learning and thinking. Design is “a unique and essential form of inquiry,” and Rowland’s method can advance the use of design as a full-fledged educational component. Examining design and education encourages us to address larger, more systemic issues. Marcia Ashbaugh and Anthony Piña examine leadership thinking and how it could infuse and direct instructional design. How to improve the practice of design inquiry extends to the full field of education and to leadership in higher education. Paul Zenke’s chapter examines the role of university leadership as designers. Challenges abound in the modern age for higher education, and the application of design thinking and transformation is sorely needed. Our story, the chapters of this book, began with detailed views of the work of instructional design

Kannada writing is one of the most seasoned and most extravagant scholarly customs in India, tracing all the way back to north of 1,000 years. Known for its significant narrating and graceful profundity, Kannada authors includes a great many sorts, from exemplary stories to contemporary books, verse, and social discourses. Veera Loka Books praises this heritage by offering an organized assortment of works by eminent Kannada writers, furnishing perusers with admittance to immortal stories and current points of view. Tradition of Kannada Writing Kannada authors has delivered a portion of India's best writers and writers, contributing fundamentally to Indian scholarly legacy. Throughout the long term, Kannada creators have investigated subjects of reasoning, otherworldliness, social change, and individual personality. Works from artists like Pampa, Ranna, and Basavanna mirror the early graceful customs and philosophical idea in Kannada, while present day creators like Kuvempu, U. R. Ananthamurthy, and S. L. Bhyrappa bring complex accounts that dig into society, culture, and the human mind. Veera Loka Books: A Center for Kannada Writing Veera Loka Books is committed to advancing Kannada writing by furnishing perusers with admittance to exemplary and contemporary works by acclaimed Kannada writers. From books and brief tales to verse assortments and youngsters' books, Veera Loka Books offers something for each peruser, encouraging a more profound association with the language and culture of Karnataka. Highlighted Kannada Writers Accessible at Veera Loka Books Kuvempu - Known as Karnataka's most memorable Jnanpith awardee, Kuvempu is commended for his verse and books that reflect profound otherworldliness and human qualities. His works, like Malegalalli Madumagalu and Sri Ramayana Darshanam, are immortal works of art that keep on moving perusers across ages. U. R. Ananthamurthy - A focal figure in present day Kannada writing, Ananthamurthy is famous for his striking stories that question social and social standards. His original Samskara, a significant investigate of standing and conventionality, is a fundamental perused for anybody investigating Kannada writing. S. L. Bhyrappa - Known for his point by point, philosophical narrating, Bhyrappa's books frequently tackle topics of custom, history, and existential inquiries. Works like Parva and Saartha grandstand his scholarly profundity and sharp perceptions of society. Poornachandra Tejaswi - As the child of Kuvempu, Tejaswi cut his own specialty in Kannada writing with works that feature provincial life, nature, and human connections. His books like Karvalo offer a one of a kind viewpoint on life in Karnataka. Vaidehi - A main female voice in Kannada writing, Vaidehi's accounts are praised for their responsiveness, particularly in portraying ladies' encounters. Her works point out the subtleties of daily existence and social issues, making them interesting and powerful. Why Pick Veera Loka Books? Veera Loka Books is in excess of a book shop - it's a stage to encounter the best of Kannada writing. By offering works from observed Kannada writers, Veera Loka Books assists perusers with interfacing with their social roots, find novel thoughts, and appreciate enthralling stories. Whether you're a long lasting peruser or new to Kannada writing, Veera Loka Books gives the ideal choice to begin or develop your excursion into this lively scholarly custom. Investigate the huge universe of Kannada writing with Veera Loka Books and drench yourself in stories that mirror the essence of Karnataka.

Tate explained that James was able to achieve this magic through the use of the first-person narrator. Tate said that the first person is the most difficult form because the writer is locked inside the head of the narrator and can’t get out. He can’t say “meanwhile, back at the ranch” as a transition to another subject because he is imprisoned forever inside the narrator. But so is the reader! And that is the strength of the first-person narrative. The reader does not see that the governess is the villainess because what the governess sees is all the reader ever sees.

This book reveals the complexity of nurses’ motivations for joining. It probes how humanitarian nursing within a Quaker-based organization challenged nurses’ perception of their role as purveyors of Western-based knowledge and standards, even as they confronted questions of medical ethics and unfamiliar cultural practices. The Gadabout nurses’ narratives are not solely about what happened to them and how they reacted to the challenges. Rather, they are about how men and women as categories of identity have been constructed within the gendered mainstream historiography, particularly the international relations discipline.1 The China Convoy suggests that nurses’ voices should be taken more seriously, not only within the scholarly literature but also within the contemporary policy formation process. Nurses have been and will remain key to the delivery of humanitarian assistance. It is my hope that this book will open avenues of scholarly inquiry within the history and practice of humanitarian nursing.

To get a general notion of a particular "Self" in practice, we must sample its uses in a variety of contexts, culturally specifiable contexts. [...] One viable alternative is obvious - to do the inquiry retrospectively, through autobiography. I mean, simply, an account of what one thinks one did in what settings in what ways for what felt reasons. It will inevitably be a narrative, its form will be as revealing as its substance. Our interest, rather, is only in what the person thought he did, what he thought he was doing it for, what kind of plights he thought he was in, and so on.

Two very fine young men came to visit me to-day. After putting several preparatory inquiries as to where our country lay, &c., they asked whether people died with us, and where they went to after death. "Who kills them?" "Have you no charm (Buanga) against death?" It is not necessary to answer such questions save in a land never visited by strangers. Both had the "organs of intelligence" largely developed. I told them that we prayed to the Great Father, "Mulungu," and He hears us all; they thought this to be natural.

This collection consists of the following pieces: COGNITIVE SCIENCE 1. The Embodied Cognition View 2. On Flanagan's Ideas On Dreams and Ahead: An Attempt To Locate Dreaming Phenomenon Under The Superclass Of Consciousness 3. "The Pragmatics of Cartoons: The Interaction of Bystander Humorosity vs. Agent-Patient Humorosity." 4. Integrationist School or on 'Rethinking Language'. 5. On Steven Pinker's 'Language Instinct' or Some Remarks on Evolutionary Psycholinguistics 6. On the (Im)Possibility of Psychotherapist Computer Programs: An Investigation within the Realm of Epistemology 7. Thai Language: A Brief Typology. ART NARRATIVES 8. Armenians As Ingroups in William Saroyan's Stories from the Framework of the Theory of Social Representations: A Social Psychological Inquiry. 9. A Critique of The Stories By South East Asian Writing Awardees 10. Mulholland Drive: Another impasse for the American film industry. 11. On 'About Schmidt' 12. On Black spirituals. 13. The possibility of an African American poetry.

The revolutions of the Enlightenment period repositioned humanity in a vast, mechanistic, determined cosmos of flux and brute “causality” in which people sought to become the ultimate agents and source of meaning itself. Western establishment science eventually came to reflect this revolution in thought by offering a new paradigm of the natural sciences in which humanity was now the chance product of endless eons of chaos and flux. The crucial point to keep in mind for our discussion is the fact that the purely “naturalistic” framework for understanding the world was promulgated with an astounding degree of propaganda and top-down dogmatism, notably from Britain’s Royal Society (formerly The Royal Society of London for Improving Natural Knowledge). Evolutionary naturalism, as we will explore, is undoubtedly and certainly a conspiracy, and not at all a neutral theory of open scientific inquiry as it pretends to be.

Have you not assessed why that idea is the dominant narrative? Explore the counter narrative and then realign your position.

Explanations settle issues, showing that matters must end as they have. Narratives raise issues, showing that matters do not end as they must but as they do. Explanation sets the need for further inquiry aside; narrative invites us to rethink what we thought we knew. If the silence of nature is the possibility of language, language is the possibility of history.

The first literary work in prose was history. And we call Herodotus (c.480–c.425 B.C.) the Father of History because his is the earliest surviving work in Greek prose that aimed to give literary form to an extended narrative of the past. The Greek historie means “inquiry” or the search for truth. Herodotus might also perhaps be called the Father of Prose, for until his time verse was still the normal vehicle for narratives of great events and heroes of the past.

The fundamental idea, then, is that within the cosmic order that philosophical inquiry would subsequently explore—the order established by Zeus (according to the inaugural mythological narratives) after a series of wars against the forces of chaos—each of us has his appointed or “natural” place. In this perspective, wisdom and justice consist fundamentally in the effort by humans to find this place. A lute maker adjusts one by one the multiple pieces of wood that constitute his instrument before they can enter into harmony with each other (and if the sound post of the instrument, sometimes referred to as the âme, or “soul”—the small dowel of white wood that spans the top and back plates of the lute—is badly positioned, then the latter will cease to sound properly, will fail to be harmonious). So, too, we humans must, in the image of Odysseus of Ithaca, find our place in life and occupy it under pain of not otherwise being able to accomplish our mission in the scheme of things, in which event we shall encounter nothing but unhappiness. This is indeed the message that Greek philosophy, for the most part, was to draw from the mythological past.

Explanation sets the need for further inquiry aside; narrative invites us to rethink what we thought we knew.

Dražen Kalenić is a Croatian author whose literary work is grounded in philosophical reflection and moral inquiry. Originally trained in technical sciences, he later turned to art, first through photography and design, then fully dedicating himself to literature. His breakthrough novel Underneath the Baldachin (1995), now reissued in a two-part edition, explores themes of spiritual decline, power, sacrifice, and beauty through allegorical storytelling and layered narration. Kalenić’s writing is inspired by Western philosophical tradition and classic literature, particularly authors like Robert Musil. His characters confront the tension between good and evil, faith and betrayal, and the search for moral clarity in a complex world. He lives and works in Zagreb. Editorial Reviews • Academician Ranko Marinković: “You wrote a miracle!" • Prof. Slavko Harni, National Library of Croatia: “An original literary voice... Kalenić joins the philosophical investigation of man as a seeker of beauty. His writing rebels against stylistic comfort and explores the moral complexity of human life.” • Drago Z. Spectar: “Kalenić offers a layered allegorical novel, exposing the spiritual and moral challenges of our age. The book is read in one breath, and reminds us we are all under the baldachin.” • J.S. Wagner: “A literary achievement that should be read worldwide. Underneath the Baldachin is a phoenix-like masterpiece, rising from personal and collective trauma to affirm the essential truth of love and faith.” • Academician Ante Lib Matić: “Read the first and last sentence… If they stay with you – as they did with me – you’ll know this story matters.

Despite the increasing rigor with which scholars are approaching slavery and erotics, the pervasiveness of intellectual skepticism reflects how deeply entrenched narratives of violation, violence, and trauma are to our understanding of black female sexuality. Emphasizing subjugation, exploitation, and dehumanization, however, cannot preclude fuller incorporation of pleasure and erotic possibility in the lives of enslaved black women. Sex acts happened often during slavery. Political goals of the moment do not rewrite the sexual lives, desires, and choices of enslaved and free women of color, but they can obscure those lives to our detriment. . . . To search for this in chattel slavery by interrogating these possibilities . . . does not lessen the traumatic, terrorizing, and horrific nature of slavery. Such inquiries allow for the interior lives and erotic subjectivities of enslaved blacks to matter.6

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