Contemplating Art is a compendium of writings from the last ten years by one of the leading figures in aesthetics, Jerrold Levinson. The twenty-four essays range over issues in general aesthetics and those relating to specific arts--in particular music, film, and literature. It will appeal not only to philosophers but also to musicologists, literary theorists, art critics, and reflective lovers of the arts.
Jerrold Levinson maintains that he is a realist about aesthetic properties. This paper considers his positive arguments for such a view. An argument from Roger Scruton, that aesthetic realism would entail the absurd claim that many aesthetic predicates were ambiguous, is also considered and it is argued that Levinson is in no worse position with respect to this argument than anyone else. However, Levinson cannot account for the phenomenon of aesthetic autonomy: namely, that we cannot be put (...) in a position to make an aesthetic judgement by testimony alone. Finally, Levinson's views on the ontology of aesthetic properties are considered and found wanting. (shrink)
This is a long-awaited reissue of Jerrold Levinson's 1990 book Music, Art, and Metaphysics, which gathers together the writings that made him a leading figure in contemporary aesthetics. Most of the essays are distinguished by a concern with metaphysical questions about artworks and their properties, but other essays address the problem of art's definition, the psychology of aesthetic response, and the logic of interpreting and evaluating works of art. The focus of about half of the essays is the art (...) of music, the art of greatest interest to Levinson throughout his career. Many of the essays have been very influential, being among the most cited in contemporary aesthetics and having become essential references in debates on the definition of art, the ontology of art, emotional response to art, expression in art, and the nature of art forms. (shrink)
[Derek Matravers] Jerrold Levinson maintains that he is a realist about aesthetic properties. This paper considers his positive arguments for such a view. An argument from Roger Scruton, that aesthetic realism would entail the absurd claim that many aesthetic predicates were ambiguous, is also considered and it is argued that Levinson is in no worse position with respect to this argument than anyone else. However, Levinson cannot account for the phenomenon of aesthetic autonomy: namely, that we cannot (...) be put in a position to make an aesthetic judgement by testimony alone. Finally, Levinson's views on the ontology of aesthetic properties are considered and found wanting. /// [Jerrold Levinson] Being an aesthetic realist is hard work. Derek Matravers has raised a number of concerns for the brand of aesthetic realism that I have defended in the past, and that I continue to defend, albeit with modification. Much turns on the nature of aesthetic properties, and on the reasons for acknowledging their existence. I here try to provide further illumination on both scores, suggesting in particular that many aesthetic properties can be viewed as manifest higher-order ways of appearing. Toward the end of my discussion the question of whether or not aesthetic properties are response-dependent is addressed, and I offer the tentative conclusion that some are, and some are not. (shrink)
The Oxford Handbook of Aesthetics brings the authority, liveliness, and multi-disciplinary scope of the Handbook series to a fascinating theme in philosophy and the arts. Jerrold Levinson has assembled a hugely impressive range of talent to contribute 48 brand-new essays, making this the most comprehensive guide available to the theory, application, history, and future of the field. This Handbook will be invaluable to academics and students across philosophy and all branches of the arts, both as the reference work of (...) choice and as a stimulus to new research and creativity. (shrink)
Transpersonal psychology first emerged as an academic discipline in the 1960s and has subsequently broadened into a range of transpersonal studies. Jorge Ferrer (2002) has called for a 'revisioning' of transpersonal theory, dethroning inner experience from its dominant role in defining and validating spiritual reality. In the current paradigm he detects a lingering Cartesianism, which subtly entrenches the very subject-object divide that transpersonalists seek to overcome. This paper outlines the development and current shape of the transpersonal movement, compares Ferrer's epistemology (...) with the heterophenomenology of Daniel Dennett, and speculates on the integration of the latter into transpersonal theory. (shrink)
This collection is a much-needed remedy to the confusion about which varieties of enactivism are robust yet viable rejections of traditional representionalism...
One of the most influential philosophical voices in the consciousness studies community is that of Daniel Dennett. Outside of consciousness studies, Dennett is well-known for his work on numerous topics, such as intentionality, artificial intelligence, free will, evolutionary theory, and the basis of religious experience. (Dennett, 1984, 1987, 1995c, 2005) In 1991, just as researchers and philosophers were beginning to turn more attention to the nature of consciousness, Dennett authored his Consciousness Explained. Consciousness Explained aimed to develop both a (...) theory of consciousness and a powerful critique of the then mainstream view of the nature of consciousness, which Dennett called,. (shrink)
Up until fairly recently it was philosophical orthodoxy – at least within analytic aesthetics broadly construed – to hold that the appreciation and evaluation of works as art and moral considerations pertaining to them are conceptually distinct. However, following on from the idea that artistic value is broader than aesthetic value, the last 15 years has seen an explosion of interest in exploring possible inter-relations between the appreciative and ethical character of works as art. Consideration of these issues has a (...) distinguished philosophical history but as the Compass survey article suggests ('Art, Morality and Ethics: On the (Im)Moral Character of Art Works and Inter-Relations to Artistic Value.' Philosophy Compass 1.2 (2006): 129–43), it is only very recently that figures in the field have returned to it to develop more precisely what they take the relationships to be and why. Consensus is, unsurprisingly, lacking. The reinvigoration of the issues has led sophisticated formalists or autonomists to mount a more considered defence of the idea that aesthetic and literary values are indeed conceptually distinct from the justification or otherwise of the moral perspective or views endorsed in a work (Topic I). The challenges presented by such a defence are many but amongst them are appeals to critical practice (Lamarque and Olsen), scepticism about whether or not art really can give us bona fide knowledge (Stolnitz) and the recognition that truth often seems to be far removed from what it is we value in our appreciation of works (Lamarque). One way to motivate consideration of the relevance of a work's moral character to its artistic value concerns the phenomena of imaginative resistance. At least sometimes it would seem that, as Hume originally suggested, we either cannot or will not enter imaginatively into the perspective solicited by a work due to its morally problematic character (Topic II). In some cases, it would seem that as a matter of psychological fact, we cannot do so since it is impossible for us to imagine how it could be that a certain attitude or action is morally permissible or good (Walton). The question then is whether or not this is a function of morality in particular or constraints on imaginative possibility more generally and what else is involved. At other times, the phenomena seem to be driven by a moral reluctance to allow ourselves to enter into the dramatic perspective involved (Moran) or evaluation of the attitude expressed (Stokes). Nonetheless, it is far from obvious that this is so of all the attitudes or responses we judge to be morally problematic. After all, it looks like we can and indeed often do suspend or background particular cognitive and moral commitments in engaging with all sorts of works (Nichols and Weinberg). If the moral character of a work interacts with how we appreciate and evaluate them, then the pressing question is this: is there any systematic account of the relationship available to us? One way is to consider the relationship between our emotional responses to works and their moral character (Topic III). After all, art works often solicit various emotional responses from us to follow the work and make use of moral concepts in so doing (Carroll). Indeed, whether or not a work merits the sought for emotional responses often seems to be internally related to ethical considerations (Gaut). Yet, it is not obvious that we should apply our moral concepts or respond emotionally in our imaginative engagement with works as art as we should in real life (Kieran, Jacobson). A different route is via the thought that art can convey knowledge (Topic IV). There might be particular kinds of moral knowledge art distinctively suited to conveying (Nussbaum) or it may just be that art does so particularly effectively (Carroll, Gaut, Kieran). Either way where this can be tied to the artistic means and appreciation of a work it would seem that to cultivate moral understanding contributes to the value of a work and to betray misunderstanding is a defect. Without denying the relevance of the moral character of a work some authors have wanted to claim that sometimes the immoral aspect of a work can contribute to rather than lessen its artistic value (Topic V). One route is to claim that there is no systematic theoretical account of the relationship available and what the right thing to say is depends on the particular case involved (Jacobson). Another involves the claim that this is so when the defect connects up in an appropriate way to one of the values of art. Thus, it has been claimed, only where a work reveals something which adds to intelligibility, knowledge or understanding in virtue of its morally problematic aspect can this be so (Kieran). The latter position looks like it could in principle be held whilst nonetheless maintaining that the typical or standard relationship is as the moralists would have it. Yet perhaps allowing valence change for such reasons is less a mark of principled explanation and more a function of downright inconsistency or incoherence (Harold). The topics themselves and suggested readings given below follow the structure articulated above as further amplified in the Compass survey article. The design and structure given below can be easily compressed or expanded further. Author Recommends 1. Carroll, Noël. 'Art, Narrative and Moral Understanding.' Aesthetics and Ethics: Essay at the Intersection . Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 126–60. This article develops the idea that engaging with narrative art calls on moral concepts and emotions and can thereby clarify our moral understanding. 2. Carroll, Noël. Beyond Aesthetics: Philosophical Essays . Cambridge: Cambridge UP, 2009. Part IV consists of six distinct essays on questions concerning the inter-relations between art and morality including the essay cited above and the author's articulation and defence of moderate moralism. 3. Gaut, Berys. 'The Ethical Criticism of Art.' Aesthetics and Ethics: Essay at the Intersection . Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 182–203. 4. Gaut, Berys. Art, Emotion and Ethics . Oxford: Oxford UP, 2007. This monograph provides the most exhaustive treatment of the issues and defends the claim that, where relevant, whenever a work is morally flawed it is of lesser value as art and wherever it is morally virtuous the work's value as art is enhanced. Chapters 7 and 8 defend concern ethical knowledge and chapter 10 is a development of the article cited above concerning emotional responses. Chapter 3 also gives a useful conceptual map of the issues and options in the debate. 5. Jacobson, Daniel. 'In Praise of Immoral Art.' Philosophical Topics 25 (1997): 155–99. A wide ranging and extended treatment of relevant issues which objects to generalising moral treatments of our responses to art works and defends the idea that particular works can be better because of rather than despite their moral defects. 6. Kieran, Matthew. 'Forbidden Knowledge: The Challenge of Cognitive Immoralism.' Art and Morality . Ed. Sebastian Gardner and José Luis Bermúdez. London: Routledge, 2003. 56–73. A general argument for immoralism is elaborated by outlining when, where and why a work's morally problematic character can contribute to its artistic value for principled reasons (through enhancing moral understanding). 7. Kieran, Matthew. Revealing Art . London: Routledge, 2005. Chapter 4. This chapter argues against both aestheticism and straightforward moralism about art, elaborating a defence of immoralism in relation to visual art whilst ranging over issues from pornographic art to the nature and demands of different genres in art. 8. Lamarque, Peter. 'Cognitive Values in the Arts: Marking the Boundaries.' Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006, 127–39. This article concisely outlines and defends a sophisticated aestheticism that denies the importance of truth to artistic value. 9. Stolnitz, Jerome. 'On the Cognitive Triviality of Art.' British Journal of Aesthetics 32.3 (1992): 191–200. This article articulates and defends the claim that no knowledge of any interesting or significant kind can be afforded by works appreciated and evaluated as art. 10. Walton, Kendall. 'Morals in Fiction and Fictional Morality, I.' Proceedings of the Aristotelian Society, Suppl. 68 (1994): 27–51. This article builds on some comments from Hume to develop the idea that when engaging with fictions it seems impossible imaginatively to enter into radically deviant moral attitudes. Online Materials 'Aesthetics and Ethics: The State of the Art.' American Society of Aesthetics online (Jeffrey Dean): http://www.aesthetics-online.org/articles/index.php?articles_id=15 >. 'Art, Censorship and Morality' downloadable podcast of Nigel Warburton interviewing Matthew Kieran at Tate Britain (BBC/OU Open2.net as part of the Ethics Bites series): http://www.open2.net/ethicsbites/art-censorship-morality.html >. 'Art, Morality and Ethics: On the (Im)Moral Character of Art Works and Inter-Relations to Artistic Value.' Philosophy Compass 1.2 (2006): 129–43 (Matthew Kieran): http://www3.interscience.wiley.com/journal/118557779/abstract >. 'Ethical Criticism of Art.' Internet Encyclopedia of Philosophy (Ella Peek): http://www.iep.utm.edu/a/art-eth.htm >. 'Fascinating Fascism.' New York Review of Books Piece Discussing Leni Riefenstahl (Susan Sontag): http://www.nybooks.com/articles/9280 >. 'The Beheading of St. John the Baptist (1450s), Giovanni de Paolo' (Tom Lubbock): http://www.independent.co.uk/arts-entertainment/art/great-works/great-works-the-beheading-of-st-john-the-baptist-1450s-giovanni-di-paolo-1684900.html >. Vladimir Nabokov and Lionel Trilling discuss Lolita (CBS): http://www.listal.com/video/3848698 >. Sample Syllabus Topic I Autonomism/Aestheticism • Anderson, James C. and Jeffrey T. Dean. 'Moderate Autonomism.' British Journal of Aesthetics 38.2 (1998): 150–66. • Beardsley, Monroe. Aesthetics: Problems in the Philosophy of Criticism . New York: Harcourt, Brace and World, 1958. Chapter 12. • Kant, Immanuel. The Critique of Judgement.Trans. James Creed Meredith . Oxford: Oxford UP, 1952 [1790]. • Lamarque, Peter. 'Cognitive Values in the Arts: Marking the Boundaries.' Contemporary Debates in Aesthetics and the Philosophy of Art . Ed. Matthew Kieran. Oxford: Blackwell, 2006, 127–39. • ——. 'Tragedy and Moral Value.' Australasian Journal of Philosophy 73.2 (1995): 239–49. • Lamarque, Peter and Stein Olsen. Truth, Fiction and Literature . Oxford: Clarendon Press, 1994. Chapter 10. • Stolnitz, Jerome. 'On the Cognitive Triviality of Art.' British Journal of Aesthetics 32.3 (1992): 191–200. Topic II Imaginative Capacities, Intelligibility and Resistance • Moran, Richard. 'The Expression of Feeling in Imagination.' Philosophical Review 103.1 (1994): 75–106. • Nichols, Shaun. 'Just the Imagination: Why Imagining Doesn't Behave Like Believing'. Mind & Language 21.4 (2006): 459–74. • Stokes, Dustin. 'The Evaluative Character of Imaginative Resistance'. British Journal of Aesthetics 46.4 (2006): 387–405. • Tanner, Michael. 'Morals in Fiction and Fictional Morality, II'. Proceedings of the Aristotelian Society, Suppl. Vol. 68 (1994): 51–66. • Walton, Kendall (1994). 'Morals in Fiction and Fictional Morality, I'. Proceedings of the Aristotelian Society, Suppl. Vol. 68 (1994): 27–51. • Weinberg, Jonathan. 'Configuring the Cognitive Imagination.' New Waves in Aesthetics . Eds. K. Stock and K. Thomson-Jones. London: Palgrave Macmillan, 2008. 203–23. Topic III Moralism and Emotions • Carroll, Noël. 'Moderate Moralism.' British Journal of Aesthetics 36.3 (1996): 223–37. • Carroll, Noël. 'Art, Narrative and Moral Understanding.' Aesthetics and Ethics: Essay at the Intersection . Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998.126–60. • Gaut, Berys. Art, Emotion and Ethics . Oxford: Oxford UP, 2007. Chapter 10. • ——. 'The Ethical Criticism of Art.' Aesthetics and Ethics: Essay at the Intersection . Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 182–203. • Hume, David. 'Of the Standard of Taste.' Selected Essays . Oxford: Oxford UP, 1993 [1757]. 133–53. • Kieran, Matthew. 'Emotions, Art and Immorality.' Oxford Handbook to the Philosophy of Emotions . Ed. Peter Goldie. Oxford: Oxford UP, 2009. 681–703. • Tolstoy, Leo. What is Art? . London: Penguin, 2004. Chapters 5 and 15. Topic IV Moralism and Knowledge • Aristotle. Poetics . Trans. M. Heath. London: Penguin, 1996 [367–322 BC]. • Carroll, Noël. 'The Wheel of Virtue: Art, Literature and Moral Knowledge.' Journal of Aesthetics and Art Criticism 60.1 (2002): 3–26. • Gaut, Berys. Art, Emotion and Ethics . Oxford: Oxford UP, 2007. Chapters 7 and 8. • Gaut, Berys. 'Art and Cognition.' Contemporary Debates in Aesthetics and the Philosophy of Art . Ed. Matthew Kieran. Oxford: Blackwell, 2006. 115–26. • Kieran, Matthew. 'Art, Imagination and the Cultivation of Morals.' Journal of Aesthetics and Art Criticism 54.4 (1996): 337–51. • Nussbaum, Martha. 'Finely Aware and Richly Responsible: Literature and the Moral Imagination.' Love's Knowledge . New York: Oxford UP, 1990. 148–68. • Plato. The Republic . Trans. D. Lee. Harmondsworth: Penguin, 1974. Book 10. Topic V Immoralist Contextualism • Harold, James. 'Immoralism and the Valence Constraint.' British Journal of Aesthetics 48.1 (2008): 45–64. • Jacobson, Daniel. 'In Praise of Immoral Art.' Philosophical Topics 25 (1997): 155–99. • ——. 'Ethical Criticism and the Vices of Moderation.' Contemporary Debates in Aesthetics and the Philosophy of Art . Ed. Matthew Kieran. Oxford: Blackwell, 2006. 342–55. • John, Eileen. 'Artistic Value and Moral Opportunism.' Contemporary Debates in Aesthetics and the Philosophy of Art . Ed. Matthew Kieran. Oxford: Blackwell, 2006. 331–41. • Kieran, Matthew. 'Forbidden Knowledge:The Challenge of Cognitive Immoralism.' Art and Morality . Ed. Sebastian Gardner and José Luis Bermúdez. London: Routledge, 2003. 56–73. • Kieran, Matthew. Revealing Art . London: Routledge, 2005. Chapter 4. • Patridge, Stephanie. 'Moral Vices as Artistic Virtues: Eugene Onegin and Alice.' Philosophia 36.2 (2008): 181–93. Focus Questions 1. What is the strongest argument for the claim that the moral character of a work is not relevant to its artistic value? Does artistic or literary criticism tend to concern itself with the truth or morality of works? If so, in what ways? If not, why do you think this is? 2. What different explanations might there be for difficulty with or resistance to imaginatively entering into attitudes you take to be immoral? How might this relate to the way our imaginings work as contrasted with belief? How might different literary or artistic treatments of the same subject matter make a difference? 3. How do narrative works draw on our moral concepts and responses? Can we suspend our normal moral commitments or application of moral concepts in responding emotionally to art works? Should we respond emotionally to art works as we ought to respond to real world events we witness? Why? Why not? 4. How, if at all, do art works convey moral understanding? How, if at all, is this related to the kinds of moral knowledge art works can teach or reveal to us? When, where and why might this be tied to the artistic value of a work? How can we tell where a work enhances our moral understanding as opposed to misleading or distorting it? 5. What art works do you value overall as art which commend or endorse moral values and attitudes that you do not? Is appreciation of them always marred or lessened by the morally dubious aspect? If not, what explains the differences in evaluation? What, if anything, might you learn by engaging with works which endorse moral attitudes or apply moral concepts different from those you take to be justified? How, if at all, might this connect up with what makes them valuable as art? (shrink)
In The illusion of conscious will , Daniel Wegner offers an exciting, informative, and potentially threatening treatise on the psychology of action. I offer several interpretations of the thesis that conscious will is an illusion. The one Wegner seems to suggest is "modular epiphenomenalism": conscious experience of will is produced by a brain system distinct from the system that produces action; it interprets our behavior but does not, as it seems to us, cause it. I argue that the evidence (...) Wegner presents to support this theory, though fascinating, is inconclusive and, in any case, he has not shown that conscious will does not play a crucial causal role in planning, forming intentions, etc. This theory's potential blow to our self-conception turns out to be a glancing one. (shrink)
Questions about Leibniz's views on the ontological status of the corporeal world have been at the center of debate in Leibniz scholarship for more than two decades, and one of the major players in these debates has been Daniel Garber. Having sketched his influential position in a number of articles over the years, he now gives full expression to his view in this highly anticipated and long-awaited book.
In A New Form of Agent-Based Virtue Ethics , Daniel Doviak develops a novel agent-based theory of right action that treats the rightness (or deontic status) of an action as a matter of the action’s net intrinsic virtue value (net-IVV)—that is, its balance of virtue over vice. This view is designed to accommodate three basic tenets of commonsense morality: (i) the maxim that “ought” implies “can,” (ii) the idea that a person can do the right thing for the wrong (...) reason, and (iii) the idea that a virtuous person can have “mixed motives.” In this paper, I argue that Doviak’s account makes an important contribution to agent-based virtue ethics, but it needs to be supplemented with a consequentialist account of the efficacy of well-motivated actions—that is, it should be transformed into a mixed (motives-consequences) account, while retaining its net-IVV calculus. This is because I believe that there are right-making properties external to an agent’s psychology which it is important to take into account, especially when an agent’s actions negatively affect other people. To incorporate this intuition, I add to Doviak’s net-IVV calculus a scale for outcomes . The result is a mixed view which accommodates tenets (ii) and (iii) above, but allows for (i) to fail in certain cases. I argue that, rather than being a defect, this allowance is an asset because our intuitions about ought-implies-can break down in cases where an agent is grossly misguided, and our theory should track these intuitions. (shrink)
The relationship of the author's intention to the meaning of a literary work has been a persistently controversial topic in aesthetics. Anti-intentionalists Wimsatt and Beardsley, in the 1946 paper that launched the debate, accused critics who fueled their interpretative activity by poring over the author's private diaries and life story of committing the 'fallacy' of equating the work's meaning, properly determined by context and linguistic convention, with the meaning intended by the author. Hirsch responded that context and convention are not (...) sufficient to determine a unique meaning for a text; to avoid radical ambiguity we must appeal to the author's intention, which actualizes one of the candidate meanings. Subsequent writers have defended refined versions of these views, and a variety of positions on the spectrum between them, in a debate that remains central to philosophical aesthetics. While much of the debate has focused on literature, similar questions arise with respect to the interpretation of visual artworks. Some of the readings listed below address this matter explicitly. Author Recommends: William K. Wimsatt and Monroe C. Beardsley, 'The Intentional Fallacy', Sewanee Review 54 (1946): 468–88. Locus classicus of the anti-intentionalist position: Wimsatt and Beardsley hold that appeal to the author's intention is always extraneous, since intention cannot override the role of linguistic convention and context in determining meaning. Criticism, they argue, should thus proceed by careful examination of the literary work rather than by sifting through biographical material that might hint at the author's intentions. E. D. Hirsch, Jr., Validity in Interpretation (New Haven, CT: Yale University Press, 1967). The seminal statement of actual intentionalism: Hirsch holds that 'meaning is an affair of consciousness and not of physical signs or things' (23), though he allows that linguistic convention constrains the meanings the author can intend for a particular utterance. He argues that the author's intention is necessary to fix meaning, since the application of conventions alone would typically leave a text wildly indeterminate. Alexander Nehamas, 'The Postulated Author: Critical Monism as a Regulative Ideal', Critical Inquiry 8 (1981): 133–49. Nehamas argues for a version of hypothetical intentionalism according to which interpretation is a matter of attributing an intended meaning to a hypothetical author, distinct from the historical writer. This view allows the interpreter to find meaning even in features of the work that may have been mere accidents on the part of the historical writer. Gary Iseminger, ed., Intention and Interpretation (Philadelphia, PA: Temple University Press, 1992). Intention and Interpretation is an outstanding collection including both classic and new essays representing most of the major viewpoints in the debate. Noël Carroll, 'Art, Intention, and Conversation', Intention and Interpretation , ed. Gary Iseminger (Philadelphia, PA: Temple University Press, 1992), 97–131. The essay defends modest actual intentionalism, according to which the work's meaning is one compatible both with the author's meaning intentions and with the conventionally allowable meanings of the text. Carroll holds that literature is on a continuum with ordinary conversation, to which an intentionalist analysis is apt; for this reason he rejects anti-intentionalism and hypothetical intentionalism, which emphasize the purported autonomy of literary works from their authors. Daniel Nathan, 'Irony, Metaphor, and the Problem of Intention', Intention and Interpretation , ed. Gary Iseminger (Philadelphia, PA: Temple University Press, 1992), 183–202. Nathan argues that even irony and metaphor, which are often thought to require an analysis in terms of the author's actual intentions, are in fact best understood on an anti-intentionalist approach. Jerrold Levinson, 'Intention and Interpretation in Literature', The Pleasures of Aesthetics: Philosophical Essays (Ithaca, NY: Cornell University Press, 1996), 175–213. Revised version of 'Intention and Interpretation: A Last Look', Intention and Interpretation , ed. Gary Iseminger (Philadelphia, PA: Temple University Press, 1992), 221–56. The essay defends a version of hypothetical intentionalism according to which the meaning of a literary work is the meaning that would be attributed to the actual author by members of the ideal audience. Levinson argues that literary works should be treated differently from everyday utterances, since it is a convention of literature that its works are substantially autonomous from their authors. Paisley Livingston, Art and Intention: A Philosophical Study (Oxford: Clarendon Press, 2005). Livingston examines competing accounts of the nature of intentions as they pertain to a variety of issues in the philosophy of art, including the ontology of art, the nature of authorship, and art interpretation. In chapter 6, Livingston argues for partial intentionalism, according to which some, but not all, of a work's meanings are non-redundantly determined by the author's intentions. Stephen Davies, 'Authors' Intentions, Literary Interpretation, and Literary Value', British Journal of Aesthetics 46 (2006): 223–47. Davies defends the value-maximizing view, according to which, when there is more than one conventional meaning consistent with the work's features, the meaning that should be attributed to the work is the one that makes the work out to be most aesthetically valuable. He allows for the attribution of multiple meanings when more than one candidate (approximately) maximizes the work's value. Online Materials: http://plato.stanford.edu/entries/beardsley-aesthetics/ Beardsley's Aesthetics (Michael Wreen) http://plato.stanford.edu/entries/conceptual-art/ Conceptual Art (Elisabeth Schellekens) http://plato.stanford.edu/entries/speech-acts/ Speech Acts (Mitchell Green) http://plato.stanford.edu/entries/hermeneutics/ Hermeneutics (Bjørn Ramberg and Kristin Gjesdal) Sample Syllabus: Week 1: Foundations 1. Wimsatt and Beardsley, 'The Intentional Fallacy'. 2. Livingston, 'What Are Intentions?', Art and Intention , 1–30. Weeks 2–3: Actual Intentionalism 1. Hirsch, Validity in Interpretation , ch. 1–2, 1–67. 2. Gary Iseminger, 'An Intentional Demonstration?', Intention and Interpretation , ed. Iseminger, 76–96. Optional reading: 1. Stephen Knapp and Walter Benn Michaels, 'Against Theory', Critical Inquiry 8 (1982): 723–742. 2. Stephen Knapp and Walter Benn Michaels, 'Against Theory 2: Hermeneutics and Deconstruction', Critical Inquiry 14 (1987): 49–58. Weeks 4–5: Modest, Moderate and Partial Intentionalism 1. Carroll, 'Art, Intention, and Conversation'. 2. Robert Stecker, Interpretation and Construction: Art, Speech, and the Law (Malden, MA: Blackwell, 2003), ch. 2, 29–51. 3. Livingston, 'Intention and the Interpretation of Art', Art and Intention , 135–74. Optional reading: 1. Carroll, 'Interpretation and Intention: The Debate between Hypothetical and Actual Intentionalism', Metaphilosophy 31 (2000): 75–95. 2. Stecker, 'Moderate Actual Intentionalism Defended', Journal of Aesthetics and Art Criticism 64 (2006): 429–38. Weeks 6–7: Hypothetical Intentionalism 1. William E. Tolhurst, 'On What a Text Is and How It Means', British Journal of Aesthetics 19 (1979): 3–14. 2. Nehamas, 'Postulated Author'. 3. Levinson, 'Intention and Interpretation in Literature'. Optional reading: 1. Nehamas, 'What an Author Is', Journal of Philosophy 83 (1986): 685–91. 2. Nehamas, 'Writer, Text, Work, Author', Literature and the Question of Philosophy , ed. A. J. Cascardi (Baltimore, MD: Johns Hopkins University Press, 1987), 265–91. 3. Levinson, 'Hypothetical Intentionalism: Statement, Objections, and Replies', Is There a Single Right Interpretation? , ed. M. Krausz (University Park, PA: Pennsylvania State University Press, 2002), 309–18. Week 8: The Value-Maximizing View 1. Davies, 'The Aesthetic Relevance of Authors' and Painters' Intentions', Journal of Aesthetics and Art Criticism 41 (1982): 65–76. 2. Davies, 'Authors' Intentions, Literary Interpretation, and Literary Value'. Weeks 9–10: Anti-Intentionalism 1. Beardsley, 'The Authority of the Text,' The Possibility of Criticism (Detroit: Wayne State University Press, 1970), 16–37. 2. Nathan, 'Irony, Metaphor, and the Problem of Intention'. 3. Nathan, 'Art, Meaning, and Artist's Meaning', Contemporary Debates in Aesthetics and the Philosophy of Art , ed. M. Kieran (Malden, MA: Blackwell, 2006), 282–95. Optional reading: 1. Beardsley, 'Intentions and Interpretations: A Fallacy Revived', The Aesthetic Point of View: Selected Essays , ed. M. J. Wreen and D. M. Callen (Ithaca, NY: Cornell University Press, 1982), 188–207. 2. Nathan, 'Irony and the Author's Intentions', British Journal of Aesthetics 22 (1982): 246–56. Sample Mini-Syllabus: Week 1: Foundations 1. Wimsatt and Beardsley, 'The Intentional Fallacy'. 2. Livingston, 'What Are Intentions?', Art and Intention , 1–30. Week 2: Actual and Modest Intentionalism 1. Hirsch, Validity in Interpretation , ch. 1–2, 1–67. 2. Carroll, 'Art, Intention, and Conversation'. Week 3: Hypothetical Intentionalism and Anti-Intentionalism 1. Levinson, 'Intention and Interpretation in Literature'. 2. Nathan, 'Irony, Metaphor, and the Problem of Intention'. Focus Questions 1. Is the difficulty of ascertaining the author's intentions a good reason to reject actual intentionalism? 2. Should literary works be seen as largely autonomous from their authors, even if we think that interpretation of ordinary utterances is properly a matter of ascertaining the speaker's intentions? 3. Are linguistic context and convention sufficient to determine the meaning of a literary work, or is the author's intention required to stave off an unacceptable degree of ambiguity? 4. Should the author's intentions about the genre or category to which the work belongs have a different status than intentions about the work's meaning? 5. Can the author's intentions have a non-redundant role to play in fixing meaning even if we take the role of context and linguistic convention seriously? 6. Should we expect the author's intention to play the same role (if any) in the interpretation of visual artworks that it plays in the interpretation of literature, or do differences between these two art forms require distinct approaches? (shrink)
The controversies surrounding Daniel Everett's characterization of the Amazonian language Pirahã and the Evans and Levinson paper about "the myth of language universals" (2009) are just two recent manifestations of a debate about linguistic theory and methodology that is anything but new.
We have never entirely agreed with Daniel Cohnitz on the status and rôle of thought experiments. Several years ago, enjoying a splendid lunch together in the city of Ghent, we cheerfully agreed to disagree on the matter; and now that Cohnitz has published his considered opinion of our views, we are glad that we have the opportunity to write a rejoinder and to explicate some of our disagreements. We choose not to deal here with all the issues that Cohnitz (...) raises, but rather to restrict ourselves to three specific points. (shrink)
Allhoff, Fritz, Patrick Lin, and Daniel Moore. 2010. What is nanotechnology and why does it matter? From science to ethics Content Type Journal Article Pages 209-211 DOI 10.1007/s11673-011-9289-z Authors Jennifer Kuzma, University of Minnesota, Humphrey School of Public Affairs, 301 19th Ave So, Minneapolis, MN 55455, USA Journal Journal of Bioethical Inquiry Online ISSN 1872-4353 Print ISSN 1176-7529 Journal Volume Volume 8 Journal Issue Volume 8, Number 2.
In a recent essay, Jerrold Levinson defends his version of hypothetical intentionalism (HI), which is a theory of literary interpretation, from two criticisms. The first, argued by Stephen Davies, is that it is equivalent to the value-maximizing view. The second, argued by Robert Stecker, is that there are straightforward counterexamples to HI. We will argue that Levinson does not successfully fend off either criticism, and further, that in the process of attempting to do so, creates another dilemma for (...) his view. CiteULike Connotea Del.icio.us What's this? (shrink)
Daniel Russell's Practical Intelligence and the Virtues is principally a defense of the Aristotelian claim that phronesis is part of every unqualified virtue—a defense of what Russell calls "hard virtue theory" and "hard virtue ethics." The main support for this is the further claim that we would be unable to act well reliably, or form our character reliably, without phronesis performing its "twin roles": correctly identifying the mean of each virtue, and integrating the mean of each virtue with those (...) of others so as to enable us to act in an overall virtuous manner. In following Russell's argument for these claims, we find much else of interest, including a persuasive account of right action and a resurrection of the old doctrine of cardinal virtues. Here I seek first to give readers a sense of the range and depth of this important book by summarizing the main lines of its argument. But I also raise some critical points, the most substantive of which concern his treatments of the unity of the virtues and of responsibility for character. (shrink)
Democracy requires a rather large tolerance for confusion and a secret relish for dissent. I am delighted to respond to Daniel Dombrowski’s book Rawls and Religion. Dombrowski and I share a number of what he would call comprehensive doctrine, such as the ethical treatment of animals, the relational worldview of process thought, and the idiosyncratic love of pacifism. So, immediately I was drawn in and claimed Dombrowski as a kindred spirit. With so many commonalities, including an interest in political (...) philosophy and religion, I approached this book with a built-in desire to engage with and respect his thinking. To be honest, I wondered if I would be able to critically engage Dombrowski’s book given our .. (shrink)
Contemporary Philosophy in Focus will offer a series of introductory volumes to many of the dominant philosophical thinkers of the current age. Each volume will consist of newly commissioned essays that will cover all the major contributions of a preeminent philosopher in a systematic and accessible manner. Author of such groundbreaking and influential books as Consciousness Explained and Darwin's Dangerous Idea, Daniel C. Dennett has reached a huge general and professional audience that extends way beyond the confines of academic (...) philosophy. He has made significant contributions to the study of consciousness, the development of the child's mind, cognitive ethnology, explanation in the social sciences, artificial intelligence, and evolutionary theory. This volume is the only truly introductory collection that traces these connections, explores the implications of Dennett's work, and furnishes the non-specialist with a fully-rounded account of why Dennett is such an important voice on the philosophical scene. (shrink)
Daniel Garber’s Leibniz: Body, Substance and Monad . When I first entered graduate school Dan’s previous book Descartes’s Metaphysical Physics had recently appeared, and it made a huge and lasting impression on me. All of a sudden I saw Descartes’s project in a much different, more intriguing light. This Garber fella had managed to open up a new area of Descartes’s thought to me, to tease out with great care his philosophical arguments, and to situate both in a broader (...) historical context in which they seemed to me at least much more at home. In short, Dan’s Descartes’s book is one of the main reasons why I work on Leibniz. And now we have his rich, learned, and provocative book on Leibniz to wrestle with. I am certain that it will similarly inspire another generation of early modern scholars as well – hopefully they won’t all be moved to work on Kant! (shrink)
In Setting Limits, Daniel Callahan advances the provocative thesis that age be a limiting factor in decisions to allocate certain kinds of health services to the elderly. However, when one looks at available data, one discovers that there are many more elderly women than there are elderly men, and these older women are poorer, more apt to live alone, and less likely to have informal social and personal supports than their male counterparts. Older women, therefore, will make the heaviest (...) demand on health care resources. If age were to become a limiting factor, as Dr. Callahan suggests it should, the limits that will be set are limits that will affect women more drastically than they affect men. This review essay examines the implications of Callahan's thesis for elderly women. (shrink)
According to Daniel Flage, Berkeley thinks that all necessary truths are founded on acts of will that assign meanings to words. After briefly commenting on the air of paradox contained in the title of Flage’s paper, and on the historical accuracy of Berkeley’s understanding of the abstractionist tradition, I make some remarks on two points made by Flage. Firstly, I discuss Flage’s distinction between the ontological ground of a necessary truth and our knowledge of a necessary truth. Secondly, I (...) discuss Flage’s attempt to show that, according to Berkeley, the resemblance relation does not constitute a necessary connection. (shrink)
In a recent essay, Jerrold Levinson defends his version of hypothetical intentionalism (HI), which is a theory of literary interpretation, from two criticisms. The first, argued by Stephen Davies, is that it is equivalent to the value-maximizing view. The second, argued by Robert Stecker, is that there are straightforward counterexamples to HI. We will argue that Levinson does not successfully fend off either criticism, and further, that in the process of attempting to do so, creates another dilemma for (...) his view. (shrink)
A taped conversational interview with Daniel Dennett and Bill Uzgalis covers a wide range of topics arising from Dennett’s thoughts about computing and human beings. The background of Dennett’s work is explored as are his views about mind-brain identity theory, artificial intelligence, functionalism, human exceptionalism, animal culture, language, pain, freedom and determinism, and quality of life.
In this discussion note I clarify the motivation behind my original paper "Social Mechanisms, Causal Inference and the Policy Relevance of Social Science." I argue that one of the tasks of philosophers of social science is to draw attention to methodological problems that are often forgotten or overlooked. Then I show that my original paper does not make the mistake or fallacy that Daniel Steel suggests in his comment on it. Key Words: social mechanisms • causal inference • social (...) policy. (shrink)
The topic of this paper is the role played by context in art. In this regard I examine three theories linked to the names of J. Levinson, G. Currie and D. Davies. Levinson’s arguments undermine the structural theory. He finds it objectionable because it makes the individuation of artworks independent of their histories. Secondly, such a consequence is unacceptable because it fails to recognise that works are created rather than discovered. But, if certain general features of provenance are (...) always work-constitutive, as it seems that Levinson is willing to claim, these features must always be essential properties of works. On the other hand, consideration of our modal practice suggests that whether a given general feature of provenance is essential or non-essential depends upon the particular work in question or is “work relative”. D. Davies builds his performance theory on the basis of the critical evaluation of Currie’s action-type hypotheses (ATH). Performances, says Davies, are not to be identified with “basic actions” to which their times belong essentially, but with “doings” that permit of the sorts of variation in modal properties required by the work-relativity of modality. He is also a fierce critic of the contextualist account. Contextualism is in his view unable to reflect the fact that aspects of provenance bear upon our modal judgements with variable force. In the second part of the paper I consider Davies’s “modality principle”. Davies is inclined to defend the claim that labels used for designation of works are rigid designators. Such a view offers a ground for discussion about the historicity of art. What has been meant when people claim that art is an historical concept? I argue that any historical theory implies a two-dimensional notion of “art”. At the end of the paper I suggest that Davies should embrace the theory of contingent identity and not the colocationist view about the relationship that exists between a particular artwork and its physical bearer. (shrink)
As Peter Niebyl has documented, one of the issues in which the Wittenberg-based physician and philosopher Daniel Sennert (1572–1637) departed from Paracelsus and his followers was the concept of disease. Paracelsus and some of his followers regarded diseases as real beings—so-called “disease-entities” (entia morbis) that can enter into the body of a living being and thereafter possess a clearly defined location in the affected organism. 1 For Sennert, such a view is a dangerous confusion between disease and its causes. (...) According to him, causes of disease can be present in an organism without actually causing a disease (Sennert 1629, p. 253). Moreover, he shares the traditional Christian doctrine .. (shrink)
Contemporary Philosophy in Focus will offer a series of introductory volumes to many of the dominant philosophical thinkers of the current age. Each volume will consist of newly commissioned essays that will cover all the major contributions of a preeminent philosopher in a systematic and accessible manner. Author of such groundbreaking and influential books as Consciousness Explained and Darwin's Dangerous Idea, Daniel C. Dennett has reached a huge general and professional audience that extends way beyond the confines of academic (...) philosophy. He has made significant contributions to the study of consciousness, the development of the child's mind, cognitive ethnology, explanation in the social sciences, artificial intelligence, and evolutionary theory. This volume is the only truly introductory collection that traces these connections, explores the implications of Dennett's work, and furnishes the non-specialist with a fully-rounded account of why Dennett is such an important voice on the philosophical scene. (shrink)
This article is about the chief character of Sartre?s unfinished trilogy of novels known as Les chemins de la liberté—Daniel, Mathieu?s fellow-student at the École normale, Daniel the "archangel," Daniel the shamefaced pederast, Daniel the gaping wound, Daniel the strange hero, Daniel the recurrent figure in many of Sartre?s works. We do not intend to offer yet another explanation of this handsome young literature professor?s convoluted character to the explanations that already exist, nor to (...) interpret yet again his detestation of mankind and his prayers to God, which the author openly mocks. What we wish to do in these few pages is firstly to shed light on the procedures of Daniel?s imagination and evolution, and secondly to analyze how the author?s goals changed as, while writing the trilogy, he evolved from Gallimard?s up and coming star into the symbol of the search for freedom, the spokesman whom some disagreed with, criticised, despised, while others glorified him and praised him to the skies. We would like to try and elucidate the evolution of this character, steering between the free future of a literary work in progress and the ungraspable heart of darkness. (shrink)
A multi-faceted study of intellectual transformation in early modern Europe as seen through the eyes of a leading French scholar and cleric, Pierre-Daniel Huet (1630-1721).
A review of Daniel Salvatore Schiffer´s Le dandysme, dernier éclat d’héroïsme (Paris: Presses Universitaires de France, 2010, 302 pp. ISBN 978-2-13-058227-4).
I respond to Daniel and Frances Howard-Snyder’s criticisms of my arguments in another place for the conclusion that human supplicants would have little responsibility (if any) for the result of answered petitionary prayer, and criticize their defense of the claim that God would have good reasons for creating an institution of petitionary prayer.
The explicit aim of Daniel Dennett’s new paper ‘What RoboMary Knows’ is to show that Mary (the hypothetical colour-blind neuroscientist) will necessarily be able to come to know what it is like to see in colour, if she fully understands all the physical facts about colour vision. I believe we can establish that Dennett’s line of reasoning is flawed, but the flaw is not as simple as an equivocation on ‘knows’. Rather, it goes to the heart of functionalism and (...) hinges on whether or not Dennett is correct to claim that there is ‘no fact of the matter’ about what subjective experience consists in. (shrink)
This article is my contribution to an author-meets-critics session on Daniel Dennett’s Freedom Evolves (Viking, 2003) at the 2004 meetings of the American Philosophical Association – Pacific Division. Dennett criticizes a view I defend in Autonomous Agents (Oxford University Press, 1995) about the importance of agents’ histories for autonomy, freedom, and moral responsibility and defends a competing view. Our disagreement on this issue is the major focus of this article. Additional topics are manipulation, avoidance, and avoidability.
I respond to an argument presented by Daniel Povinelli and Jennifer Vonk that the current generation of experiments on chimpanzee theory of mind cannot decide whether chimpanzees have the ability to reason about mental states. I argue that Povinelli and Vonk’s proposed experiment is subject to their own criticisms and that there should be a more radical shift away from experiments that ask subjects to predict behavior. Further, I argue that Povinelli and Vonk’s theoretical commitments should lead them to (...) accept this new approach, and that experiments which offer subjects the opportunity to look for explanations for anomalous behavior should be explored. (shrink)
One of the most influential arguments against the claim that computers can think is that while our intentionality is intrinsic, that of computers is derived: it is parasitic on the intentionality of the programmer who designed the computer-program. Daniel Dennett chose a surprising strategy for arguing against this asymmetry: instead of denying that the intentionality of computers is derived, he endeavours to argue that human intentionality is derived too. I intend to examine that biological plausibility of Dennett’s suggestion and (...) show that Dennett’s argument for the claim that human intentionality is derived because it was designed by natural selection is based on the misunderstanding of how natural selection works. (shrink)
In ‘‘The Myth of Original Intentionality,’’ Daniel Dennett appears to want to argue for four claims involving the familiar distinction between original (or underived) and derived intentionality.
The plain man thinks that material objects must certainly exist, since they are evident to the senses. Whatever else may be doubted, it is certain that anything you can bump into must be real; this is the plain man’s metaphysic. This is all very well, but the physicist comes along and shows that you never bump into anything: even when you run your hand along a stone wall, you do not really touch it. When you think you touch a thing, (...) there are certain electrons and protons, forming part of your body, which are attracted and repelled by certain electrons and protons in the thing you think you are touching, but there is no actual contact. … The electrons and protons themselves, however, are only crude first approximations, a way of collecting into a bundle either trains of waves or the statistical probabilities of various different kinds of events. Thus matter has become altogether too ghostly to be used as an adequate stick with which to beat the mind. —Bertrand Russell, “What is the Soul?” 193.. (shrink)
Much has been written on the relative merits of different readings of Wittgenstein's Tractatus Logico-Philosophicus. The recent renewal of the debate has almost exclusively been concerned with variants of the ineffabilist (metaphysical) reading of TL-P - notable such readings have been advanced by Elizabeth Anscombe, P. M. S. Hacker and H. O. Mounce - and the recently advanced variants of therapeutic (resolute) readings - notable advocates of which are James Conant, Cora Diamond, Juliet Floyd and Michael Kremer. During this debate, (...) there have been a number of writers who have tried to develop a third way, incorporating what they see as insights and avoiding what they see as flaws in both the ineffabilist and resolute readings. The most prominent advocates of these elucidatory readings of TL-P are Dan Hutto (2003) and Marie McGinn (1999). In this paper we subject Hutto's and McGinn's readings of TL-P to critical scrutiny. We find that in seeking to occupy the middle ground they ultimately find themselves committed to (and in the process commit Wittgenstein to) the very ineffabilism they (and Wittgenstein) are seeking to overcome. (shrink)
The church-going philosopher who settles in for an extended reading of Dan Dennett’s new book will find himself in a familiar circumstance. What one confronts is a lot more like an extended sermon than it is a typical philosophical treatise. And, whatever one’s Sunday morning habits, one can’t help but admire the preaching skills artfully displayed. The delivery is powerful and assured; the argument is streamlined, peppered with evocative and delightful illustrations that will be recalled long after the particular points (...) have faded from memory; dangerous errors are clearly identified, and while we are urged to pity rather than to hate their purveyors, we are also repeatedly warned about the fateful consequences of their mistakes; tropes are repeated to growing effect; finally, the tone is one of earnest exhortation, relieved intermittently with some well-chosen humor, while it lays the necessary foundations for several closing points of practical application. (shrink)
McShea and Brandon propose that in the absence of constraint, biological diversity increases spontaneously. While heuristically useful, the thesis is unclear and of dubious empirical validity. The authors have no natural way to distinguish entropic decrease of diversity from the kind of increase that they are interested in. They make unsupported claims about how to explain dramatic increases of diversity and increases of functional complexity.
In his rich and engaging essay, Professor Garber asks most centrally, “…what was the relation between Leibniz’s metaphysical project as set out in the so-called ‘Monadologie’ and the more theological project in the Essais de Théodicée?” His answer is, in short, that there isn’t much of a relationship between these two great works. Furthermore, he takes this result to be evidence of Leibniz’s not being a systematic philosopher in the spirit of Descartes or Spinoza. In these brief comments, I revisit (...) Garber’s two central questions in turn and offer some moderating resistance to both of his conclusions. (shrink)
Stoljar’s book has three parts. In the first part, he discusses the “problem of experience”: though we have experiences, it isn’t clear that the experiential fits into the actual world, given that the actual world is fundamentally non-experiential. Stoljar focuses on what he views as one facet of the problem of experience, the “logical problem”, which consists of three jointly inconsistent claims: (T1) there are experiential truths; (T2) if there are experiential truths, every experiential truth is entailed by some non-experiential (...) truth; and (T3) if there are experiential truths, not every experiential truth is entailed by some non-experiential truth. The logical problem is a problem, according to Stoljar, because each of T1–T3 is prima facie plausible. In the second part, Stoljar sets out his solution to the logical problem, the “epistemic view”, and defends it against various objections. According to the epistemic view, (i) we’re ignorant of a special type of empirical experience-relevant non-experiential truth; (ii) were we to come to understand truths of this type, we would see that the modal arguments against physicalism (i.e. the zombie and knowledge arguments) fail; and (iii) given (i) and (ii), we should reject T3 in order to resolve the logical problem. In the third part Stoljar argues that alternative solutions to the logical problem either fail or collapse into the epistemic view. While this is certainly the most careful and extended defense of the epistemic view to date (a view, by the way, in various forms, with which many seem to find sympathy), the epistemic view as Stoljar develops it faces a formidable problem. The central problem.. (shrink)
