Global climate change has been characterised as the crisis of reason (Val Plumwood), imagination (Amitav Ghosh) and language (Elizabeth Rush), to mention some. The 'everything change', as Margaret Atwood calls it, arguably also impacts on how we aesthetically perceive, interpret and appreciate nature. This article looks at philosophical theories of nature appreciation against global environmental change. The article examines how human-induced global climate change affects the 'scientific' approaches to nature appreciation which base aesthetic judgment on scientific knowledge and the competing (...) 'non-scientific' approaches which emphasise the role of emotions, imagination and stories in the aesthetic understanding of environment. The author claims that both approaches are threatened by global climate change and cannot continue as usual. In particular, he explores aesthetic imagination in contemporary times when our visions about environment are thoroughly coloured by worry and uncertainty and there seems to be little room for awe and wonder, which have traditionally characterised the aesthetic experience of nature. Finally, he proposes that art could stimulate environmental imagining in this age of uncertainty. (shrink)

Can literary fictions convey significant philosophical views, understood in terms of propositional knowledge? This study addresses the philosophical value of literature by examining how literary works impart philosophy truth and knowledge and to what extent the works should be approached as communications of their authors. Beginning with theories of fiction, it examines the case against the prevailing ‘pretence’ and ‘make-believe’ theories of fiction hostile to propositional theories of literary truth. Tackling further arguments against the cognitive function and value of literature, (...) this study illustrates how literary works can contribute to knowledge by making assertions and suggestions and by providing hypotheses for the reader to assess. Through clear analysis of the concept of the author, the role of the authorial intention and the different approaches to the ‘meaning’ of a literary work, this study provides an historical survey to the cognitivist—anti-cognitivist dispute, introducing contemporary trends in the discussion before presenting a novel approach to recognizing the cognitive function of literature. An important contribution to philosophical studies of literature and knowledge. (shrink)

The debate on the cognitive value of literature is undergoing a change. On the one hand, several philosophers recommend an epistemological move from “knowledge” to “understanding” in describing the cognitive benefits of literature. On the other hand, skeptics call for methodological discussion and demand evidence for the claim that readers actually learn from literature. These two ideas, the notion of understanding and the demand for evidence, seem initially inconsistent, for the notion of understanding implies that the cognitive benefits of literature (...) are ultimately nonverbal and thus inarticulate. In this article, I defend both the move from knowledge to understanding and the demand for evidence. After proposing that the cognitive value of literature is best construed in terms of enhancing the reader's understanding, I argue that the place to look for evidence for the cognitive benefits of literature is not the laboratory but the practice of literature. (shrink)

A key dispute in environmental aesthetics concerns the role of scientific knowledge in our aesthetic appreciation of the natural environment. In this article, I will explore this debate by focusing on the aesthetic experience of forests. I intend to question reductive forms of the scientific approach and support the role of imagination and stories in nature appreciation.

It has become a commonplace that narrative plays an important, even essential role in our understanding of reality and ourselves. Recently, however, analytic philosophers have questioned narrative’s alleged epistemic value. This essay defends the epistemic significance of narratives, everyday and literary. First, it will argue that the philosophical attack on the value of narratives operates on problematic concepts. Second, it proposes that the epistemic significance of narratives is not to be explained in terms of knowledge but understanding.

This précis gives an overview of my book Philosophy, Literature, and Understanding: On Reading and Cognition which is the subject of a book symposium in Philosophia. The overview covers the book’s four chapters that explore i) the nature of literary imagination, ii) the epistemic value of narratives, iii) the concepts of cognition, knowledge and understanding with regard to fiction, and iv) evidence for claims about the epistemic impact of literary works on their readers.

Challenging existing methodological conceptions of the analytic approach to aesthetics, Jukka Mikkonen brings together philosophy, literary studies and cognitive psychology to offer a new theory on the cognitive value of reading fiction. -/- Philosophy, Literature and Understanding defends the epistemic significance of narratives, arguing that it should be explained in terms of understanding rather than knowledge. Mikkonen formulates understanding as a cognitive process, which he connects to narrative imagining in order to assert that narrative is a central (...) tool for communicating understanding. Demonstrating the effects that literary works have on their readers, he examines academic critical analysis, responses of the reading public and nonfictional writings that include autobiographical testimony to their writer's influences and attitudes to life. In doing so, he provides empirical evidence of the cognitive benefits of literature and of how readers demonstrate the growth of their understanding. -/- By drawing on the written testimony of the reader, this book is an important intervention into debates on the value of literature that incorporates understanding in new and imaginative ways. (shrink)

In this paper, the author argues that literary works have distinct cognitive significance in changing their readers’ beliefs. In particular, he discusses ‘philosophical fictions’ and truthclaims that they may imply. Basing himself broadly on Aristotle’s view of the enthymeme, he argues that a work of literary fiction persuades readers of its truths by its dramatic structure, by illustrating or implying the suppressed conclusion. Further, he suggests that it is exactly this ‘literary persuasion’ which distinguishes literary works from merely didactic works (...) prone to overt ‘argumentation’ and instruction. (shrink)

During the last decades, there has been a debate on the question whether literary works are utterances, or have utterance meaning, and whether it is reasonable to approach them as such. Proponents of the utterance model in literary interpretation, whom I will refer to as “utterance theorists”, such as Noël Carroll and especially Robert Stecker, suggest that because of their nature as linguistic products of intentional human action, literary works are utterances similar to those used in everyday discourse. Conversely, those (...) whom I will refer to as “appreciation theorists”, such as Stein Haugom Olsen and Peter Lamarque, argue that literary works are by no means comparable to conversational utterances, and treating them in terms of utterances mistakenly dismisses their literary features. The aim of this article is twofold: to defend a central aspect of the utterance theory and to reconcile the two main positions about central issues in the debate on the meaning of literary works. On the one hand, I shall argue that it is both legitimate and reasonable to discuss the utterance meaning of a literary work on the basis of an interpretative approach interested in the author's “message”. My aim is to show that literary works should be considered utterances in a conversational approach which aims at examining the illocutionary actions conveyed through the work. On the other hand, I attempt both to show that there are various legitimate interpretative approaches which are governed by the interpreter's purposes, and to suggest that the debate between utterance theorists and appreciation theorists is actually about merely different emphases. (shrink)

i) Íngrid Vendrell Ferran’s defence of the ‘experiential view’ and her related conception of ‘radical neo-cogntivism’, ii) Robert Piercey’s view of the epistemic value of plots and emplotment, iii) Marya Schechtman’s revisionist ideas of self-narration, and, finally, iv) David Collins’s suggestion of the value of an imaginative engagement with the author of an artwork.

In this paper, I shall examine two types of assertions in literary narrative fiction: direct assertions and those I call literary assertions. Direct assertions put forward propositions on a literal level and function as the author’s assertions even if detached from their original context and applied in so-called ordinary discourse. Literary assertions, in turn, intertwine with the fictional discourse: they may be, for instance, uttered by a fictional character or refer to fictitious objects and yet convey the author’s genuine assertions. (...) The structure of the paper is twofold. The first, descriptive part is a question–answer type of discussion in which I shall introduce general philosophical arguments against assertions in fiction and present counter-arguments to them, paving the road to my account of literary assertions. In the second, argumentative part, in turn, I shall examine the nature of literary assertions, such as their semantic and ‘aspectival’ characteristics and their peculiar illocutionary force as well as the reader’s stance toward them. (shrink)

In literary aesthetics, the debate on whether literary fictions provide propositional knowledge generally centres around the question whether there are authors’ explicit or implicit truth-claims in literary works and whether the reader’s act of looking for and assessing such claims as true or false is an appropriate stance toward the works as literary works. Nevertheless, in reading literary fiction, readers cannot always be sure whether the author is actually asserting or suggesting a view she expresses or presents because of the (...) artistic and imaginative nature of the work. In this essay, I shall argue that in addition to asserting and suggesting, authors make use of a third way of conveying knowledge by their works: they invite the reader to genuinely or extra-fictionally contemplate unasserted thoughts or viewpoints to a given issue, or they offer hypotheses or provide the reader fictional material for constructing a hypothesis. The aim of this essay is to examine this rather unanalyzed but extremely wide grey zone: the author’s act of ‘contemplating’ and the cognitive value of its products which I shall call ‘literary hypotheses.’. (shrink)

Appeals to the actual author's intention in order to legitimate an interpretation of a work of literary narrative fiction have generally been considered extraneous in Anglo-American philosophy of literature since Wimsatt and Beardsley's well-known manifesto from the 1940s. For over sixty years now so-called anti-intentionalists have argued that the author's intentions – plans, aims, and purposes considering her work – are highly irrelevant to interpretation. In this paper, I shall argue that the relevance of the actual author's intentions varies in (...) different approaches to fiction, and suggest that fictions are legitimately interpreted intentionally as conversations in a certain kind of reading. My aim is to show that the so-called conversational approach is valid when emphasizing the cognitive content of a fiction and truths it seem to convey, for example, in a philosophical approach to fictions which contain philosophical purport using Sartre's fictional works as paradigmatic, and that anti-intentionalists' arguments against intentionalism do not threaten such an approach. (shrink)

In analytic aesthetics, a popular ‘cognitivist’ line of thought maintains that literary works of fictional kind may ‘imply’ or ‘suggest’ truths. Nevertheless, so-called anti-cognitivists have considered the concepts of implication and suggestion both problematic. For instance, cognitivists’s use of the word ‘implication’ seems to differ from all philosophical conceptions of implication, and ‘suggestion’ is generally left unanalysed in their theories. This paper discusses the role, kinds and conception of implication or suggestion in literature, issues which have received little attention in (...) contemporary literary aesthetics. In the first part, the author shall examine classic views on implication in literature and introduce objections to the views. In the latter part, in turn, the author shall propose a definition of the ‘literary suggestion’ and discuss issues related to its interpretation. (shrink)

In this paper, I shall sketch a preliminary ground for a cognitivist theory of fiction and argue that theories which align fiction-making with (aesthetically valuable) story-telling consider the act of fiction-making too narrowly. As a paradigmatic example of such anti-cognitivist theories, I shall examine Peter Lamarque and Stein Haugom Olsen’s influential theory of fiction, which suggests that recognizing the author’s fictive and literary intentions manifested in the text would lead to dismissing her aims to make genuine claims and suggestions. I (...) shall illustrate my argument concerning the act of fiction-making by showing that there are sub-genres of fiction, for instance, so-called philosophical fiction, in which the author’s intention to advance genuine points and to invite the reader to entertain the beliefs expressed can reasonably be argued to be as important for understanding the work as is her aim to create an aesthetically valuable and/or entertaining fictional narrative. Leaning on Noël Carroll’s theory of literary thought experiments, I shall suggest that philosophical fictions convey assertions or suggestions in a way similar to philosophers’ fictional thought experiments and are aimed to be understood as such. (shrink)

This bibliography aims to gather together studies in the philosophy of literature by Finnish researchers. It consists of articles and monographs which treat i) philosophical literary theory, ii) philosophical literature, or iii) literary philosophy and philosophers’ use of literary devices. The bibliography, collected by requests of publication data and from several Finnish publication databases, is not intended inclusive. Nevertheless, it is being throughout updated, and all kinds of suggestions, updates and corrections are most welcome.

In her study Fiction and Imagination: The Anthropological Function of Literature (2000), Margit Sutrop criticizes Gregory Currie’s theory of fiction-making, as presented in The Nature of Fiction (1990), for using an inappropriate conception of the author’s ‘fictive intention.’ As Sutrop sees it, Currie is mistaken in reducing the author’s fictive intention to that of achieving a certain response in the audience. In this paper, I shall discuss Sutrop’s theory of fiction-making and argue that although her view is insightful in distinguishing (...) the illocutionary effect and the perlocutionary effect in the author’s fictive intention, there aren flaws in it. My aim is to show that, first, Sutrop’s critique of Currie’s view is misguided and, second, her own definition of fiction as an expression of the author’s imagination is problematic in not distinguishing literary fiction-making from other discursive functions and in dismissing the literary practice which regulates the production of literary fictions. (shrink)

In the contemporary analytic philosophy of literature and especially literary theory, the paradigmatic way of understanding the beliefs and attitudes expressed in works of literary narrative fiction is to attribute them to an implied author, an entity which the literary critic Wayne C. Booth introduced in his influential study The Rhetoric of Fiction. Roughly put, the implied author is an entity between the actual author and the narrator whose beliefs and attitudes cannot be appropriately ascribed to the actual author. Over (...) the decades, this “the author’s second self,” a construct the actual author is seen to create in her act of writing, has gained an established place in literary theory. In the philosophy of literature, in turn, the implied author has evolved into multiple entities; it has been represented and developed as, for instance, “the postulated author” (Alexander Nehamas), “the fictional author” (Gregory Currie) and “the model author” (Umberto Eco). -/- The aim of this paper is to suggest that although the implied author, and its philosophical counterparts, sheds light on certain types of narratives, it is insufficient in approaches which emphasize the truth-claims conveyed by a work. In what follows, I try to show that, first, from an ontological point of view, actual assertions in literary fiction, if any, have to be attributed to the actual author and, second, that the question of truth-claiming in and by literary fiction is an epistemological matter concerning the actual intentions of the author. -/- . (shrink)

Kommentoin artikkelissa Hanna Meretojan The Ethics of Storytelling -teoksessa esittämiä näkemyksiä kaunokirjallisten kertomusten eettisestä arvosta. Kritisoin Meretojan edustamaa lähestymistapaa, jossa kaunokirjallisten teosten vaikutuksista teoretisoidaan ilman empiirisiä viitepisteitä taikka pohdintaa siitä, mistä väitteille voitaisiin löytää tukea tai kuinka teoriaa voitaisiin koetella. Lisäksi esitän huomioita muun muassa kaunokirjallisten kertomusten soveltamisesta arkeen sekä kertomusten kontingenteista vaikutuksista.

In this paper, my aim is to show that in Anglo-American analytic aesthetics, the conception of narrative fiction is in general realistic and that it derives from philosophical theories of fiction-making, the act of producing works of literary narrative fiction. I shall firstly broadly show the origins of the problem and illustrate how the so-called realistic fallacy – the view which maintains that fictions consist of propositions which represent the fictional world “as it is” – is committed through the history (...) of philosophical approaches to literature in the analytic tradition. Secondly, I shall show how the fallacy that derives from the 20th Century philosophy of language manifests itself in contemporary analytic aesthetics, using Peter Lamarque and Stein Haugom Olsen’s influential and well-known Gricean make-believe theory of fiction as an example. Finally, I shall sketch how the prevailing Gricean make-believe theories should be modified in order to reach the literary-fictive use of language and to cover fictions broader than Doyle’s stories and works alike. (shrink)

A review of David Davies’s Aesthetics and Literature (London & New York: Continuum, 2007, 212 pp. ISBN 0826496121).

Many of us read works of fiction passionately not only because of their entertainment value or for their aesthetic inventiveness but also because we feel that they enrich our understanding of ourselves and the world. This is where there seems to be an important resemblance to philosophy. A number of fictional works can be legitimately called “philosophical” because they are thought provoking about issues that works of philosophy explicitly deal with. However, as the hot debate concerning truth through literature or (...) literature’s cognitive value indicates, it is notoriously hard to pin down what it means to “enrich understanding” or what counts as “thought-provoking content.” Even if it is granted that literature... (shrink)

Introduction Cholbi, Michael (et al.) Pages 1-10 -/- Assisted Dying and the Proper Role of Patient Autonomy Bullock, Emma C. Pages 11-25 -/- Preventing Assistance to Die: Assessing Indirect Paternalism Regarding Voluntary Active Euthanasia and Assisted Suicide Schramme, Thomas Pages 27-40 -/- Autonomy, Interests, Justice and Active Medical Euthanasia Savulescu, Julian Pages 41-58 -/- Mental Illness, Lack of Autonomy, and Physician-Assisted Death Varelius, Jukka Pages 59-77 -/- Euthanasia for Mental Suffering Raus, Kasper (et al.) Pages 79-96 -/- Assisted Dying (...) for Individuals with Dementia: Challenges for Translating Ethical Positions into Law Downie, Jocelyn (et al.) Pages 97-123 -/- Clinical Ethics Consultation and Physician Assisted Suicide Adams, David M. Pages 125-147 -/- License to Kill: A New Model for Excusing Medically Assisted Dying? Huxtable, Richard (et al.) Pages 149-168 -/- Medically Enabled Suicides Cholbi, Michael Pages 169-184 -/- Saving Lives with Assisted Suicide and Euthanasia: Organ Donation After Assisted Dying Shaw, David M. Pages 185-192 -/- Implanted Medical Devices and End-of-Life Decisions Gill, Michael B. Pages 193-215 -/- Everyday Attitudes About Euthanasia and the Slippery Slope Argument Feltz, Adam Pages 217-237 -/- “You Got Me Into This…”: Procreative Responsibility and Its Implications for Suicide and Euthanasia Weinberg, Rivka Pages 239-252 . (shrink)

In this chapter, I consider the idea that physician-assisted death might come into question in the cases of psychiatric patients who are incapable of making autonomous choices about ending their lives. I maintain that the main arguments for physician-assisted death found in recent medical ethical literature support physician-assisted death in some of those cases. After assessing several possible criticisms of what I have argued, I conclude that the idea that physicianassisted death can be acceptable in some cases of psychiatric patients (...) who lack autonomy ought to be taken into account in assessing the moral and legal acceptability of physician-assisted death. (shrink)

Directed acyclic graphs (DAGs) constitute a qualitative representation for conditional independence (CI) properties of a probability distribution. It is known that every CI statement implied by the topology of a DAG is witnessed over it under a graph-theoretic criterion of d-separation. Alternatively, all such implied CI statements are derivable from the local independencies encoded by a DAG using the so-called semi-graphoid axioms. We consider Labeled Directed Acyclic Graphs (LDAGs) modeling graphically scenarios exhibiting context-specific independence (CSI). Such CSI statements are modeled (...) by labeled edges, where labels encode contexts in which the edge vanishes. We study the problem of identifying all independence statements implied by the structure and the labels of an LDAG. We show that this problem is coNP-hard for LDAGs and formulate a sound extension of the semi-graphoid axioms for the derivation of such implied independencies. Finally we connect our study to certain qualitative versions of independence ubiquitous in database theory and teams semantics. (shrink)

We argue that the idea of ECC is more in line with libertarian than liberal thinking. The basic idea of ECC is the dislocation of the provider of citizenship rights from governments to corporations: corporations provide and administrate the same citizenship rights, which governments provided earlier, before the political processes started the privatization of these entitlements . According to John Rawls’ liberal viewpoint, citizens’ relations to the public structures of society are supposed to be fundamentally different from their relations to (...) private associations like business corporations. In libertarian thinking , instead, citizens relations to public institutions do not significantly differ from their relations to business corporations. Both are based on voluntary agreements, bringing forth the idea of a contract-society. Since ECC is backed up by this kind of contractsociety, it brings forth libertarian interpretations of the most central political matters - like the basic structure of society, and the concepts of freedom and democracy. (shrink)

In this article I develop tools for analyzing the identities that emerge in qualitative material. I approach identities as historically, socially and culturally produced subject positions, as processes that are in a constant state of becoming and that receive their temporary stability and meaning in concrete contexts and circumstances. I suggest that the identities and subject positions that materialize in qualitative material can be analyzed from four different perspectives. They can be approached by focusing on (1) classifications that define the (...) boundary lines between ‘us’ and ‘them’, as (2) participant roles that refer to the temporal aspect of subject positions and outline their meaning for action, as (3) structures of viewpoint and focalization that frame meaning and order to opinions and experiences of the world, and as (4) interactive positions that articulate the roles and identities taken by the participants of communication. (shrink)

Emancipatory aesthetics : Eino Krohn as a critic of art and literature.

English summary: Public opinion and shaping the norms of musical taste : music criticism in the Helsinki Press, 1860-1888.

With the advent of evolutionary developmental research, or EvoDevo, there is hope of discovering the roles that the genetic bases of development play in morphological evolution. Studies in EvoDevo span several levels of organismal organization. Low-level studies identify the ultimate genetic changes responsible for morphological variation and diversity. High-level studies of development focus on how genetic differences affect the dynamics of gene networks and epigenetic interactions to modify morphology. Whereas an increasing number of studies link independent acquisition of homoplastic or (...) convergent morphologies to similar changes in the genomes, homoplasies are not always found to have identical low-level genetic underpinnings. This suggests that a combination of low- and high-level approaches may be useful in understanding the relationship between genetic and morphological variation. Therefore, as an empirical and conceptual framework, we propose the causality horizon to signify the lowest level that allows linking homoplastic morphologies to similar changes in the development. A change in a system below the causality horizon cannot be generalized. In more concrete terms, homoplastic morphologies cannot be reduced to the same change in gene regulation when that change occurs below the causality horizon; rather, a higher-level mechanism should be identified. (shrink)