Online research in philosophy

The operant contingency remains the most powerful and flexible single technology for the production and control of purposive behavior. The immediate aim of this paper is to examine the conceptual and empirical adequacy of the operant contingency as the basis for a science of purposive behavior. My longer-term goal is to improve the effectiveness of operant contingencies and our understanding of how and why they work. I explore three aspects of the operant contingency: its development as a closed definitional system, its empirical adequacy as a technology, and the appropriateness and usefulness of related theoretical assumptions. I conclude that the efficacy of the operant contingency can be improved further by continued analysis of its implementation, mechanisms, and assumptions and by increasing its links to other approaches and concepts.

This essay explains why creationism about fictional characters is an abject failure. Creationism about fictional characters is the view that fictional objects are created by the authors of the novels in which they first appear. This essay shows that, when the details of creationism are filled in, the hypothesis becomes far more puzzling than the linguistic data it is used to explain. No matter how the creationist identifies where, when and how fictional objects are created, the proposal conflicts with other strong intuitions we have about fictional characters. CiteULike Connotea Del.icio.us Digg Reddit Technorati What's this?

This article makes three claims concerning the concept of contingency. First, we argue that the word contingency is used in far too many ways to be useful. Its many meanings are detrimental to clarity of discussion and thought in history and the social sciences. We show how there are eight distinct uses of the word and illustrate this with numerous examples from the social sciences and history, highlighting the scope for confusion caused by the many, often contradictory uses of the term. Second, we impose some order on these uses through developing a threefold classification of contingency based on assumptions about possible worlds and determinism. Finally, we discuss why we believe that one of the classes is a special use of the word without relevance to the social sciences, while the two remaining classes are nothing more than a variety of the “no hidden factors” argument in the debate on indeterminism and determinism.

One way creatures of fiction seem to differ from real things is in their essential properties. While you and I might not have done many of the things we did do, Anna Karenina could not, surely, have been other than a lover of Vronsky. Is that right? Not straightforwardly: while it is true that “Necessarily, someone who was not a lover of Vronsky would not be Anna”, it is also true that “Someone who was necessarily a lover of Vronsky would not be Anna”. I use a framework developed by Stalnaker to explain this, and to shed light on the semantics of fictional names.

This essay argues that a person's fate is defined by the interaction of necessity and contingency, indicating that a person's existential competence consists of his or her ability to dance well with both necessity and contingency, not merely with either of them. As a result, it rejects the traditional association of fate with fatalism and fatality on the one hand and resists the present current to define individual fate and identity merely in terms of contingency and as contingency on the other hand. Meanwhile, it defines necessity that shapes a person's fate in terms of laws of nature and human existence, not as some predetermined scheme or design.

I argue that the ontological status of fictional characters is determined by the beliefs and practices of those who competently deal with works of literature, and draw out three important consequences of this. First, heavily revisionary theories cannot be considered as ‘discoveries’ about the ‘true nature’ of fictional characters; any acceptable realist theory of fiction must preserve all or most of the common conception of fictional characters. Second, once we note that the existence conditions for fictional characters (established by those beliefs and practices) are extremely minimal, it makes little sense to deny the existence of fictional characters, leaving anti-realist views of fiction unmotivated. Finally, the role of ordinary beliefs and practices in determining facts about the ontology of fictional characters explains why non-revisionary theories of fiction are bound to yield no determinate or precise answer to certain questions about fictional characters, demonstrating the limits of a theory of fiction.

A structured character is a semantic value of a certain sort. Like the more familiar Kaplanian characters, structured characters determine the contents of expressions in contexts. But unlike Kaplanian characters, structured characters also have constituent structures. The semantic theories with which most of us are acquainted do not mention structured characters. But I argue in this paper that these familiar semantic theories fail to make obvious distinctions in meaning---distinctions that can be made by a theory that uses structured characters. Thus I conclude that we should reject these familiar semantic theories, and accept a semantic theory that includes structured characters among its semantic values.