CHAPTER ONE Introduction Twenty-five years ago it was pretty widely held among Anglo- American philosophers that it was sheer confusion to suppose that an ...

In works of literary fiction, it is a part of the fiction that the words of the text are being recounted by some work-internal 'voice': the literary narrator. One can ask similarly whether the story in movies is told in sights and sounds by a work-internal subjectivity that orchestrates them: a cinematic narrator. George M. Wilson argues that movies do involve a fictional recounting (an audio-visual narration ) in terms of the movie's sound and image track. Viewers are usually prompted (...) to imagine seeing the items and events in the movie's fictional world and to imagine hearing the associated fictional sounds. However, it is much less clear that the cinematic narration must be imagined as the product of some kind of 'narrator' - of a work-internal agent of the narration. Wilson goes on to examine the further question whether viewers imagine seeing the fictional world face-to-face or whether they imagine seeing it through some kind of work-internal mediation . It is a key contention of this book that only the second of these alternatives allows one to give a coherent account of what we do and do not imagine about what we are seeing on the screen. Having provided a partial account of the foundations of film narration, the final chapters explore the ways in which certain complex strategies of cinematic narration are executed in three exemplary films: David Fincher's Fight Club , von Sternberg's The Scarlet Empress , and the Coen brothers' The Man Who Wasn't There. (shrink)

If a person's head moves, she may or may not have moved her head, and, if she did move it, she may have actively performed the movement of her head or merely, by doing something else, caused a passive movement. And, if she performed the movement, she might have done so intentionally or not. This short array of contrasts (and others like them) has motivated questions about the nature, variety, and identity of action. Beyond the matter of her moving, when (...) the person moves her head, she may be indicating agreement or shaking an insect off her ear. Should we think of the consequences, conventional or causal, of physical behavior as constituents of an action distinct from but ‘generated by’ the movement? Or should we think that there is a single action describable in a host of ways? Also, actions, in even the most minimal sense, seem to be essentially ‘active’. But, how can we explain what this property amounts to and defend our wavering intuitions about which events fall in the category of the ‘active’ and which do not? (shrink)

Originally published in 1973 the editors of this book collected together those studies which had been considered at the time to yield the best evidence in support of Freudian theory, and found on close examination that they failed to provide any such proof. Each paper is printed in full and is followed by a critical discussion which raises questions of statistical treatment, sufficiency of controls and alternative interpretations. The particular usefulness of this format is that it allows readers to form (...) their own opinions while providing helpful suggestions and guidelines on how to approach experimental studies with a critical mind. (shrink)

This article argues, first, that the fundamental structure of the skeptical argument in Kripke's book on Wittgenstein has been seriously misunderstood by recent commentators. Although it focuses particularly on recent commentary by John McDowell, it emphasizes that the basic misunderstandings are widely shared by other commentators. In particular, it argues that, properly construed, Kripke offers a fully coherent reading of PI #201 and related passages. This is commonly denied, and given as a reason for rejecting Kripke's reading of Wittgenstein's text. (...) Second, it is pretty universally accepted that Kripke's Wittgenstein is a `non-factualist' about ascriptions of meaning. The article argues that, when Kripke's discussion is rightly understood and the content of `non-factualism' is clarified, there is an important sense in which the skeptical solution is not committed to non-factualism. (shrink)

This article argues, first, that the fundamental structure of the skeptical argument in Kripke’s book on Wittgenstein has been seriously misunderstood by recent commentators. Although it focuses particularly on recent commentary by John McDowell, it emphasizes that the basic misunderstandings are widely shared by other commentators. In particular, it argues that, properly construed, Kripke offers a fully coherent reading of PI #201 and related passages. This is commonly denied, and given as a reason for rejecting Kripke’s reading of Wittgenstein’s text. (...) Second, it is pretty universally accepted that Kripke’s Wittgenstein is a ‘non-factualist’ about ascriptions of meaning. The article argues that, when Kripke’s discussion is rightly understood and the content of ‘non-factualism’ is clarified, there is an important sense in which the skeptical solution is not committed to non-factualism. (shrink)

In a recent paper, Ebbs has given an elegant statement of a notable puzzle that has recurred in the literature since the original publication of Putnam’s “The Meaning of ‘Meaning’.” The puzzle can be formulated, for a certain characteristic case, along the following lines. There are very strong intuitions in support of a thesis that Putnam has explicitly endorsed, namely, the thesis: The extension of the word ‘gold’, as we use it now, is the same as the extension of ‘gold’, (...) as it was used in 1650 (before the rise of molecular chemistry). However, strong convictions about language use and truth conditions also incline us to the view that the extension of a term, as it is used at a time t, is determined by facts about the use of the term in the language at or before t, together with the facts about the various items to which the term prospectively applied. This paper looks at the various issues involved regarding these matters. (shrink)

George Wilson; Transparency and Twist in Narrative Fiction Film, The Journal of Aesthetics and Art Criticism, Volume 64, Issue 1, 8 March 2005, Pages 81–95, htt.

It is widely held in theories of narrative that all works of literary narrative fiction include a narrator who fictionally tells the story. However, it is also granted that the personal qualities of a narrator may be more or less radically effaced. Recently, philosophers and film theorists have debated whether movies similarly involve implicit audio-visual narrators. Those who answer affirmatively allow that these cinematic narrators will be radically effaced. Their opponents deny that audio-visual narrators figure in the ontology of movies (...) at all, and many have argued that the ‘effaced’ literary narrator is an illusion as well. In this paper, I attempt to sort out the central issues that arise in these debates, defending the existence of effaced narrators in both literature and film. (shrink)

Newcomb's problem supposedly involves your choosing one or else two boxes in circumstances in which a predictor has made a prediction of how many boxes you will choose. We argue that the circumstances which allegedly define Newcomb's problem generate a previously unnoticed regress which shows that Newcomb's problem is insoluble because it is ill-formed. Those who favor, as we do, a ``no-box'' reply to Newcomb's problem typically claim either that the problem's solution is underdetermined or else that it is overdetermined. (...) We are no-boxers of the first kind, but the underdetermination we identify is more radical than any previously identified: it blocks the very set-up of the problem and not just potential solutions to the problem once it has been set up. The defect is subtle, but it cripples every genuine version of the problem, regardless of variations in such things as the predictor's degree of reliability, the basis on which the prediction is made, or the amount of money in each box. The regress shows that, surprisingly enough, no one can understand Newcomb's problem, and so no one can possibly solve it. (shrink)

The verb “to conjure” is a complex one, for it includes in its standard definition a great range of possible actions or operations, not all of them equivalent, or even compatible. In its most common usage, “to conjure” means to perform an act of magic or to invoke a supernatural force, by casting a spell, say, or performing a particular ritual or rite. But “to conjure” is also to influence, to beg, to command or constrain, to charm, to bewitch, to (...) move or convey, to imagine, to visualize, to call to mind, or to remember. —Rachael DeLue 2012, para 1.When we create with our Brown hands, feminine energy, and full spirits, we conjure. To exist, survive, and thrive in these bodies is a continuous act of conjuring. Our walks conjure. Our smiles conjure. Our tears conjure. Our laughs conjure. Our words conjure. Our artworks are conjurings. We, a Black/Filipina-American woman, a Dominican-American, and a Black-American woman, are guided by our solidarity with one another and all other Black and Brown female identifying persons whose raced and gendered subjectivities exist both inside and outside of colonization, white supremacy, and patriarchy. We bring to life our colored imaginations and curiosities, and share them with the world. We are united by our need for safety, autonomy as beings, dissolution of trauma, and desire to ask, “What would happen if I…?” Imaginative, curious Women of Color founded the underground railroad, guided captured Africans and Tainos to the mountains, ignited the Civil Rights Movement, organized laborers and immigrants, birthed the #BlackLivesMatter Movement, conceived the #MeToo Movement, and so much more. Like our kindred counterparts, we have an unrelenting urge to examine, question, wonder, desire, speak to, lead, be curious, and “conjure.” As practicing artists and art educators, our critical arts-based practices are grounded in intersectional feminisms like Womanism, Black Feminist Theory, and Chicana Feminist Theory, which allow us to do these very things. (shrink)

Toward the end of Chapter Four, Richard Moran provides a summary statement of some of his chief objectives in earlier portions of his book. He says.

People with disabilities face inequalities in mental wellbeing, for which social exclusion is a contributing factor. Musical activities offer a promising but complex intervention, making impacts on a population with highly varied characteristics and needs challenging to capture. This paper reports on a mixed methods, person-centered study investigating a community music intervention for such a population. Three groups of adult service users with varied disabilities, took part in weekly music workshops in different locations. Music staff, housing and resource center staff, (...) as well as participants and members of their families, took part in semi-structured interviews. A quantitative measure administered by service staff was used to rate service users’ social development. Two lay researchers, both individuals with a disability contributed to all aspects of the study. Interviews were analyzed through thematic analysis. Improvements in individuals’ self-expression, confidence, mood, and social skills were consistent with previous findings. Differences in effect between centers included: Group 1, some of whom had previous experience of workshops, showed an improvement in musical skills; Group 2 showed a mixed response, some participated with enthusiasm but others chose art activities over music workshops; Group 3 had lasting positive impact, this group had very limited opportunities for music due to their rural location. Quantitative analysis showed significant increase over all groups in communication, interaction with others, and joint attention. The intervention was beneficial for participants in separate locations in similar ways, but also highlighted that context and prior experience mediated effects in distinct ways. The lay researchers enhanced the qualitative analysis by emphasizing the importance of recognizing participants’ self-expression in non-verbal modes of communication and the importance of having music staff with a disability to provide a positive role model. This paper proposes that mixed methods person-centered research is the most suitable approach to capture and understand the multiple and varied effects of this complex intervention for a diverse group of participants. (shrink)

The Psalter exhibits a complex literary structure that not only determines its shape but also provides the reader with interpretive clues for reading both the whole and its parts.

Radulphus Brito's Quaestiones super Priora analytica Aristotelis is a major work written in the early 1300s which treated Aristotle's text devoted to the theory of the syllogism. Brito, one of the most influential of the group of medieval thinkers known as the Modistae, examines both categorical and hypothetical syllogisms. In the text offered here, based on six known manuscripts which are complete or nearly complete, Brito was critical of many of the theories of his contemporary, Simon of Faversham. Brito edited (...) his work several times; there are at least two versions which indicate Brito returned to this material during his long career at the university in Paris. This volume is the first critical text edition of Brito's Quaestiones super Priora analytica Aristotelis and will therefore be of great interest to those studying the history of logic and its development during the medieval period. (shrink)

The volume addresses the historical context of Henry, e.g. his writings and his participation in the events of 1277; examines Henry’s theology, metaphysics, epistemology, and ethics; and studies Henry’s influence on John Duns Scotus and Pico della Mirandola.