In the 1970s, the concept of "difference" transformed our understanding of language and our reading of literary texts. Since then it has found application in almost every branch of literary and cultural studies. In this accessible, lively volume, Mark Currie traces the diverse meanings and changing fortunes of the term from a wide geography of sources in philosophy, linguistics, feminism, cultural geography and cultural theory. The author follows the concept from its most widely studied articulations in structuralism and poststructuralism (...) to broader critical issues such as individuality, diversity and universality. He offers particular discussion of: *Identity and difference *Difference and reference *Differance *Different histories *Difference and equivalence Displaying a remarkable range of discussion and unique insight into underlying philosophical and social debates, Difference is the best possible introduction to a term at the very heart of recent critical thought. (shrink)
This is a book about the nature of film: about the nature of moving images, about the viewer's relation to film, and about the kinds of narrative that film is capable of presenting. It represents a very decisive break with the semiotic and psychoanalytic theories of film which have dominated discussion over the last twenty years. The central thesis is that film is essentially a pictorial medium and that the movement of film images is real rather than illusory. A general (...) theory of pictorial representation is presented, which insists on the realism of pictures and the impossibility of assimilating them to language. It criticises attempts to explain the psychology of film viewing in terms of the viewer's imaginary occupation of a position within the world of film. On the contrary, film viewing is nearly always impersonal. (shrink)
Recreative Minds develops a philosophical theory of imagination that draws upon the latest work in psychology. This theory illuminates the use of imagination in coming to terms with art, its role in enabling us to live as social beings, and the psychological consequences of disordered imagination. The authors offer a lucid exploration of a fascinating subject.
What kinds of psychological states motivate us? Beliefs and desires are the obvious candidates. But some aspects of our behaviour suggest another idea. I have in mind the view that imagination can sometimes constitute motivation.
What do pictures and mental images have in common? The contemporary tendency to reject mental picture theories of imagery suggests that the answer is: not much. We show that pictures and visual imagery have something important in common. They both contribute to mental simulations: pictures as inputs and mental images as outputs. But we reject the idea that mental images involve mental pictures, and we use simulation theory to strengthen the anti-pictorialist's case. Along the way we try to account for (...) caricature and for some basic features of pictorial representations. (shrink)
Aims to improve an understanding of the theoretical issues in response to the influence of fiction. Four things in narrative unreliability; Relation between narration in literary fictions and film; Comprehension of narrative essentially a matter of intentional inference; Fictions misdescribed; Asymmetry between literature and film; Ambiguity and unreliability; Implied author and narrator.
For more than 10 years, Ulrich Beck has dominated discussion of risk issues in the social sciences. We argue that Beck's criticisms of the theory and practise of risk analysis are groundless. His understanding of what risk is is badly flawed. His attempt to identify risk and risk perception fails. He misunderstands and distorts the use of probability in risk analysis. His comments about the insurance industry show that he does not understand some of the basics of that industry. And (...) his assertions about the wrongness of allowing acceptable levels of exposure to toxic chemicals do not stand up to scrutiny. Key Words: Beck risk analysis risk perception probability insurance. (shrink)
Our experience of narrative has an internal and an external aspect--the content of the narrative’s representations, and its intentional, communicative aetiology. The interaction of these two things is crucial to understanding how narrative works. I begin by laying out what I think we can reasonably expect from a narrative by way of causal information, and how causality interacts with other attributes we think of as central to narrative. At a certain point this discussion will strike a problem: our judgements about (...) what is a relevant possibility within the narrative’s story depend on our judgements of probability; but these latter judgements depend, in turn, on factors external to the world of the story, and cannot be explained in terms of causal relations available within the story. We need the external, author-centred perspective at this point. These different perspectives, the internal and the external, correspond to different types of explanations we may give of events in a story; I call these internal and external explanations. I show how these different explanations are made use of in two contrasting arthistorical projects. I use these examples as the basis for a generalisation about the structure of the two explanatory forms. Finally, I suggest some ways in which explanations of these two kinds relate to one another, and to our thinking when we are engaged by a narrative. (shrink)
Motor imagery typically involves an experience as of moving a body part. Recent studies reveal close parallels between the constraints on motor imagery and those on actual motor performance. How are these parallels to be explained? We advance a simulative theory of motor imagery, modeled on the idea that we predict and explain the decisions of others by simulating their decision-making processes. By proposing that motor imagery is essentially off-line motor action, we explain the tendency of motor imagery to mimic (...) motor performance. We close by arguing that a simulative theory of motor imagery gives (modest) support to and illumination of the simulative theory of decision-prediction. (shrink)
Shaun Gallagher and Dan Hutto claim that those once bitter rivals, simulation theory and theory-theory, are now to be treated as partners in crime. It's true that the debate has become more nuanced, with detailed suggestions abroad as to how these two approaches might peaceably divide the field. And there is common ground between them, at least to the extent that they agree on what needs to be explained. But I see no fatal flaw in what they share. In particular, (...) I reject the idea that most interpersonal understanding can be accounted for without the postulation of mechanisms for inferring beliefs and desires. I also query the claim that simulation mechanisms have a very limited explanatory scope, and argue for the existence of such mechanisms at sub-personal levels. I suggest that Gallagher and Hutto's strictures against false belief tests are unwarranted, and their conclusions about the role of narrative in interpersonal understanding are unfounded. (shrink)
Philosophical questions about the arts go naturally with other kinds of questions about them. Art is sometimes said to be an historical concept. But where in our cultural and biological history did art begin? If art is related to play and imagination, do we find any signs of these things in our nonhuman relatives? Sometimes the other questions look like ones the philosopher of art has to answer. Anyone who thinks that interpretation in the arts is an activity that leaves (...) the intentions of the author behind needs to explain how and why this differs so fundamentally from ordinary conversational interpretation, where the only decent models we have are ones that depend crucially on the recovery of intention. Anyone who thinks that imaginative literature has anything to tell us about time had better have a position on how earlier and later relate to past and future. Anyone who thinks that empathy plays a role in literary engagement had better have a psychologically plausible account of what empathy is. Philosophical questions about the arts also go naturally with other kinds of philosophical questions: we can't think constructively about representation in art without thinking about representation; text, meaning, reference and existence get similarly drawn into the conversation. Some ideas that philosophers of art deal with emerge from other disciplines. In literary theory an enormous amount of attention has been lavished on tracing the sources of unreliability in narrative. Is the result adequate to the details of the particular works we call unreliable? Contemporary film theory is generally hostile to the fiction/documentary distinction. Are there in fact any grounds for this? This book of thirteen connected essays examines questions of all these kinds. It ranges from the semantics of proper names, through the pragmatics of literary and filmic interpretation, to the aesthetic function of stone age implements. Some of the essays have not been published before; some that have are here substantially revised. (shrink)
An explanation of Frege's change from objective idealism to platonism is offered. Frege had originally thought that numbers are transparent to reason, but the character of his Axiom of Courses of Values undermined this view, and led him to think that numbers exist independently of reason. I then use these results to suggest a view of Frege's mathematical epistemology.
Two claims the present author has made about Frege's philosophy are defended against Michael Dummett's criticisms (The Interpretation of Frege's Philosophy and ?Objectivity and Reality in Lotze and Frege?, this journal, 1982). The claim that Frege was concerned primarily with epistemological problems rather than with the theory of meaning, and the claim (this journal, 1978) that the ascription of Wirklichkeit to Thoughts is evidence of Frege's realism, are clarified and defended. Dummett's own characterization of Frege's realism is considered and rejected.