Warner here puts forward a much broader discussion of rationality than that which underlies today's polarization between analytic and continental philosophy. Through a series of case-studies the author explores ancient conceptions of dialectic and rhetoric in relation to the positive role given to sentiment or "the heart" by Pascal, Hume, and Nietzsche. These studies point to an understanding of philosophy which undercuts fashionable disputes and which helps to reaffirm a range of ideas long marginalized by the dominance of the geometric (...) model of philosophical argument. (shrink)
Plato's rhetorical gesture invoking a 'quarrel' between philosophy and poetry points to a deep problem in our conception of rational discourse, often obscured or displaced in the history of philosophy's relations with imaginative literature, especially with respect to analytic philosophy in the first half of the twentieth century. Recent developments have helped focus attention on the overlap between philosophy and literature, which the contemporary retreat from philosophy's 'narrative turn' does little to undermine. Further work in the philosophy of language, the (...) logic of the imagination, and the relations between dialectic and rhetoric promise to throw light on that ancient problem. (shrink)
Analytic philosophy's characteristic downgrading of literature's putative concern with truth, and envisaging of its interest to philosophy merely in terms of material for logical analysis, was prefigured by Frege. The initial plausibility of this approach was in part a function of certain preferred models of philosophy as analysis which were themselves deeply flawed. An exploration of their weaknesses in the light of more adequate theories of language, truth and logic enables us to give proper weight both to rhetorical and imaginative (...) aspects of philosophical discourse, and to the capacity of works of literature to bear on issues of truth—and thereby contribute to philosophical understanding. (shrink)
Almost thirty years ago, in an attempt to undermine what he termed "the principle of alternate possibilities" (the thesis that people are morally responsible for what they have done only if they could have done otherwise), Harry Frankfurt offered an ingenious thought-experiment that has played a major role in subsequent work on moral responsibility and free will. Several philosophers, including David Widerker and Robert Kane, argued recently that this thought-experiment and others like it are fundamentally flawed. This paper develops a (...) new Frankfurt-style example that is immune to their objections. [Reprinted in Laura Waddell Ekstrom, ed., Agency and Responsibility: Essays on the Metaphysics of Freedom (Westview Press, 2001), pp. 241-54; and in John Martin Fischer, ed., Free Will, Vol. III (Routledge, 2005), pp. 330-42.]. (shrink)
Martin Heidegger, in a recently published group of essays, discusses the persistently ... was shattered by ED Hirsch's book Validity in Interpretation. ...
The idea that films can be philosophical, or in some sense 'do' philosophy, has recently found a number of prominent proponents. What is at stake here is generally more than the tepid claim that some documentaries about philosophy and related topics convey philosophically relevant content. Instead, the contention is that cinematic fictions, including popular movies such as The Matrix , make significant contributions to philosophy. Various more specific claims are linked to this basic idea. One, relatively weak, but pedagogically important (...) observation is that some films can be used to provide philosophy students with vivid and thought-provoking illustrations of philosophical issues. Film screenings stimulate discussion and may motivate renewed engagement with difficult philosophical texts. A stronger contention, however, seeks to link innovative and philosophically valuable thinking to 'the film itself' or to the 'specificity of the cinematic medium'. Such claims raise interesting questions, including questions about the status of the increasingly prevalent philosophically motivated interpretations of particular movies. Who is actually doing the philosophizing in such cases? Is it the audio-visual display, the film-maker, or the philosopher who devises an interpretation of the work? What is the role of specifically cinematic devices in the philosophical points made in such interpretations? Is there any tension between the goal of appreciating a film as a work of art and the goal of arguing that a film has significant implications for a position on a problem in philosophy? A course in the general area of cinema as philosophy can focus on issues related to the locus and status of cinematic philosophizing. It can also delve into specific films and film-makers and philosophically oriented interpretations of specific philosophical topics, such as personal identity. Issues pertaining to interpretation, meaning, and authorship can be usefully investigated in this connection, as can topics in meta-philosophy related to the very nature of philosophical insight or knowledge. Author Recommends Carroll, Noël and Jinhee Choi, eds. 2008. The Philosophy of Film and Motion Pictures: An Anthology , Part VIII: Film and Knowledge. Malden, MA: Blackwell. 381–405. Inclues a brief introduction by Carroll followed by papers by Bruce Russell, Karen Hanson, and Lester H. Hunt. Kania, Andrew, ed. 2009. Memento . London: Routledge. A number of philosophers elucidate philosophical themes in Memento and discuss more general issues pertaining to cinema's philosophical significance. Livingston, Paisley. 2009. Cinema, Philosophy, Bergman: On Film as Philosophy . Oxford: Oxford University Press. Part 1 surveys arguments surrounding the cinema as philosophy theme, providing detailed criticisms of some of the bold theses in this area. Part 2 discusses issues related to cinematic authorship and the status of philosophically motivated interpretations of works of fiction, arguing for a partial intentionalist account of a work's meanings. Part 3 illustrates the intentionalist principles in a discussion of Ingmar Bergman's philosophical sources, providing insight into themes of motivated irrationality, inauthenticity, and self-knowledge in some of Bergman's works. Livingston, Paisley and Carl Plantinga, eds. 2009. The Routledge Companion to Philosophy and Film , Part IV: Film as Philosophy. London: Routledge. 547–659. Offers a succinct survey by Wartenberg as well as entries on Ingmar Bergman, Terrence Malick, and Andrei Tarkovsky, discussions of film and specific philosophical topics (morality, skepticism, personal identity, and practical wisdom), and examples of philosophically motivated interpretations of three specific films: The Five Obstructions , Gattaca , and Memento . Smith, Murray and Thomas E. Wartenberg, eds. 2006. Thinking Through Cinema: Film as Philosophy . Malden, MA: Blackwell. A collection of papers that combines essays devoted to general positions on the cinema as philosophy topic as well as specific interpretations of works in different genres. Turvey, Malcolm. 2008. Doubting Vision: Film and the Revelationist Tradition . Oxford: Oxford University Press. A probing critical investigation into the assumptions underlying influential philosophical claims about the epistemic value of cinema. Wartenberg, Thomas E. 2008. Thinking on Screen: Film as Philosophy . London: Routledge. Ably surveys and responds to arguments against the idea that films can 'do philosophy'. It defends a conditionalist form of intentionalism in response to the 'imposition objection' according to which it is only the commentator who reads philosophical themes 'into' the movie; illustrates the favored account of film as philosophy with interpretations of specific cinematic fictions. Online Materials Film-Philosophy http://www.film-philosophy.com/ > Founded in 1996, this peer-reviewed online journal is dedicated to philosophically oriented interpretations of films and cinema studies more generally. The e-mail salon encourages discussion of related topics. Includes essays, festival reports, calls for papers, conference and job information, and book reviews. The archive includes contributions from 1997 to the present. Wartenberg, Thomas E. 'Philosophy of Film.' The Stanford Encyclopedia of Philosophy ; http://plato.stanford.edu/entries/film/ > A brief survey of a range of issues in the philosophy of cinema including a few paragraphs on the film as philosophy topic. Philosophical Films http://www.philfilms.utm.edu/2/filmlist.htm > A briefly annotated list of philosophical films grouped in rubrics such as 'The Meaning of Life' and 'Environmental Ethics'. Sample Syllabus What follows is a 4-week 'start-up module' followed by samples of optional units that focus on particular topics and cinematic examples. Introductory Module Week I: Introduction & Overview Livingston, Paisley. 'Recent Work on Cinema as Philosophy.' Philosophy Compass 3 (2008): 1–14, 20 (DOI: 10.1111/j.1747-9991.2008.00158.x ). Wartenberg, Thomas E. 2009. 'Film as Philosophy.' The Routledge Companion to Philosophy and Film . Ed. Paisley Livingston and Carl Plantinga. London: Routledge. 549–59. Russell, Bruce. 2008. 'The Philosophical Limits of Film.' The Philosophy of Film and Motion Pictures: An Anthology . Ed. Noël Carroll and Jinhee Choi. Malden, MA: Blackwell. 387–390. Week II: The Bold Thesis on Film as Philosophy Reading: Livingston, Paisley, 'Theses on Cinema as Philosophy.' Cinema, Philosophy, Bergman, Chapter One. 11–38. Screening: October (dir. Sergei Eisenstein 1928). Week III: Debating the Bold Thesis: The Case of October Carroll, Noël. 1998. 'For God and Country.' Interpreting the Moving Image . Cambridge: Cambridge University Press. 80–91. Smuts, Aaron. 2009. 'Film as Philosophy: In Defense of a Bold Thesis.' Journal of Aesthetics and Art Criticism , 67:4: 409–20. Week IV: Cinema as Philosophy: Objections and Replies Livingston, Paisley. 2009. 'Arguing over Cinema as Philosophy.' Cinema, Philosophy, Bergman, Chapter Two. 39–59. Additional Optional Units Depending on the instructor's areas of interest and expertise, any of the following units could be added (and in some cases, easily expanded into longer segments). The Case of Ingmar Bergman Livingston, Paisley. 2009. 'Ingmar Bergman.' The Routledge Companion to Philosophy and Film . Eds. Paisley Livingston and Carl Plantinga. London: Routledge. 560–568. Screening(s): Wild Strawberries (dir. Ingmar Bergman 1957), or The Seventh Seal (dir. Ingmar Bergman 1957), or Persona (dir. Ingmar Bergman 1966). Skepticism Fumerton, Richard. 2009. 'Skepticism.' In The Routledge Companion to Philosophy and Film . Eds. Paisley Livingston and Carl Plantinga. London: Routledge. 601–10. Screening: The Matrix (dir. Andy and Larry Wachowski 1999) or Total Recall (dir. Paul Verhoeven 1990). Ethics Kupfer, Joseph. 1999. Visions of Virtue in Popular Film . Boulder, CO: Westview. 35–60. Falzon, Chris. 2009. 'Why be Moral?' The Routledge Companion to Philosophy and Film . Eds. Paisley Livingston and Carl Plantinga. London: Routledge. 591–599. Screening: Groundhog Day (dir. <span class='Hi'>Harold</span> Ramis 1993), or Crimes and Misdemeanors (dir. Woody Allen 1989), or Hollow Man (dir. Paul Verhoeven 2000). Personal Identity Knight, Deborah. 2009. 'Personal Identity.' The Routledge Companion to Philosophy and Film . Eds. Paisley Livingston and Carl Plantinga. London: Routledge. 611–619. Hanley, Richard. 2009. ' Memento and Personal Identity: Are We Getting it Backwards?' Memento . Ed. Andrew Kania. London: Routledge. 107–126. Martin, Raymond. 2009. 'The Value of Memory: Reflections on Memento. ' Memento . Ed. Andrew Kania. London: Routledge. 87–106. Screening: Memento (dir. Christopher Nolan 2000). Freedom and (Genetic) Determinism Sesardic, Neven. 2009. 'Gattaca.' The Routledge Companion to Philosophy and Film . Eds. Paisley Livingston and Carl Plantinga. London: Routledge. 641–649. Screening: Gattaca (dir. Andrew Niccol 1997). Focus Questions • Is there anything special about the experience of fiction films that is especially well suited to the stimulation of worthwhile philosophical reflection? • Have any novel and philosophically significant ideas found their first expression in a cinematic work? • Under what circumstances can the film medium be used as an expression of a cinematic author's views? • What sort of background knowledge has to be in place for a film to be interpreted as articulating reasonably precise philosophical theses and arguments? • Does the goal of spelling out a film's philosophical meaning sometimes conflict with the goal of appreciating its value as a work of art? (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)
David Hume's relatively short essay 'Of the Standard of Taste' deals with some of the most difficult issues in aesthetic theory. Apart from giving a few pregnant remarks, near the end of his discussion, on the role of morality in aesthetic evaluation, Hume tries to reconcile the idea that tastes are subjective (in the sense of not being answerable to the facts) with the idea that some objects of taste are better than others. 'Tastes', in this context, are the pleasures (...) or displeasures that a person can take in the beauties of poems, paintings, and other artistic compositions (though Hume also wants to stress the continuities between tastes, so understood, and the bodily sense of taste). The position at which Hume arrives in the essay (despite some dialectical unclarity) is that some people – the 'true judges'– determine by their 'joint verdict' which works are meritorious. This solution continues to exercise a fascination, as does Hume's complicated route to it. Author Recommends: Paul Guyer, 'The Standard of Taste and the "Most Ardent Desire of Society" ', Values of Beauty (Cambridge: Cambridge University Press, 2005), 37–76. This paper places 'Of the Standard of Taste' in an especially rich context, and asks why Hume concentrates on true judges instead of the improvement of one's own taste. Mary Mothersill, 'Hume: "Of the Standard of Taste" ', Beauty Restored (Oxford: Clarendon Press, 1984), 177–208. This chapter, embedded in an exposition of Mothersill's 'First Thesis' (the denial that there are principles of taste) and 'Second Thesis' (the affirmation that some judgments of taste are genuine judgments), gives a detailed running commentary on Hume's essay. A shorter self-contained version of the chapter appeared as 'Hume and the Paradox of Taste' in Aesthetics: A Critical Anthology , 2nd ed., eds. George Dickie, Richard Sclafani, and Ronald Roblin (New York, NY: St. Martin's Press, 1989, 269–86). Jerrold Levinson, 'Hume's Standard of Taste: The Real Problem', Journal of Aesthetics and Art Criticism (2002): 227–38. An importance recent article, Levinson's piece argues that the 'real' difficulty with Hume's essay has gone unnoticed: why should I care about what Hume's true judges think? Christopher Williams, 'Some Questions in Hume's Aesthetics', Philosophy Compass 2/2 (2007). This article provides a brief overview of the topics discussed under weeks 3–5 in the sample syllabus below. It is intended to provide a roadmap for the particular set of readings listed there. David Wiggins, 'A Sensible Subjectivism?', Needs, Values, and Truth , 3rd ed. (Oxford: Clarendon Press, 1998), 185–214. This is a stimulating paper in moral philosophy that treats Hume's essay on taste as a model for a serious subjectivism. Wiggins then presents his own brand of subjectivism as an alternative to Hume's. Online Materials: Hume's Aesthetics (Ted Gracyk): http://plato.stanford.edu/entries/hume-aesthetics/ Sample Syllabus: Recommended background reading on Hume's historical context: Peter Kivy, The Seventh Sense: Francis Hutcheson and Eighteenth-Century British Aesthetics , 2nd ed. (Oxford: Oxford University Press, 2003), especially Part III. Recommended background reading on the general topic of taste: David A. Whewell, 'Taste', Blackwell Companion to Aesthetics (Oxford: Blackwell, 1992), 415–18. Dabney Townsend and Carolyn Korsmeyer, 'Taste', Encyclopedia of Aesthetics , ed. Michael Kelly (New York, NY and Oxford: Oxford University Press, 1998), 4:355–62. Ted Cohen, 'The Philosophy of Taste: Thoughts on the Idea', Blackwell Guide to Aesthetics , ed. Peter Kivy (Oxford: Blackwell, 2004), 167–73. Week 1: Hume on beauty, art, and aesthetic judgment in the Treatise of Human Nature and the Enquiry Concerning the Principles of Morals The following references are usable for any complete edition of the Treatise or Enquiry Treatise , 2.1.8 ('Of Beauty and Deformity') Treatise , 2.2.5 ('Of Our Esteem for the Rich and Powerful') Treatise , 2.2.8 ('Of Malice and Envy'), final three paragraphs Treatise , 2.2.11 ('Of the Amorous Passion, or Love Betwixt the Sexes') Treatise , 3.1.2 ('Moral Distinctions Deriv'd from a Moral Sense') Treatise , 3.3.1 ('Of the Origin of the Natural Virtues') Treatise , 3.3.5 ('Some Farther Reflexions Concerning the Natural Virtues') Enquiry , Appendix 1 ('Of moral sentiment') Week 2: Hume's essays Essays Moral, Political, and Literary , ed. Eugene Miller (Indianapolis, IN: LibertyClassics, 1985) is the most commonly used edition today. 'Of the Delicacy of Taste and Passion' 'Of Eloquence' 'Of the Rise and Progress of the Arts and Sciences' 'Of Simplicity and Refinement in Writing' 'Of Tragedy' 'Of the Standard of Taste' Week 3: Circularity–Virtuous or Vicious? Peter Kivy, 'Hume's Standard of Taste: Breaking the Circle', British Journal of Aesthetics (1967): 57–66. David Wiggins, 'A Sensible Subjectivism?', Needs, Values, and Truth , 3rd ed. (Oxford: Clarendon Press, 1998), 185–214. Week 4: Rules of Art Mary Mothersill, 'Hume: "Of the Standard of Taste" ', Beauty Restored (Oxford: Clarendon, 1984), 177–208. James Shelley, 'Hume's Double Standard of Taste', Journal of Aesthetics and Art Criticism (1994): 437–45. Nick Zangwill, 'Hume, Taste, and Teleology', The Metaphysics of Beauty (Ithaca, NY: Cornell University Press, 2001), 149–65. Week 5: The True Judge Malcolm Budd, 'Hume and Kant', 'Hume's Standard of Taste', 'Hume and Human Nature', Values of Art (London: Allen Lane, 1995), 16–24 . Paul Guyer, 'The Standard of Taste and the "Most Ardent Desire of Society" ', Values of Beauty (Cambridge: Cambridge University Press, 2005), 37–76. Jerrold Levinson, 'Hume's Standard of Taste: The Real Problem', Journal of Aesthetics and Art Criticism (2002): 227–38. Week 6: Moralism in Aesthetic Judgment: Hume and Beyond Kendall Walton, 'Morals in Fiction and Fictional Morality', Proceedings of the Aristotelian Society (1994): 27–50. Richard Moran, 'The Expression of Feeling in Imagination', Philosophical Review (1994): 75–106. Tamar Szabo-Gendler, 'The Puzzle of Imaginative Resistance', Journal of Philosophy (2000): 55–81. Focus Questions 1. How does Hume distinguish between matters of 'fact' and 'sentiment'? 2. What is a 'rule of art', and are there any rules? 3. Can a bad critic be 'silenced'? 4. What are the characteristics of good critics? 5. Should we expect good critics to agree on the merits of a work, and should I care about becoming a good critic myself? 6. Is it possible to distinguish variations in taste for which we should expect a standard and variations for which it is 'vain' to have such an expectation? 7. How is the excellence of a work related to the exercise of taste? 8. If a work of literature has a moral outlook that differs from our own, should we consider the work defective on literary grounds? (shrink)
Introduction -- "Mediating estrangement: a theory for diplomacy," review of International Studies (April, l987), 13, pp. 91-110 -- "Arms, hostages and the importance of shredding in earnest: reading the national security culture," Social Text (Spring, 1989), 22, pp. 79-91 -- "The (s)pace of international relations: simulation, surveillance and speed," International Studies Quarterly (September 1990), pp. 295-310 -- "Narco-terrorism at home and abroad," Radical America (December 1991), vol. 23, nos. 2-3, pp. 21-26 -- "The terrorist discourse: signs, states, and systems of (...) global political violence," World Security: Trends and Challenges at Century's End, ed. M. Klare and D. Thomas, St. Martin's Press (1991), pp. 237-265. -- "S/N: international theory, balkanisation, and the new world order," Millennium Journal for International Studies (Winter 1991), vol. 20, no. 3, pp. 485-506 -- "Cyberwar, videogames, and the Gulf War syndrome," Antidiplomacy: Spies, Terror, Speed and War (Cambridge, Ma and Oxford, UK, 1992), pp. 173-202 -- "Act IV: fathers (and sons), mother courage (and her children), and the dog, the cave, and the beef," in Global Voices: Dialogues in International Relations, ed. James N. Rosenau (Boulder, Co and Oxford, Uk: Westview Press, 1993), pp. 83-96 -- "The value of security: Hobbes, Marx, Nietzsche and Baudrillard," in the Political Subject of Violence, ed. G.M. Dillon and David Campbell, Manchester University Press (1993), pp. 94-113 -- "The C.I.A., Hollywood, and sovereign conspiracies," Queen's Quarterly (Summer 1993), vol. 100, no. 2, pp. 329-347 -- "Great men, monumental history, and not-so-grand theory: a meta-review of Henry Kissinger's diplomacy," Forum review article, Mershon International Studies Review (april 1995), vol. 39, no. 1, pp. 173-180 -- "Post-theory: the eternal return of ethics in international relations," New Thinking in International Relations Theory, eds. Michael Doyle and John Ikenberry (New York: Westview Press, 1997), pp. 55-75 -- "Cyber-deterrence," Wired (September 1994), 2.09., p. 116 (plus 7 pages) -- "Global swarming, virtual security, and Bosnia," the Washington Quarterly (Summer 1996), vol. 19, n0. 3., pp. 45- 56 -- "The simulation triangle," 21c (issue 24, 1997), pp. 19-25 -- "Virtuous war and hollywood," the Nation (3 april 2000), pp. 41-44 -- "Virtuous war/virtual theory," International Affairs (fall, 2000), pp. 771-788 -- "Hedley Bull and the case for a post-classical approach," International Relations at LSE: a History of 75 Years (London: Millennium Publishing Group, 2003), pp. 61-87. "the illusion of a grand strategy, op-ed," the New york Times, may 25, 2001 -- "In terrorem: before and after 9/11," Worlds in Collision, eds. Ken Booth and Tim Dunne (New York: Palgrave Macmillan, 2002), pp. 101-116 -- "The question of information technology in international relations," Millennium Journal of International Studies (vol. 32, no. 3, 2003), pp. 441-456 -- "The illusion of a grand strategy," op-ed, the New York Times, may 25, 2001. (shrink)
based on a list which I distributed at the Turing Conference in Brighton some years ago, with some further additions. In the Proceedings, Machines and Thought, ed. Peter Millican and Andy Clark, Oxford, 1996, Robin Gandy gives a much earlier reference: Emil L. Post, `Absolutely Unsolvable Problems and Relatively Undecidable Propositions—Account of an Anticipation’, in Martin Davis, (ed.), The Undecidable (New York: Raven Press, 1965), pp.340-435, esp. pp.417-24. Chalmers gives a more up-to-date list in his bibliography—which used to (...) be http://www.artsci.wustl.edu/~philos/papers/chalmers.biblio.4.html but has now moved to Arizona: click here for pursuing his references I am grateful to various correspondents who have helped me to up-date the list given here, and welcome further items. (shrink)
This original and enticing book provides a fresh, unifying perspective on many old and new logico-philosophical conundrums. Its basic thesis is that many concepts central in ordinary and philosophical discourse are inherently circular and thus cannot be fully understood as long as one remains within the confines of a standard theory of definitions. As an alternative, the authors develop a revision theory of definitions, which allows definitions to be circular without this giving rise to contradiction (but, at worst, to “vacuous” (...) uses of definienda). The theory is applied with varying levels of detail to a circular analysis of concepts as diverse as truth, predication, necessity, physical object, etc. The focus is on truth, and hope is expressed that a deeper understanding of the Liar and related paradoxes has been provided: “We have tried to show that once the circularity of truth is recognized, a great deal of its behavior begins to make sense. In particular, from this viewpoint, the existence of the paradoxes seems as natural as the existence of the eclipses” (p. 142). We think that this hope is fully justified, although some problems remain that future research in this field should take into account. The following assumptions constitute the typical background in which the truth paradoxes arise: (i) classical first-order logic, (ii) a language allowing for self-reference, and (iii) the “semantic” Tarskian schema: (TS) T ‘A’ ↔ A (where ‘T’ is the truth predicate, and the single quotes are a nominalization device applicable to sentences; for simplicity, we only consider homophonic versions of TS). This background can be seen as somehow part of our ordinary linguistic and conceptual background and yet, to avoid inconsistency, one or more of these assumptions must be suitably weakened. The classical, Tarskian strategy is to forbid self-reference, whereas the fixed-point approaches stemming from the work of Saul Kripke (1975) and Robert Martin and Peter Woodruff (1975) weaken the logic.. (shrink)
"Heidegger's way of understanding the originary phenomenon of truth is to "make clear the mode of being of the cognition itself." His starting point is a proposition that is not based on intuition. Someone says with his or her back to the wall: this picture hangs askew. The proposition embodies the claim to have discovered the picture (as a being) in the "how" (the mode) of its being. The proposition displays this "how" of being in language. In the attempt to (...) verify the proposition by sensuous experience, the recognition, according to Heidegger, is directed only to the intended being (the picture) and not to the proposition. It is directed to the being itself (which is to be verified by perception) in its mode of uncoveredness (Entdeckt-heir), i.e., in its showing-itself. Confirmation (Bewährung) means this showing-itself of the being in the same way in which it is intended in the proposition. A true proposition shows the being in its mode of uncoveredness. The phenomenon of "originary truth" does not have the character of correspondence. It is the ground of the concept of truth in the sense of correspondence and propositional truth. By unfolding the meaning of alétheia Heidegger shows us a more originary sense of truth as unconcealment (Unverborgenheit). He wants to show that this concept coincides with the first and originary concept of truth in Greek thinking. In this primary sense only the discovering human Dasein can be "true" while it is Being-discovering (Entdeckend-Sein). On the other hand, beings (Seiendes) that we can find in the world can only "be" in a secondary mode, i.e., as being-discovered (Entdecktsein). They can only make a claim to uncoveredness. Their fundament is the Being-discovering of the human Dasein. The being-true of a discovered being is only possible as being discovered by human Dasein as being-in-the-world. The authentic Being of Dasein, the being-in-the truth, presupposes disclosedness (Erschlossenheit) of the world in states-of-mind (Befindlichkeiten), understanding, and discourse, i.e., the constitution of the being (Seinsverfassung) of human Dasein as thrownness (Geworfenheit) and project (Entwurf).. (shrink)
I will explore possibilities for formulating linguistic semantics in terms of records and record types of the kind used in recent developments of Martin-L¨of type theory (Betarte, 1998, Betarte and Tasistro, 1998, Coquand, Pollock and Takeyama, 2003, Tasistro, 1997). I will suggest that they give us the tools to develop a theory which includes aspects of Montague semantics, using the lambda calculus1, Discourse Representation Theory (DRT)2, situation semantics3 and Head-Driven Phrase Structure Grammar (HPSG)4 in a single theory. I will (...) also argue that formulating these theories in terms of record types may provide us not only with a unified approach but also with certain improvements over the individual theories. (shrink)
We shall consider a formulation of generalised quantifiers using type theory with records (TTR). TTR follows closely the development of record types in Martin-L¨of or constructive type theory but differs in that the type theory is defined on a classical set theoretic basis. This means that the classical set-theoretic approach to generalised quantifiers can be imported into the type theoretic framework. The result is, I believe, equivalent to the proposal for dynamic generalised quantifiers in Chierchia (1995). The use of (...) dependent types provides us with an elegant approach to the formulation of dynamic quantifiers. We use a notion of hypothetical context which we have used elsewhere to give accounts of intentional identity, answers to questions and information state updates in dialogue management. We suggest that this points towards a general theory of hypothetical context in natural language. We suspect also that our analysis using records will support analyses of common noun phrase and verb-phrase anaphora and also facilitate representations which are underspecified with respect to quantifier scope, though we leave the investigation of this to future research. (shrink)
Political Freedom By George G. Brenkert Routledge, 1991. Pp. 278. ISBN 0?415?03372?1. £35 hbk. Wittgenstein: A Bibliographical Guide By Guido Frongia and Brian McGuinness Basil Blackwell, 1990. Pp. x + 438. ISBN 00631?13765?3. £60.00. Metaphysics By Peter van Inwagen Oxford University Press, 1993. Pp. xiii + 222. ISBN 0?19?8751400. £11.95 pbk. The Nature of Moral Thinking By Francis Snare Routledge, 1992. Pp. 187. ISBN 0?415?04709?9. £9.99 pbk. Filosofía analitica hoy: Encuentro de tradiciones Edited by Mercedes Torrevejano Servicio de Publications Universidade (...) de Santiago de Compostela, 1991. Pp. 284. ISBN 84?7191?722?X. $15.5 pbk. The Puzzle of Experience By J.J. Valberg Clarendon Press, 1992. Pp. 227. ISBN 0?19?824291?3. £25. Religion and Philosophy Edited by Martin Warner Royal Institute of Philosophy Supplement: 31 Cambridge University Press, 1992. Pp. vi + 155. ISBN 0?521?42951?X. £10.95 pbk. The Uses of Philosophy By Mary Warnock Blackwell, 1992. Pp. 256. ISBN 0?631?18038?9. £35.00 hbk. £11.95 pbk. The Disappearance of Time: Kurt Godel and the Idealistic Tradition in Philosophy By Palle Yourgrau Cambridge University Press, 1991. Pp. x + 182. ISBN 0?521?41012?6. £27.50. (shrink)
Klaus Ruthenberg and Jaap van Brakel (eds): Stuff. The nature of chemical substances Content Type Journal Article Category Book Review Pages 183-186 DOI 10.1007/s10698-009-9077-6 Authors Martín Labarca, CONICET, Universidad Nacional de Quilmes Buenos Aires Argentina Olimpia Lombardi, CONICET, Universidad de Buenos Aires Buenos Aires Argentina Journal Foundations of Chemistry Online ISSN 1572-8463 Print ISSN 1386-4238 Journal Volume Volume 11 Journal Issue Volume 11, Number 3.
"A valuable collection both for original source material as well as historical formulations of current problems."-- The Review of Metaphysics "Much more than a mere collection of papers . . . a valuable addition to the literature."-- Mathematics of Computation An anthology of fundamental papers on undecidability and unsolvability by major figures in the field, this classic reference opens with Godel's landmark 1931 paper demonstrating that systems of logic cannot admit proofs of all true assertions of arithmetic. Subsequent papers by (...) Godel, Church, Turing, and Post single out the class of recursive functions as computable by finite algorithms. Additional papers by Church, Turing, and Post cover unsolvable problems from the theory of abstract computing machines, mathematical logic, and algebra, and material by Kleene and Post includes initiation of the classification theory of unsolvable problems. Suitable for graduate and undergraduate courses. 1965 ed. (shrink)
This paper is devoted to the formulation and investigation of a dynamic semantic interpretation of the language of first-order predicate logic. The resulting system, which will be referred to as ‘dynamic predicate logic’, is intended as a first step towards a compositional, non-representational theory of discourse semantics. In the last decade, various theories of discourse semantics have emerged within the paradigm of model-theoretic semantics. A common feature of these theories is a tendency to do away with the principle of compositionality, (...) a principle which, implicitly or explicitly, has dominated semantics since the days of Frege. Therefore the question naturally arises whether non-compositionality is in any way a necessary feature of discourse semantics. Since we subscribe to the interpretation of compositionality as constituting primarily a methodological principle, we consider this to be a methodological rather than an empirical question. As a consequence, the emphasis in the present paper lies on developing an alternative compositional semantics of discourse, which is empirically equivalent to its non-compositional brethren, but which differs from them in a principled methodological way. Hence, no attempts are made to improve on existing theories empirically. Nevertheless, as we indicate in section 5, the development of a compositional alternative may in the end have empirical consequences, too. First of all, it can be argued that the dynamic view on interpretation developed in this paper suggests natural and relatively easy to formulate extensions which enable one to deal with a wider range of phenomena than can be dealt with in existing theories. Moreover, the various approaches to the model-theoretic semantics of discourse that have been developed during the last decade, have constituted a ‘fresh start’ in the sense that much of what had been accomplished before was ignored, at least for a start. Of course, this is a justified strategy if one feels one is trying to develop a radically different approach to recalcitrant problems. However, there comes a time when such new approaches have to be compared with the older one, and when an assessment of the pros and cons of each has to be made. One of the main problems in semantics today, we feel, is that a semantic theory such as Montague grammar, and an approach like Kamp’s discourse representation theory, are hard to compare, let alone that it is possible to unify their insights and results.. (shrink)
This paper is about a topic in the semantics of interrogatives.1 In what follows a number of assumptions figure at the background which, though intuitively appealing, have not gone unchallenged, and it seems therefore only fair to draw the reader’s attention to them at the outset. The first assumption concerns a very global intuition about the kind of semantic objects that we associate with interrogatives. The intuition is that there is an intimate relationship between interrogatives and their answers: an interrogative (...) determines what counts as an answer.2 Given a certain, independently motivated, view on what constitutes the meaning of an answer, this intuition, in return, determines what constitutes the meaning of an interrogative. For example, starting from the observation that answers are true or false in situations, we may be led to the view that answers express propositions, i.e., objects which determine a truth value in a situation. Given that much, our basic intuition says that interrogatives are to be associated with objects which determine propositions. Such objects will be referred to as ‘questions’ in what follows. Notice that all this is largely framework independent: we have made no assumptions yet about what situations, propositions, and questions are, we have only related them in a certain systematic way. In fact we will use a more or less standard, but certainly not uncontroversial, specification in what follows: situations are identified with (total) possible worlds; propositions with sets of worlds; and questions with equivalence relations on the set of worlds. The second assumption that plays a role in what follows is of a more linguistic nature. Interrogatives typically occur in two ways: as independent expressions, and as complements of certain verbs. The assumption is that these two ways of occurring are systematically related, not just syntactically but also semantically.3 Notice that the exact nature of this relationship is underdeter.. (shrink)
Introduction: "meaning in life and death : our stories" -- John Martin Fischer and Anthony B rueckner, "Why is death bad?", Philosophical studies, vol. 50, no. 2 (September 1986) -- "Death, badness, and the impossibility of experience," Journal of ethics -- John Martin Fischer and Daniel Speak, "Death and the psychological conception of personal identity," Midwest studies in philosophy, vol. 24 -- "Earlier birth and later death : symmetry through thick and thin," Richard Feldman, Kris McDaniel, Jason R. (...) Raibley, eds., The good, the right, life and death (Aldershot : Ashgate Publishing, 2006) -- "Why immortality is not so bad," International journal of philosophical studies, vol. 2, no. 2 (September 1994) -- John Martin Fischer and Ruth Curl, "Philosophical models of immortality in science fiction," in George Slusser et. al., eds., Immortal engines : life extension and immortality in science fiction and fantasy (Athens, Ga. : University of Georgia Press, 1996) -- "Epicureanism about death and immortality," Journal of ethics, vol. 10, no. 4 -- "Stories," Midwest studies in philosophy, vol. 20 -- "Free will, death, and immortality : the role of narrative," Philosophical papers (Special issue : meaning in life) volume 34, number 3, November 2005 -- "Stories and the meaning of life," revised and expanded version of "A reply to Pereboom, Zimmerman, and Smith," part of a book symposium on John Martin Fischer, my way : essays on moral responsibility, philosophical books, vol. 47, no. 3. (shrink)
_Raritan: A Quarterly Review_ , IX, 68-98, Summer 1989. Reprinted (with footnotes), _Occasional Paper #8_ , Center on Violence and Human Survival, John Jay College of Criminal Justice, The City University of New York, 1991; Daniel Kolak and R. Martin, eds., _Self & Identity: Contemporary Philosophical Issues_ , Macmillan, 1991.
