A Quote by Paul Ricoeur

Narrative identity takes part in the story's movement, in the dialectic between order and disorder — © Paul Ricoeur
Narrative identity takes part in the story's movement, in the dialectic between order and disorder
Narrative identity takes part in the story's movement, in the dialectic between order and disorder.
The narrative constructs the identity of the character, what can be called his or her narrative identity, in constructing that of the story told. It is the identity of the story that makes the identity of the character.
I don't think that the "freedom movement" is a racist movement as such. But it's a virulent example of identity politics. "Whiteness" is part of the identity, but not the most important part.
Say you have a headline like "Mountain Bike Stolen," and then you read the story, read another story about it the next day, and then the next week, and then the next year. News is a process of expansion, the filling in of detail, and making narrative connections - not based on chronology, but based on features of the story. There are narrative connections made between props, between characters, between situations, and so forth.
In order for a narrative to work, the primary character should have a concrete desire - a need that drives her story - and the story's writer should make this goal known to the reader pretty early in the narrative.
A man, as we see in this world, is chaos, but he doesn't recognize that fact so he tries to bring order into everything. Order is disorder. Order creates disorder.
By writing a horror novel where this inexplicable disorder takes over in our ordered lives, you make order look better by comparison. But below that, there's a part of us that responds to the Who bashing their instruments to pieces on the stage. There's a very primitive part that says, "Do it some more."
In the same manner, having been reduced by disorder, and sunk to their utmost state of depression, unable to descend lower, they, of necessity, reascend; and thus from good they gradually decline to evil, and from evil again return to good. The reason is, that valor produces peace; peace, repose; repose, disorder; disorder, ruin; so from disorder order springs; from order virtue, and from this, glory and good fortune.
In 1990 I did a story with Helena Christensen about a woman who lives in a trailer in the middle of the desert and finds a little crushed UFO with a martian who has survived the crash. She takes him home, and they fall in love. Later he has to meet with his fellow martians who have arrived to rescue him. It's a sad ending. This was my first truly narrative story and apparently the first narrative story in fashion photography.
A violent order is disorder; and a great disorder is an order. These two things are one.
I did have friends who have suffered from schizophrenia and mild dissociative identity disorder, as well as more extreme cases of social anxiety disorder.
The line between disorder and order lies in logistics.
I've been in movement work since I was 16 years old. Black Lives Matter becomes an important part of the story, but it's not the only part of the story.
Living "in" a story, being part of a narrative, is much more satisfying than living without one. I don't always know what narrative it is, because I'm living my life and not always reflecting on it, but as I edit these pages I am aware that I have an urge to see my sometimes random wandering as having a plot, a purpose guided by some underlying story.
The difference between writing a story and simply relating past events is that a story, in order to be acceptable, must have shape and meaning. It is the old idea that art is the bringing of order out of chaos.
People are created in God's image. Homosexuality is an identity adopted through societal factors. It's an identity disorder.
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