This book examines the hypothesis of "direct compositionality", which requires that semantic interpretation proceed in tandem with syntactic combination. Although associated with the dominant view in formal semantics of the 1970s and 1980s, the feasibility of direct compositionality remained unsettled, and more recently the discussion as to whether or not this view can be maintained has receded. The syntax-semantics interaction is now often seen as a process in which the syntax builds representations which, at the abstract level of logical form, (...) are sent for interpretation to the semantics component of the language faculty. In the first extended discussion of the hypothesis of direct compositionality for twenty years, this book considers whether its abandonment might have been premature and whether in fact direct compositionality is not after all a simpler and more effective conception of the grammar than the conventional account of the syntax-semantics interface in generative grammar. It contains contributions from both sides of the debate, locates the debate in the setting of a variety of formal theories, and draws on examples from a range of languages and a range of empirical phenomena. (shrink)
As part of the conference commemorating Theoria's 75th anniversary, a round table discussion on philosophy publishing was held in Bergendal, Sollentuna, Sweden, on 1 October 2010. Bengt Hansson was the chair, and the other participants were eight editors-in-chief of philosophy journals: Hans van Ditmarsch (Journal of Philosophical Logic), Pascal Engel (Dialectica), Sven Ove Hansson (Theoria), Vincent Hendricks (Synthese), Søren Holm (Journal of Medical Ethics), PaulineJacobson (Linguistics and Philosophy), Anthonie Meijers (Philosophical Explorations), Henry S. Richardson (Ethics) and Hans (...) Rott (Erkenntnis). (shrink)
Champions of virtue ethics frequently appeal to moral perception: the notion that virtuous people can “see” what to do. According to a traditional account of virtue, the cultivation of proper feeling through imitation and habituation issues in a sensitivity to reasons to act. Thus, we learn to see what to do by coming to feel the demands of courage, kindness, and the like. But virtue ethics also claims superiority over other theories that adopt a perceptual moral epistemology, such as intuitionism (...) – which John McDowell criticizes for illicitly “borrow[ing] the epistemological credentials” of perception. In this paper, I suggest that the most promising way for virtue ethics to use perceptual metaphors innocuously is by adopting a skill model of virtue, on which the virtues are modeled on forms of practical know-how. Yet I contend that this model is double-edged for virtue ethics. The skill model belies some central ambitions and dogmas of the traditional view, especially its most idealized claims about virtue and the virtuous. While this may be a cost that its champions are unprepared to pay, I suggest that virtue ethics would do well to embrace a more realistic moral psychology and a correspondingly less sublime conception of virtue. (shrink)
Though “dwelling” is more commonly associated with Heidegger’s philosophy than with that of Merleau-Ponty, “being-at-home” is in fact integral to Merleau-Ponty’s thinking. I consider the notion of home as it relates to Merleau-Ponty’s more familiar notions of the “lived body” and the “level,” and, in particular, I consider how the unique intertwining of activity and passivity that characterizes our being-at-home is essential to our nature as free beings. I argue that while being-at-home is essentially an experience of passivity—i.e., one that (...) rests in the background of our experience and provides a support and structure for our life that goes largely unnoticed and that is significantly beyond our “conscious” control—being-at-home is also a way of being to which we attain . This analysis of home reveals important psychological insights into the nature of our freedom as well as into the nature of the development of our adult ways of coping and behaving. (shrink)
According to Slote's ``agent-based'' virtue ethics, the rightness orwrongness of an act is determined by the motive it expresses. Thistheory has a problem with cases where an agent can do her duty onlyby expressing some vicious motive and thereby acting wrongly. In sucha situation, an agent can only act wrongly; hence, the theory seemsincompatible with the maxim that `ought' implies `can'. I argue thatSlote's attempt to circumvent this problem by appealing to compatibilism is inadequate. In a wide range of psychologically (...) realistic cases, an agent's effective choice will be between failingto do her duty and doing it from inferior motives. Then anythingshe can do will be wrong, according to the agent-based theory,contrary to the maxim Slote wishes to preserve. (shrink)
I argue that, although we are inherently intersubjective beings, we are not first or most originally “public” beings. Rather, to become a public being, that is, a citizen—in other words, to act as an independent and self-controlled agent in a community of similarly independent and self-controlled agents and, specifically, to do so in a shared space in the public arena—is something that we can successfully do only by emerging from our familiar, personal territories—our homes. Finding support in texts from philosophy, (...) psychology, and the social sciences, I construe the claim that citizenship is a developed stance as a spatial issue. I conclude that a state (or, for that matter, a philosophy) that takes the human being to begin as an isolated individual agent fails to recognize the essential spatial relationships on which we depend—namely, those arising through our way of being-at-home in the world; and, as a result, such a stance not only misconstrues the parameters on which citizenship is itself possible but also risks developing a social situation that encourages behaviors we see in the agoraphobic—namely, the behaviors of alienated and fundamentally homeless human beings. (shrink)
In his book, Contemporary Theories of Knowledge, John Pollock argues that all externalist theories of justification should be rejected on the grounds that they do not do justice to the action-guiding character of epistemic norms. I reply that Pollocks argument is ineffective — because not all externalisms are intended to involve action-guiding norms, and because Pollock does not give a good reason for thinking that action-guiding norms must be internalist norms. Second, I consider rehabilitating Pollocks argument by restricting his conclusion (...) to theories that do involve action-guiding norms and providing a better reason to think that action-guiding norms must be internalist norms. But I claim that if Pollocks argument is made strong enough to rule out all externalisms, it rules out too much, namely, any plausible conception of epistemic norms. (shrink)
Bickle argues for both a narrow causal reductionism, and a broader ontological-explanatory reductionism. The former is more successful than the latter. I argue that the central and unsolved problem in Bickle's approach to reductionism involves the nature of psychological terms. Investigating why the broader reductionism fails indicates ways in which phenomenology remains more than a handmaiden of neuroscience.
Several recent contextualist theorists (e.g. David Lewis, Michael Williams, andKeith DeRose) have proposed contextualizing the skeptic. Their claim is that oneshould view satisfactory answers to global doubts regarding such subjects as theexternal world, other minds, and induction as requirements for justification incertain philosophical contexts, but not in everyday and scientific contexts. Incontrast, the skeptic claims that a satisfactory answer to a global doubt in eachof these areas is a context-invariant requirement for justified belief. In this paper,I consider and reject (...) the arguments Michael Williams develops in his bookUnnatural Doubts that are intended to show that the skeptic's interpretationof the significance of global doubts is mistaken. In addition, I argue that Williams'general strategy in opposing the skeptic is extremely interesting and worth furtherinvestigation, even if his particular execution of it is unsuccessful. To this end, Iclarify the general strategy, distinguish it from a variety of others, and discuss itsprospects as an answer to the skeptic. (shrink)
Agoraphobia is commonly considered to be a fear of outside, open, or crowded spaces, and is treated with therapies that work on acclimating the agoraphobic to external places she would otherwise avoid. I argue, however, that existential phenomenology provides the resources for an alternative interpretation and treatment of agoraphobia that locates the problem of the disorder not in something lying beyond home, but rather in a flawed relationship with home itself. More specifically, I demonstrate that agoraphobia is the lived body (...) expression of a person who has developed an inward-turning tendency with respect to being-at-home, and who finds herself, as a result, vulnerable and even incapacitated when attempting to emerge into the public arena as a fully participatory agent. I consider this thesis in light of the fact that since World War I agoraphobia has been diagnosed significantly more in women than in men; indeed, one study found women to be 89% more likely than men to suffer from agoraphobia. I conclude that agoraphobia is a disorder that stands as an emblematic expression of the ongoing pathology of being a woman in contemporary society–a disorder that reflects that even today women belong to a political world in which they are not able to feel properly at-home. (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 this essay, I propose a standard of practical rationality and a grounding for the standard that rests on the idea of autonomous agency. This grounding is intended to explain the “normativity” of the standard. The basic idea is this: To be autonomous is to be self-governing. To be rational is at least in part to be self-governing; it is to do well in governing oneself. I argue that a person's values are aspects of her identity—of her “self-esteem identity”—in a (...) way that most of her ends are not, and that it therefore is plausible to view action governed by one's values as self-governed. This is also plausible on independent grounds. Given this, I say, rational agents comply with a standard—the “values standard”—that requires them to serve their values, and to seek what they need in order to continue to be able to serve their values. Footnotesa I am grateful to many people for helpful comments and discussion over the many years in which I have been developing the ideas in this essay. With apologies to those whose help escapes my memory, I would like to thank Nomy Arpaly, Sam Black, Michael Bratman, Justin D'Arms, Dan Farrell, Pat Greenspan, Don Hubin, Dan Jacobson, Marina Oshana, Michael Ridge, Michael Robins, David Sobel, Pekka Väyrynen, and David Velleman. I presented early versions of some of the ideas in this essay to audiences in the departments of philosophy at the University of Alberta, the University of Maryland at College Park, l'Université de Montréal, the University of Southern California, and the University of Florida, to the 1999 Conference on Moral Theory and Its Applications, Le Lavandou, France, and to the 2001 Conference on Reason and Deliberation, Bowling Green State University. I am grateful for the helpful comments of those who participated in the discussions on all of these occasions and especially to the other contributors to this volume, and its editors. I owe special thanks to Ellen Paul for encouraging me to integrate my thinking on identity with my thinking on rationality and for her useful comments. (shrink)
Combinatory logic (Curry and Feys 1958) is a “variable-free” alternative to the lambda calculus. The two have the same expressive power but build their expressions differently. “Variable-free” semantics is, more precisely, “free of variable binding”: it has no operation like abstraction that turns a free variable into a bound one; it uses combinators—operations on functions—instead. For the general linguistic motivation of this approach, see the works of Steedman, Szabolcsi, and Jacobson, among others. The standard view in linguistics is that (...) reflexive and personal pronouns are free variables that get bound by an antecedent through some coindexing mechanism. In variable free semantics the same task is performed by some combinator that identifies two arguments of the function it operates on (a duplicator). This combinator may be built into the lexical semantics of the pronoun, into that of the antecedent, or it may be a free-floating operation applicable to predicates or larger chunks of texts, i.e. a typeshifter. This note is concerned with the case of cross-sentential anaphora. It adopts Hepple’s and Jacobson’s interpretation of pronouns as identity maps and asks how this can be extended to the cross-sentential case, assuming the dynamic semantic view of anaphora. It first outlines the possibility of interpreting indefinites that antecede non-ccommanded pronouns as existential quantifiers enriched with a duplicator. Then it argues that it is preferable to use the duplicator as a type-shifter that applies “on the fly”. The proposal has consequences for two central ingredients of the classical dynamic semantic treatment: it does away with abstraction over assignments and with treating indefinites as inherently existentially quantified. However, cross-sentential anaphora remains a matter of binding, and the idea of propositions as context change potentials is retained. (shrink)
Understanding disgustingness is philosophically important partly because claims about disgustingness play a prominent role in moral discourse and practice. It is also important because disgustingness has been used to illustrate the promise of "neo-sentimentalism." Recently developed by moral philosophers such as David Wiggins, John McDowell, Simon Blackburn, Justin D'Arms and Dan Jacobson, neo-sentimentalism holds that for a thing to be disgusting is for it to be "appropriate" to respond to it with disgust. In this paper, I argue that from (...) what we currently know about the disgust response, these accounts are mistaken. Instead, disgustingness is best understood as a descriptive property: fundamentally, things that are disgusting-for-S are things that possess triggers for S's disgust mechanism. Theoretically, my account puts pressure on neo-sentimentalists to show that the responses they appeal to can anchor normative properties. Practically, my account shows that we must abandon authoritative claims that certain things really are--or are not--disgusting. (shrink)
(Though it is now known that many pronouns once lumped under ”bound variables” are in fact referential indefinites or other phenomena better accounted for in a DRT-like view of referents, there remain many true instances of sentenceinternally bound anaphora: this talk concerns only the latter.) Almost all versions of categorial grammar (CG) are differentiated from other syntactic theories in treating a multi-argument verb as an Ò-place predicate phrase (PrdP) that combines with a NP or other argument to yield a (Ò-1)-place (...) PrdP (which, if (n–1) 1, then combines with another argument to yield a ´Ò ¾µ-place PrdP, until a sentence (0-place PrdP) results) – a ”curried function” account of argument structure. (In CG, Ú ÔÜ ÒÔ · ÒÔ Üµ. A number of CG analyses of Ú Ô bound anaphora (Bach & Partee 1980, Chierchia 1988, Szabolcsi 1992, Jacobson 1991, Dowty 1993, Jacobson 1999), though otherwise diverse, have in common that they treat anaphoric binding as a process that affects (only) a predicate phrase (PrdP) — usually (finite or non-finite) Ú Ô, else ÚÔ ÒÔ — by binding an internal pronoun, i.e. ”binding at the VP level”; semantically, this is usually indicated ´Üµ . The result of this binding is that the next argument the.. (shrink)
Most philosophers of emotion endorse a compound account of the emotions: emotions are wholes made of parts; or, as I prefer to put it, emotions are mental states that supervene on other (mental) states. The goal of this paper is to ascertain how the intentionality of these subvening members relates to the intentionality of the emotions. Towards this end, I proceed as follows. First, I discuss the problems with the account Justin D'Arms and Daniel Jacobson offer of the intentionality (...) of the emotions; I argue their account is fundamentally misguided by virtue of being motivated by a misunderstanding of the nature of propositional attitudes. Second, I argue against Peter Goldie's claim that an affective component of an emotion contributes to its intentionality. Third, I offer my own compound account of emotions. I argue (1) emotions are mental states that supervene on other mental states, (2) the mental states that constitute the subvenience base of emotion can have nonconceptual and/or conceptual representational content, and (3) an emotion's intentionality supervenes on (but is often not identical to) the intentionality of only one of its subvening members, specifically, the evaluative representation. (shrink)
Abstract It is widely assumed that the meaning of at least some types of expressions involves more than their reference to objects, and hence that there may be co-referential expressions which differ in meaning. It is also widely assumed that ?syntax does not suffice for semantics?, i.e. that we cannot account for the fact that expressions have semantic properties in purely syntactical or computational terms. The main goal of the paper is to argue against a third related assumption, namely that (...) what is responsible for a difference in meaning between co-referential expressions is the computational difference in the cognitive functioning of the expressions. ?Intentional aspects? of expressions?those features which their meanings involve in addition to reference?cannot be syntacticized, since they are individuated not in terms of any cognitive feature, but rather in terms of those properties of the referents through which the expressions refer to them, and cognitive features cannot determine such properties in exactly the same sense as they cannot determine reference. (shrink)
