Fish, S. Georgics of the mind: Bacon's philosophy and the experience of his Essays.--Brett, R. L. Thomas Hobbes.--Watt, I. Realism and the novel.--Tuveson, E. Locke and Sterne.--Kampf, L. Gibbon and Hume.--Frye, N. Blake's case against Locke.--Abrams, M. H. Mechanical and organic psychologies of literary invention.--Ryle, G. Jane Austen and the moralists.--Schneewind, J. B. Moral problems and moral philosophy in the Victorian period.--Donagan, A. Victorian philosophical prose: J. S. Mill and F. H. Bradley.--Pitcher, G. Wittgenstein, nonsense, and Lewis Carroll.--Bolgan, A. C. (...) The philosophy of F. H. Bradley and the mind and art of T. S. Eliot: an introduction.--Davie, D. Yeats, Berkeley, and Romanticism.--Ross, M. L. The mythology of friendship: D. H. Lawrence, Bertrand Russell, and "The Blind man".--Rosenbaum, S. P. The philosophical realism of Virginia Woolf.--Bibliography (p. 357-360). (shrink)
In this compelling book, John B. Davis examines the change and development in Keynes's philosophical thinking, from his earliest work through to The General Theory, arguing that Keynes came to believe himself mistaken about a number of his early philosophical concepts. The author begins by looking at the unpublished 'Apostles' papers, written under the influence of the philosopher G. E. Moore. These display the tensions in Keynes's early philosophical views, and outline his philosophical concepts of the time, including the concept (...) of intuition. Davis then shows how Keynes's later philosophy is implicit in the economic argument of The General Theory. He argues that Keynes's philosophy had by this time changed radically, and that he had abandoned the concept of intuition for the concept of convention. The author sees this as being the central idea in The General Theory, and looks at the philosophical nature of this concept of convention in detail. (shrink)
Cognitive neuropsychology is that branch of cognitive psychology that investi- gates people with acquired or developmental disorders of cognition. The aim is to learn more about how cognitive systems normally operate or about how they are normally acquired by studying selective patterns of cognitive break- down after brain damage or selective dif?culties in acquiring particular cogni- tive abilities. In the early days of modern cognitive neuropsychology, research focused on rather basic cognitive abilities such as speech comprehension or production at the (...) single-word level, reading and spelling, object and face recognition, and short-term memory. More recently the cognitive-neuro- psychological approach has been applied to the study of rather more complex domains of cognition such as belief ?xation (e.g. Coltheart and Davies, 2000; Langdon and Coltheart, 2000) and pragmatic aspects of communication (e.g. McDonald and Van Sommers, 1993). Our paper concerns the investigation of pragmatic disorders in one clinical group in which such disorders are common, patients with schizophrenia, and what the study of such people can tell us about the normal processes of communication. (shrink)
Cognitive neuropsychology is that branch of cognitive psychology that investigates people with acquired or developmental disorders of cognition. The aim is to learn more about how cognitive systems normally operate or about how they are normally acquired by studying selective patterns of cognitive breakdown after brain damage or selective difficulties in acquiring particular cognitive abilities. In the early days of modern cognitive neuropsychology, research focused on rather basic cognitive abilities such as speech comprehension or production at the single-word level, reading (...) and spelling, object and face recognition, and short-term memory. More recently the cognitive-neuropsychological approach has been applied to the study of rather more complex domains of cognition such as belief fixation (e.g. Coltheart and Davies, 2000; Langdon and Coltheart, 2000) and pragmatic aspects of communication (e.g. McDonald and Van Sommers, 1993). Our paper concerns the investigation of pragmatic disorders in one clinical group in which such disorders are common, patients with schizophrenia, and what the study of such people can tell us about the normal processes of communication. (shrink)
G.E. Moore thought that he could prove the existence of external things as follows: ‘Here is one hand, and here is another, therefore there are external things.’ Many readers of this proof find it obviously unsatisfactory, but Moore’s Proof has recently been defended by Martin Davies and James Pryor. According to Davies and Pryor, Moore’s Proof is capable of transmitting warrant from its premises to its conclusion, even though it is not capable of rationally overcoming doubts about its conclusion. In (...) this paper, I argue that Davies and Pryor have it exactly backwards: Moore’s Proof is not capable of transmitting warrant from its premises to its conclusion, even though it is capable of rationally overcoming doubts about its conclusion. (shrink)
Recently, much work has been done on G.E. Moore's proof of an external world with the aim of diagnosing just where the Proof `goes wrong'. In the mainstream literature, the most widely discussed debate on this score stands between those who defend competing accounts of perceptual warrant known as dogmatism (i.e. Pryor and Davies) and conservativism (i.e. Wright). Each account implies a different verdict on Moore's Proof, though both share a commitment to supposing that an examination of premise-conclusion dependence relations (...) will sufficiently reveal what's wrong with the Proof. Parallel to this debate on Moore stands perhaps an equally interesting (though less discussed) debate within which the Proof is critiqued as it stands in the context of the skeptical debate. On this score, Michael Fara and Ernest Sosa have weighed in with a markedly different take on Moore's anti-skeptical ambitions and on the nature of skeptical challenges more generally. The aim of this paper will be to critically evaluate these two very distinct strands of recent work on Moore's Proof. Part I of the paper will focus on the mainstream debate, and in Part II of the paper, I'll focus on the parallel debate about skepticism. My critical discussion will be aimed throughout at showing how the various proposals I've taken as representative of these two parallel debates surrounding Moore's Proof ultimately fall short-each for different reasons-of what a satisfactory diagnosis of the Proof would require. (shrink)
Bijural services as factors of production -- Commentary A on Breton and Salmon -- Commentary B on Breton and Salmon -- The challenge of incomplete law and how different legal systems respond -- Commentary C on Pistor and Xu -- Commentary D on Pistor and Xu -- Coevolution as an influence in the development of legal systems -- Commentary E on Breton and Des Ormeaux -- Commentary F on Breton and Des Ormeaux -- The demand for bijurally trained Canadian lawyers (...) -- Commentary G on Davis and Trebilcock -- Commentary H on Davis and Trebilcock. (shrink)
To ascribe a telos is to ascribe a norm or standard of performance. That fact underwrites the plausibility of, say, teleological theories of mind. Teleosemantics, for example, relies on the normative character of teleology to solve the problem of “intentional inexistence”: a misrepresentation is just a malfunction. If the teleological ascriptions of such theories to natural systems, e.g., the neurological structures of the brain, are to be literally true, then it must be literally true that norms can exist independent of (...) intentional and psychological agency. Davies, for one, has argued that such norms are impossible within a naturalistic worldview. Consequently, teleological theories of mind, for example, cannot be literally true. I will show, however, that the truth conditions on normative statements do not presuppose intentional and psychological agency and, further, that a selectional regime is one naturalistic mechanism that satisfies those truth conditions. Norms, then, exist in the world independent of intentional and psychological agency. (shrink)
A work of music is repeatable in the following sense: it can be multiply performed or played in different places at the same time, and each such datable, locatable performance or playing is an occurrence of it: an item in which the work itself is somehow present, and which thereby makes the work manifest to an audience. As I see it, the central challenge in the ontology of musical works is to come up with an ontological proposal (i.e. an account (...) of what sort of thing a work of music is) which enables us to explain what such repeatability consists in, whilst doing maximal justice to the way in which we conceive of musical works in our reflective critical and appreciative practice. To this end, many have found it tempting to defend some version or other of the type-token theory : the thesis that a work is a type and its occurrences are its tokens. Much of the early debate prompted by the publication of Jerrold Levinson's seminal 'What a Musical Work Is' in 1980 has taken the type-token theory for granted, choosing to focus on how musical works, qua types, are individuated. (A key question here has been whether we should hold, with the sonicist , that works are identical just in case they sound exactly alike; or whether we should agree with Levinson's contextualist thesis that exact sound-alikes are distinct, if composed in distinct musico-historical contexts.) More recently, however, the type-token theory itself has been put under pressure, and alternatives have been suggested. So, e.g. Gregory Currie and David Davies have held versions of the thesis that musical works (and artworks generally) are acts of composition, whilst Guy Rohrbaugh has recommended that we think more innovatively about our metaphysical categories, and treat musical works (along with all repeatable artworks) as historical individuals . Historical individuals, like particular substances, come into and go out of existence, could have been somewhat different than they are, and can change through time; but such items, unlike particular substances, are nonetheless capable of having occurrences. In the last few years, ontologists of music have also stepped back to consider the very nature of their enterprise. In particular, a debate has ensued concerning the cogency of ontological proposals (such as those of Nelson Goodman, Nicholas Wolterstorff and Julian Dodd) that are substantially revisionary of our folk concept of a work of music. Amie Thomasson, David Davies and Andrew Kania occupy, to a greater or lesser degree, the descriptivist standpoint, according to which such revisionary ontologies are misconceived. The debate between revisionists and descriptivists in the ontology of music – if prosecuted against the backdrop of an awareness of developments in meta-ontology more generally – is a particularly fertile area in the philosophy of music at present. Author Recommends Wollheim, Richard. Art and its Objects . 2nd ed. Cambridge: Cambridge University Press, 1980. This seminal study nicely introduces and motivates the type-token theory, and in the course of doing so, helpfully, although perhaps contentiously, distinguishes types from both sets and properties. Wollheim's treatment was to a large part responsible for stimulating the subsequent debate as to the ontological nature of musical works. Levinson, Jerrold. 'What a Musical Work Is.' Journal of Philosophy 77 (1980); reprinted in his Music, Art and Metaphysics , 63–88. This paper has, perhaps, been the most influential account of the nature of musical works, post-Wollheim. Presuming the type-token theory to be correct, Levinson elaborates it by claiming musical works to be, not sound structures (i.e. structured patterns of sound-types), but a species of types he calls indicated structures . According to Levinson, a work of music is not to be identified with its sound structure, S ; it is, in fact, a compound of S and a performance-means structure, PM , as indicated (typically, via a score) by its composer on a certain occasion : something that we can represent as S/PM -as-indicated-by- X -at- t . Such indicated structures, Levinson argues, fit the bill for being what works of music are, because they come into being with their indication (i.e. their composition), are individuated in terms of the musico-historical context in which they were composed, and have their specified performance-means (i.e. their instrumentation) essentially. Wolterstorff, Nicholas. Works and Worlds of Art . Oxford: Clarendon Press, 1980. Part I of this book sees Wolterstorff defend a Platonistic version of the type-token theory (although Wolterstorff calls them 'kinds' rather than 'types'). According to Wolterstorff, considerations about the existence conditions of types commit us to the thesis that works of music, qua types, are entities that cannot come into or go out of existence. Kivy, Peter. 'Platonism in Music: A Kind of Defence.' Grazer Philosophische Studien 19 (1983): 109–29. In this article, Kivy ingeniously (and wittily) defends a variety of Platonism about works of music against the animadversions of Levinson. Currie, Gregory. An Ontology of Art . New York: St, Martin's Press, 1989. Here Currie introduces and defends the thesis that works of music (and, indeed, all artworks) are compositional action-types. The book also contains some well-aimed criticisms of Levinson's account. Dodd, Julian. Works of Music: An Essay in Ontology . Oxford: Oxford University Press, 2007. In this book, Dodd defends the type-token theory, but argues that no version of it can escape the Platonisic consequence that musical works exist at all times (and hence, are discovered, rather than created, by their composers). Dodd also defends another controversial thesis, this time concerning musical works' individuation. According to Dodd, and pace Levinson and others, sonicism is correct: works that sound exactly alike are identical. Rohrbaugh, Guy. 'Artworks as Historical Individuals.' European Journal of Philosophy 11 (2003): 177–205. In this essay, Rohrbaugh makes some pointed criticisms of the type-token theory of repeatable artworks in the course of arguing that such works should be viewed, not as types, but as historical individuals (see above). Rohrbaugh suggests that treating musical works as historical individuals best captures our intuitions about such works' temporal and modal characteristics, and, in the course of elaborating his position, he makes some meta-ontological claims that see him endorsing a non-revisionary, descriptivist approach to the ontology of art. As Rohrbaugh sees it, ontologies of art are 'beholden to our artistic practices' (179), and 'aesthetics should not be beholden to the metaphysics on offer, but rather should drive new work in metaphysics' (197). Ridley, Aaron. 'Against Musical Ontology,' Journal of Philosophy 100 (2003): 203–220. This paper sees Ridley outlining a sceptical attitude towards the project of formulating ontological proposals. In his view, a 'serious philosophical engagement with music is orthogonal to, and may well in fact be impeded by, the pursuit of ontological issues' (203). Thomasson, Amie. 'The Ontology of Art and Knowledge in Aesthetics.' JAAC 63 (2005:221–9). Thomasson defends descriptivism in the ontology of art by arguing that such a position is a consequence of the only defensible solution to a problem in the theory of reference: the so-called 'qua' problem concerning how the reference of a term can be fixed. Davies, David. Art as Performance . Oxford: Blackwell, 2004. Davies' position is characterised by two theses: one methodological, the other ontological. The methodological claim is that the ontology of art faces a pragmatic constraint : roughly speaking, the ontology of art is answerable to the epistemology of art. The ontological claim is that the rigorous enforcement of the pragmatic constraint commits us to the thesis that all artworks are compositional action-tokens. Online Materials http://www.blackwell-compass.com/subject/philosophy/article_view?article_id=phco_articles_bpL173 Dodd, Julian. 'Musical Works: Ontology and Meta-Ontology.' Philosophy Compass 3/6 (2008): 1113–34. doi: [DOI link] http://www3.interscience.wiley.com/journal/118557784/abstract Thomasson, Amie. 'Debates about the Ontology of Art: What are We Doing Here?' Philosophy Compass 1/3 (2006): 245–55. doi: [DOI link] http://www3.interscience.wiley.com/journal/122517227/abstract Davies, David. 'Works and Performances in the Performing Arts.' forthcoming in Philosophy Compass . doi: [DOI link] http://plato.stanford.edu/entries/music/ Kania, Andrew. 'The Philosophy of Music.' Stanford Encyclopedia of Philosophy . Sample Mini-Syllabus Week 1: The Type/Token Theory Introduced Wollheim, Richard. Art and its Objects , §§4–8, 21–3, 35–7. Kivy, Peter. Introduction to a Philosophy of Music , chapter 11. Oxford: Clarendon Press, 2002. Dodd, Julian. Works of Music: An Essay in Ontology , chapter 1. Wolterstorff, Nicholas. Works and Worlds of Art , chapter 2. Week 2: The Type/Token Theory and Platonism in Music Wolterstorff, Nicholas. Works and Worlds of Art , chapter 2. Levinson, Jerrold. 'What a Musical Work Is'. Dodd, Julian. Works of Music: An Essay in Ontology , chapters 2–5. Kivy, Peter. 'Platonism in Music: A Kind of Defence.' Grazer Philosophische Studien 19 (1983): 109–29. Kivy, Peter. 'Platonism in Music: Another Kind of Defence.' American Philosophical Quarterly 24 (1987): 245–52. Predelli, Stefano. 'Against Musical Platonism.' British Journal of Aesthetics 35 (1995): 338–50. Caplan, Ben and Carl Matheson. 'Can a Musical Work be Created?' British Journal of Aesthetics 44 (2004): 113–34. Week 3: Musical Works as Indicated Structures Levinson, Jerrold. 'What a Musical Work Is'. Levinson, Jerrold. 'What a Musical Work Is, Again', in his Music, Art and Metaphysics . Ithaca, NY: Cornell UP, 1990. 215–63. Dodd, Julian. 'Musical Works as Eternal Types.' British Journal of Aesthetics 40 (2000). Davies, Stephen. Musical Works and Performances: A Philosophical Account , chapter 2. Oxford: Oxford University Press, 2000. Howell, Robert. 'Types, Indicated and Initiated.' British Journal of Aesthetics 42 (2002): 105–27. Caplan, Ben and Carl Matheson. 'Fine Individuation.' British Journal of Aesthetics 47 (2007): 113–37. Week 4: Musical Work as Historical Individuals Rohrbaugh, Guy. 'Artworks as Historical Individuals'. Dodd, Julian. Works of Music: An Essay in Ontology , chapter 6. Caplan, Ben and Carl Matheson. 'Defending Musical Perdurantism.' British Journal of Aesthetics 46 (2006): 59–69. Caplan, Ben and Carl Matheson. 'Defending "Defending Musical Perdurantism".' British Journal of Aesthetics 48 (2008): 331–37. Week 5: Musical Works as Compositional Actions Currie, Gregory. An Ontology of Art . New York: St, Martin's Press, 1989. Davies, David. Art as Performance . Oxford: Blackwell, 2004. Dodd, Julian. Works of Music: An Essay in Ontology , chapter 7. Week 6: Meta-ontology of Music: What are we Doing When we do the Ontology of Music? Ridley, Aaron. 'Against Musical Ontology'. Thomasson, Amie. 'The Ontology of Art and Knowledge in Aesthetics'. Thomasson, Amie. Ordinary Objects , chapter 11. OUP, 2007. Davies, David. 'The Primacy of Practice in the Ontology of Art.' Journal of Aesthetics and Art Criticism 67 (2009): 159–72. Kania, Andrew. 'Piece for the End of Time: In Defence of Musical Ontology,' British Journal of Aesthetics 48 (2008): 65–79. Kania, Andrew. 'The Methodology of Musical Ontology: Descriptivism and its Implications.' British Journal of Aesthetics 48 (2008): 426–44. Cameron, Ross. 'There are No Things That are Musical Works.' British Journal of Aesthetics 48 (2008): 295–314. Dodd, Julian. 'Musical Works: Ontology and Meta-Ontology.' Philosophy Compass 3/6 (2008): 1113–1134. doi: [DOI link] Focus Questions 1. Are musical works literally created by their composers? 2. Critically examine Levinson's thesis that musical works are 'indicated structures'. 3. What, if anything, is wrong with the thesis that musical works are identical just in case they sound exactly alike? 4. Should we immediately be sceptical of ontological proposals for works of music that are substantially revisionary of the way in which we ordinarily think of them? (shrink)
Philosophical interest in introspection has a long and storied history, but only recently – with the 'scientific turn' in philosophy of mind – have philosophers sought to ground their accounts of introspection in psychological data. In particular, there is growing awareness of how evidence from clinical and developmental psychology might be brought to bear on long-standing debates about the architecture of introspection, especially in the form of apparent dissociations between introspection and third-person mental-state attribution. It is less often noticed that (...) this evidence needs to be interpreted with due sensitivity to distinctions between different types of introspection, for example, introspection of propositional attitudes (beliefs, desires) vs. introspection of phenomenally conscious states (pains, emotional feelings). As contemporary debates about the machinery of introspection – and debates about mindreading in general – move forward, these distinctions are likely to figure more prominently. Author Recommends: Peter Carruthers, 'Simulation and Self-Knowledge: A Defense of Theory-Theory', in Theories of Theories of Mind, eds. P. Carruthers and P. K. Smith (Cambridge: Cambridge University Press, 1996), 22–38. Defends a sophisticated form of the theory-theory of introspection, according to which we come to know at least some of our mental states (e.g., propositional attitudes) by reasoning from an innate folk-psychological theory. Fred Dretske, 'Introspection', in Naturalizing the Mind (Cambridge, MA: MIT Press, 1995), 39–63. Introduces and defends the idea of introspection as 'displaced perception'. Alvin Goldman, 'Self-Attribution', in Simulating Minds: The Philosophy, Psychology, and Neuroscience of Mindreading (Oxford: Oxford University Press, 2006), 223–57. Defends a version of the 'inner sense' view of introspection in which mental state types are classified via their neural properties, and mental contents are classified via 'redeployment'. Alison Gopnik, 'How We Read Our Own Minds: The Illusion of First-Person Knowledge of Intentionality', Behavioral and Brain Sciences 16 (1993): 1–14. A noted psychologist defends a version of the theory-theory of introspection, citing evidence of developmental symmetries between first-person and third-person mental-state attribution. Robert Gordon, 'Simulation without Introspection or Inference from Me to You', in Mental Simulation: Evaluations and Applications, eds. T. Stone and M. Davies (Oxford: Blackwell, 1995), 53–67. Develops the idea of ascent routines – the rough analog of 'displaced perception' for the introspection of propositional attitudes. Uta Frith and Francesca Happé, 'Theory of Mind and Self-Consciousness: What Is It Like to Be Autistic?'Mind and Language 14 (1999): 1–14. Appeals to evidence from autism to motivate the idea that first-person and third-person mental-state attribution have a common basis. Shaun Nichols and Stephen Stich, 'Reading One's Own Mind', in Mindreading: An Integrated Account of Pretence, Self-awareness, and Understanding other Minds (Oxford: Oxford University Press, 2003), 150–99. Presents a comprehensive critique of leading theories of introspection (especially the theory-theory), then introduces and defends the authors' preferred alternative, the 'monitoring mechanism' account. Jesse Prinz, 'The Fractionation of Introspection', Journal of Consciousness Studies 11 (2004): 40–57. Develops the idea that introspection admits of several varieties. Philip Robbins, 'Knowing Me, Knowing You: Theory of Mind and the Machinery of Introspection', Journal of Consciousness Studies 11 (2004): 129–43. Defends a hybrid view of introspection for propositional attitudes, according to which both theoretic inference and monitoring play a role. Sample Syllabus: Week 1: Theory-theory Alison Gopnik, 'How We Read Our Own Minds: The Illusion of First-Person Knowledge of Intentionality', Behavioral and Brain Sciences 16 (1993): 1–14. Peter Carruthers, 'Simulation and Self-Knowledge: A Defense of Theory-Theory', in Theories of Theories of Mind, eds. P. Carruthers and P. K. Smith (Cambridge: Cambridge University Press, 1996), 22–38. Week 2: Displaced perception and semantic ascent Fred Dretske, 'Introspection', in Naturalizing the Mind (Cambridge, MA: MIT Press, 1995), 39–63. Robert Gordon, 'Simulation without Introspection or Inference from Me to You', in Mental Simulation: Evaluations and Applications, eds. T. Stone and M. Davies (Oxford: Blackwell, 1995), 53–67. Week 3: Monitoring theory Shaun Nichols and Stephen Stich, 'Reading One's Own Mind', in Mindreading: An Integrated Account of Pretence, Self-awareness, and Understanding Other Minds (Oxford: Oxford University Press, 2003), 150–99. Week 4: Hybrid approaches Alvin Goldman, 'Self-Attribution', in Simulating Minds: The Philosophy, Psychology, and Neuroscience of Mindreading (Oxford: Oxford University Press, 2006), 223–57. Philip Robbins, 'Knowing Me, Knowing You: Theory of Mind and the Machinery of Introspection', Journal of Consciousness Studies 11 (2004): 129–43. Focus Questions:1. What distinguishes 'inside access' from 'outside access' views of introspection?2. To what extent is the theory-theoretic approach to introspection wedded to the idea that first-person and third-person mindreading are mechanistically symmetric capacities?3. What reasons are there for distinguishing between different types of introspection, and why might those taxonomic distinctions matter for theory construction in this area?4. In what sense, if any, are personality traits introspectible?5. Debates about third-person mindreading have revolved around the relative merits of theory-theory and simulation theory, whereas debates about introspection have taken a slightly different focus. For example, no one has defended a simulation-theoretic account of introspection. Why might that be? (shrink)
In addition to this being the centenary of Kurt Gödel’s birth, January marked 75 years since the publication (1931) of his stunning incompleteness theorems. Though widely known in one form or another by practicing mathematicians, and generally thought to say something fundamental about the limits and potentialities of mathematical knowledge, the actual importance of these results for mathematics is little understood. Nor is this an isolated example among famous results. For example, not long ago, Philip Davis wrote me about what (...) he calls The Paradox of Irrelevance: “There are many math problems that have achieved the cachet of tremendous significance, e.g. Fermat, 4 color, Kepler’s packing, Gödel, etc. Of Fermat, I have read: ‘the most famous math problem of all time.’ Of Gödel, I have read: ‘the most mathematically significant achievement of the 20th century.’ … Yet, these problems have engaged the attention of relatively few research mathematicians—even in pure math.” What accounts for this disconnect between fame and relevance? Before going into the question for Gödel’s theorems, it should be distinguished in one respect from the other examples mentioned, which in any case form quite a mixed bag. Namely, each of the Fermat, 4 color, and Kepler’s packing problems posed a stand-out challenge following extended efforts to settle them; meeting the challenge in each case required new ideas or approaches and intense work, obviously of different degrees. By contrast, Gödel’s theorems were simply unexpected, and their proofs, though requiring novel techniques, were not difficult on the scale of things. Setting that aside, my view of Gödel’s incompleteness theorems is that their relevance to mathematical logic (and its offspring in the theory of computation) is paramount; further, their philosophical relevance is significant, but in just what way is far from settled; and finally, their mathematical relevance outside of logic is very much unsubstantiated but is the object of ongoing, tantalizing efforts.. (shrink)
In part 4 of Meaning, Expression, and Thought, Davis rejects what he calls Fregean ideational theories, according to which the meaning of an expression is an idea; and then presents his own account, which states that, e.g., the meaning of ‘Primzahl’ in German is the property of meaning prime number. Before casting doubt on the latter ontology of meanings, I come to Frege’s defence by pointing out that he was not an advocate of the position Davis named after him because (...) Fregean senses are not lexical meanings and Fregean thoughts are not types of mental events. (shrink)
In part 4 of Meaning, Expression, and Thought, Davis rejects what he calls Fregean ideational theories, according to which the meaning of an expression is an idea; and then presents his own account, which states that, e.g., the meaning of 'Primzahl' in German is the property of meaning prime number. Before casting doubt on the latter ontology of meanings, I come to Frege's defence by pointing out that he was not an advocate of the position Davis named after him because (...) Fregean senses are not lexical meanings and Fregean thoughts are not types of mentalevents. (shrink)
My goal is to define intending. I defend the view that believing and desiring something are necessary for intending it. They are not sufficient, however, for some things we both expect and want (e.g., the sun to rise tomorrow) are unintendable. Restricting the objects of intention to our own future actions is unwarranted and unhelpful. Rather, the belief involved in intending must be based on the desire in a certain way. En route, I argue that expected but unwanted consequences are (...) not intended, examine the two senses of "desire," distinguish intending from being willing, and relate intending to a variety of other propositional at? titudes. (shrink)
In its narrative, dramatic, and representational genres, art regularly depicts contexts for human emotions and their expressions. It is not surprising, then, that these artforms are often about emotional experiences and displays, and that they are also concerned with the expression of emotion. What is more interesting is that abstract art genres may also include examples that are highly expressive of human emotion. Pure music – that is, stand-alone music played on musical instruments excluding the human voice, and without words, (...) literary titles, or associated texts connected to it by its composer – is often characterized as the expressive art par excellence. Yet how could that be possible, given that such music lacks semantic or representational content? Pure music presents the hardest and most vivid philosophical challenge to any account of expressiveness in the arts, which is why it is crucial to consider the musical case for the light it sheds on the underlying principles and issues. In this chapter I consider two accounts of expressiveness in pure music. Both regard expressiveness as an objective property of such music. I argue for the position I call appearance emotionalism and against the alternative, which I label hypothetical emo- tionalism. But before I get to that, there is a different mode of musical expression to be acknowledged. Even instrumental music comes charged with associations. Some of these are private to the listener, but many are widely shared. The latter may be included in a piece by accident but are, more often, deliberately placed for their effects. For instance, when a song is quoted in an instrumental work, its title or words may be brought to mind. Certain melodies (e.g., “Ode to Joy”), styles (e.g., tarantella), idioms (e.g., fanfares), forms (e.g., minuet), modalities (e.g., church modes), and instruments (e.g., fifes and snare drums) recall particular social events, geocultural regions, historical periods, ideas, and sensibilities, and in this way can hook up with affective life-experiences. Though it is music’s associative ties that are likely to be referred to when most people are asked about music’s significance, philosophers say little about them.. (shrink)
Fred Dretske asserts that the conscious or phenomenal experiences associated with our perceptual states—e.g. the qualitative or subjective features involved in visual or auditory states—are identical to properties that things have according to our representations of them. This is Dretske's version of the currently popular representational theory of consciousness . After explicating the core of Dretske's representational thesis, I offer two criticisms. I suggest that Dretske's view fails to apply to a broad range of mental phenomena that have rather distinctive (...) subjective or qualitative features. I also suggest that Dretske's view, in identifying conscious experiences with features of our perceptual states, casts its aim too low. It deflates further than it should and, in consequence, fails to capture what are arguably some of the most important phenomena associated with our conscious lives. (shrink)
In this article I examine an as yet unexplored aspect of J.P. Moreland’s defense of so-called bare particularism — the ontological theory according to which ordinary concrete particulars (e.g., Socrates) contain bare particulars as individuating constituents and property ‘hubs.’ I begin with the observation that if there is a constituency relation obtaining between Socrates and his bare particular, it must be an internal relation, in which case the natures of the relata will necessitate the relation. I then distinguish various ways (...) in which a bare particular might be thought to have a nature and show that on none of these is it possible for a bare particular to be a constituent of a complex particular. Thus, Moreland’s attempt to resurrect bare particulars as ontologically indispensable entities is not wholly without difficulties. (shrink)
This paper notes and discusses some key arguments in Part One of The Problem of Evil and the Problem of God by D. Z. Phillips. With an eye on some texts of Thomas Aquinas, I reject Phillips's view that belief in divine omnipotence leads to absurd claims concerning God, but I defend his rejection of anthropomorphism when it comes to talk of God, and, with qualifications, I defend and elaborate on his suggestion that God is not a moral agent. I (...) also commend his critique of certain well-known theodicies (e.g. that provided by Richard Swinburne), although I challenge his appeal to what he calls “the grammar of God.”. (shrink)
It is popularly believed within sport's practice communities that a contest fails if the competitor who performs most skilfully in it does not win. The belief is rarely acknowledged explicitly, and therefore deserves to be considered ideological in a sense. In this paper I challenge that belief. For conceptual reasons, I confine the discussion to the purposive sports, e.g. football and tennis. The concept of skill is approached by articulation of a set of platitudes about skill in the purposive sports. (...) The first is the conceptual wedge between skill and success. The second is the distinction between skill and other performance-relevant qualities such as courage, strength and luck. The third is the fact that skill deficits can be compensated by sufficient amounts of the other performance relevant qualities. The fourth is the dispositional and dynamic character of skill. The relation between skill and final objectives in the purposive sports means that (i) qualities such as nerve and courage can trump the more skilful performance; and (ii) poor execution of a narrow range of skills can result in the competitive failure of the more skilful performance. There is no viable ideal of sport that would ground regret about the realisation of the immediately preceding possibilities. The inclination towards such regret might be partly motivated by the wish to take a gratifying view of ourselves. An end to this response, and a more inclusive, less hierarchical conception of sport skills, is worth recommending. (shrink)
Employed professionals (e.g., accountants or engineers)-and those who study them-sometimes claim that their status as employeesdenies them the “autonomy” necessary to be “true professionals.” Is this a conceptual claim or an empirical claim? How might it be proved or disproved? This paper draws on recent work on autonomy to try to answer these questions. In the course of doing that, it identifies three literatures concerned with autonomy and suggests an approach bringing them together in a way likely to be useful (...) both to philosophers interested in the concept and to social scientists interested in studying autonomy in the workplace. (shrink)
