Max de Gaynesford; How Wrong Can One Be?, Proceedings of the Aristotelian Society, Volume 96, Issue 1, 1 June 1996, Pages 387–394, https://doi.org/10.1093/arist.

If philosophy and poetry are to illuminate each other, we should first understand their tendencies to mutual antipathy. Examining mutual misapprehension is part of this task. J. L. Austin's remarks on poetry offer one such point of entry: they are often cited by poets and critics as an example of philosophy's blindness to poetry. These remarks are complex and their purpose obscure—more so than those who take exception to them usually allow or admit. But it is reasonable to think that, (...) for all his levity at their expense, what Austin offers poets is exemption from forms of commitment. Since such exemption is precisely what poets and critics have sought, this diagnosis is eirenic. This exemption has a price, but it may be affordable. (shrink)

The aim of this paper is to show that John McDowell’s approach to perception in terms of “openness”remains problematically vulnerable to the threat of scepticism. The leading thought of the openness view is that objects, events and others in the world, and no substitute, just are what is disclosed in perceptual experience. An account which aims to defend this thought must show, therefore, that the content of perceptual experience does not “all short” of its objects. We shall describe how McDowell (...) defends the openness view with reference to the disjunctive analysis of appearances (sections II and III); argue that his defence includes features which are both inconsistent with and unnecessary for the openness view (section IV); and show how those features call into question the success of McDowell’s route of response to sceptical arguments (section V). Finally, we sketch an alternative approach to openness and conclude that the explosive effect of letting loose the conception of experience advanced by the openness view has yet to be felt in the English‐speaking world (section VI). (shrink)

(No abstract is available for this citation).

Max de Gaynesford; How Wrong Can One Be?, Proceedings of the Aristotelian Society, Volume 96, Issue 1, 1 June 1996, Pages 387–394, https://doi.org/10.1093/arist.

Max de Gaynesford; How Wrong Can One Be?, Proceedings of the Aristotelian Society, Volume 96, Issue 1, 1 June 1996, Pages 387–394, https://doi.org/10.1093/arist.

This paper draws attention to the fact that works of philosophy are often judged by aesthetic criteria. This raises the question of whether philosophical writings may properly be regarded as suitable objects of aesthetic judgement in a strong sense; namely, that judging their worth qua works of philosophy is an aesthetic endeavour. The paper argues in the affirmative with the aid of a Kantian account of aesthetic judgement. Judging a work of philosophy by the means chosen may be regarded as (...) subjecting it to criticism by criteria established within a philosophical aesthetic. (shrink)

Claudia Bianchi defends what she calls ‘MacKinnon's claim’: that ‘works of pornography can be understood as illocutionary acts of subordinating women, or illocutionary acts of silencing women’ in response to Saul , and by appeal to the formulations of Langton , Hornsby and Hornsby and Langton . I think Bianchi has two different claims in mind , and that it is important to distinguish the two, since the argument offered for either claim frustrates the aim sought by the other.Bianchi expresses (...) the first claim when she says ‘pornography is the subordination of women’, and that it subordinates ‘by conditioning people to regard women as willing sexual objects’ . Call this Subordination. She expresses the second claim when she says pornography ‘silences women’, and that it does so …. (shrink)

John McDowell has set the philosophical world alight with arevolutionary approach to the subject, illuminating old problemswith dazzling particularity. In this welcome introduction to hiswork, Maximilian de Gaynesford puts writing within comfortablereach of non-specialists. The guiding argument of the book is that the variety of McDowell'sinterests disguises a core concern with a single basic goal:'giving philosophy peace'. Since the dawn of the subject,philosophy has struggled with the question: can our experience ofthe world give rational support to what we think (...) and say; and ifso, how? McDowell claims that philosophy has itself to blame ifthese questions seem problematic, and this book's animating purposeis to see what sense can be made of this notorious claim. InMcDowell's view, the illusion that our fundamental relations withthe world are truly problematic is traceable to false views aboutnature. We should give proper weight to a natural fact about theworld: that human beings are of a kind that is naturally placedwithin the natural order. De Gaynesford analyses McDowell's densely argued and meticulouswork in a lucid, balanced and engaging way, that will proveinvaluable for all students and scholars of McDowell andphilosophy. (shrink)

The central claim of this book is that I is a deictic term, like the other singular personal pronouns You and He/She. This is true of the logical character, inferential role, referential function, expressive use, and communicative role of all and only expressions used to formulate first-personal reference in any language. The first part of the book shows why the standard account of I as a ‘pure indexical’ (‘purism’) should be rejected. Purism requires three mutually supportive doctrines which turn out (...) to be myths: a) that a simple rule is sufficient to give the meaning of I (‘rule theory’); b) that one can use I to express thoughts without having to identify what is being referred to (‘independence’); and c) that as a matter of the meaning of I, any use of the term is logically guaranteed against failure to refer (‘the guarantee’). The second part of the book shows why the radically new account of I should be endorsed as a deictic term. Substitution instances and the behaviour of I in inference reveal that it has an obligatorily deictic logical character and inferential role. I fulfils its referential function in the deictic way, providing determinacy of reference by making an individual referentially salient in the extra-sentential context. The discriminability of the referent of an I-use depends on recognizing the referentially salient individual. This is true of its discriminability both to the reference-maker and to the audience. So I has the expressive use and communicative role of a deictic term. The conclusion of the book directs research towards the next step, showing how the meaning of I may be used to elucidate the thoughts expressed by the term, and from there questions relating to self-knowledge, practical reasoning, belief-acquisition, and belief-ascription. (shrink)

What is it for poetry to be serious and to be taken seriously? What is it to be open to poetry, exposed to its force, attuned to what it says and alive to what it does? These are important questions that call equally on poetry and philosophy. But poetry and philosophy, notoriously, have an ancient quarrel. Maximilian de Gaynesford sets out to understand and convert their mutual antipathy into something mutually enhancing, so that we can begin to answer these (...) and other questions. The key to attuning poetry and philosophy lies in the fact that poetic utterances are best appreciated as doing things. For it is as doing things that the speech act approach in analytic philosophy of language tries to understand all utterances. Taking such an approach, this book offers ways to enhance our appreciation of poetry and to develop our understanding of philosophy. It explores work by a range of poets from Chaucer to Geoffrey Hill and J. H. Prynne, and culminates in an extended study of Shakespeare's Sonnets. What work does poetry set itself, and how does this determine the way it is to be judged? What do poets commit themselves to, and what they may be held responsible for? What role does a poet have, or their audience, or their context, in determining the meaning of a poem, what work it is able to achieve? These are the questions that an attuned approach is able to ask and answer. (shrink)

If philosophy and poetry are to illuminate each other, we should first understand their tendencies to mutual antipathy. Examining mutual misapprehension is part of this task. J. L. Austin's remarks on poetry offer one such point of entry: they are often cited by poets and critics as an example of philosophy's blindness to poetry. These remarks are complex and their purpose obscure—more so than those who take exception to them usually allow or admit. But it is reasonable to think that, (...) for all his levity at their expense, what Austin offers poets is exemption from forms of commitment. Since such exemption is precisely what poets and critics have sought, this diagnosis is eirenic. This exemption has a price, but it may be affordable. (shrink)

This chapter contains sections titled: Abstract The Model ‐ Theoretic Argument Difficulties and Differences Putnam's Progress Implications Objections and Replies References.

What is it for poetry to be serious and to be taken seriously? What is it to be open to poetry, exposed to its force, attuned to what it says and alive to what it does? These are important questions that call equally on poetry and philosophy. But poetry and philosophy, notoriously, have an ancient quarrel. Maximilian de Gaynesford sets out to understand and convert their mutual antipathy into something mutually enhancing, so that we can begin to answer these (...) and other questions. The key to attuning poetry and philosophy lies in the fact that poetic utterances are best appreciated as doing things. For it is as doing things that the speech act approach in analytic philosophy of language tries to understand all utterances. Taking such an approach, this book offers ways to enhance our appreciation of poetry and to develop our understanding of philosophy. It explores work by a range of poets from Chaucer to Geoffrey Hill and J. H. Prynne, and culminates in an extended study of Shakespeare's Sonnets. What work does poetry set itself, and how does this determine the way it is to be judged? What do poets commit themselves to, and what they may be held responsible for? What role does a poet have, or their audience, or their context, in determining the meaning of a poem, what work it is able to achieve? These are the questions that an attuned approach is able to ask and answer. (shrink)

Putnam is one of the most influential philosophers of recent times, and his authority stretches far beyond the confines of the discipline. However, there is a considerable challenge in presenting his work both accurately and accessibly. This is due to the width and diversity of his published writings and to his frequent spells of radical re-thinking. But if we are to understand how and why philosophy is developing as it is, we need to attend to Putnam's whole career. He has (...) had a dramatic influence on theories of meaning, semantic content, and the nature of mental phenomena, on interpretations of quantum mechanics, theory-change, logic and mathematics, and on what shape we should desire for future philosophy. By presenting the whole of his career within its historical context, de Gaynesford discovers a basic unity in his work, achieved through repeated engagements with a small set of hard problems. By foregrounding this integrity, the book offers an account of his philosophy that is both true to Putnam and helpful to readers of his work. (shrink)

What is at stake when J. L. Austin calls poetry ‘non‐serious’, and sidelines it in his speech act theory? (I). Standard explanations polarize sharply along party lines: poets (e.g. Geoffrey Hill) and critics (e.g. Christopher Ricks) are incensed, while philosophers (e.g. P. F. Strawson; John Searle) deny cause (II). Neither line is consistent with Austin's remarks, whose allusions to Plato, Aristotle and Frege are insufficiently noted (III). What Austin thinks is at stake is confusion, which he corrects apparently to the (...) advantage of poets (IV). But what is actually at stake is the possibility of commitment and poetic integrity. We should reject what Austin offers (V).1. (shrink)

One claim about I, regularly made and almost universally endorsed, is that uses of the term are logically guaranteed to refer successfully (if they refer at all). The claim is only rarely formulated perspicuously or argued for. Such obscurity helps disguise the fact that those who profess to advance the claim actually turn out to support not a logical guarantee at all but merely high security through fortunate coincidence. This is not surprising. For we have no good reason to accept (...) the claim – granted, any use of I is apt to refer successfully; but that can be explained by pragmatic features of its use. And we have some reason to reject the claim – it is notoriously difficult to see how genuine reference and guaranteed success do not exclude each other when considered as properties of the logic of any term. (shrink)

Utterance of a sentence in poetry can be performative, and explicitly so. The best-known of Geoffrey Hill’s critical essays denies this, but his own poetry demonstrates it. I clarify these claims and explain why they matter. What Hill denies illuminates anxieties about responsibility and commitment that poets and critics share with philosophers. What Hill demonstrates affords opportunities for mutual benefit between philosophy and criticism.

Putnam is one of the most influential philosophers of recent times, and his authority stretches far beyond the confines of the discipline. However, there is a considerable challenge in presenting his work both accurately and accessibly. This is due to the width and diversity of his published writings and to his frequent spells of radical re-thinking. But if we are to understand how and why philosophy is developing as it is, we need to attend to Putnam's whole career. He has (...) had a dramatic influence on theories of meaning, semantic content, and the nature of mental phenomena, on interpretations of quantum mechanics, theory-change, logic and mathematics, and on what shape we should desire for future philosophy. By presenting the whole of his career within its historical context, de Gaynesford discovers a basic unity in his work, achieved through repeated engagements with a small set of hard problems. By foregrounding this integrity, the book offers an account of his philosophy that is both true to Putnam and helpful to readers of his work. (shrink)

Philosophy has tended to regard poetry primarily in terms of truth and falsity, assuming that its business is to state or describe states of affairs. Speech act theory transforms philosophical debate by regarding poetry in terms of action, showing that its business is primarily to do things. The proposal can sharpen our understanding of types of poetry; examples of the ‘Chaucer-Type’ and its variants demonstrate this. Objections to the proposal can be divided into those that relate to the agent of (...) actions associated with a poem, those that relate to the actions themselves, and those that relate to the things done. These objections can be answered. A significant consequence of the proposal is that it gives prominence to issues of responsibility and commitment. This prominence brings philosophical debate usefully into line with contemporary poetry, whose concern with such issues is manifest in characteristic forms of anxiety. (shrink)

Radical self-silencing is a particular variety of speech act disablement where the subject silences themselves, whether knowingly or not, because of their own faults or deficiencies. The paper starts with some concrete cases and preparatory comments to help orient and motivate the investigation. It then offers a summary analysis, drawing on a small number of basic concepts to identify its five individually necessary and jointly sufficient conditions and discriminating their two basic forms, ‘internalist’ and ‘externalist’. The paper then explicates and (...) defends what has been proposed, where the most salient and pressing objections concern the use of two basic concepts: ‘uptake’ and ‘silencing’. Finally, the paper gives a longer-term motivation for deepening our understanding of radical self-silencing, what it is and what it implies. (shrink)

I dispute the commonly held impression that Pope Francis is a compassionate shepherd and determined leader but that he lacks the intellectual depth of his recent predecessors.

Reflecting a recent flourishing of creative thinking in the field, _Agents and Their Actions_ presents seven newly commissioned essays by leading international philosophers that highlight the most recent debates in the philosophy of action Features seven internationally significant authors, including new work by two of philosophy's ‘super stars’, John McDowell and Joseph Raz Presents the first clear indication of how John McDowell is extending his path-breaking work on intentionality and perceptual experience towards an account of action and agency Covers all (...) the major interconnections between action-agency and central areas of Philosophy: Metaphysics, Epistemology, History of Philosophy, Ethics, Logic, Philosophy of Language Provides a snapshot of current debate on the subject, which is fresh, enlightening, and fruitful. (shrink)

Ordinarily, what we experience does not jump from one place or time to another—we have to pass through all the intermediate times and places. But in films, what we experience can jump in both dimensions, both separately and together. This phenomenon has been memorably described in film criticism by Rudolph Arnheim and it has been deployed philosophically by Suzanne Langer and Colin McGinn. But discussion of space-time discontinuity remains hampered by the lack of attunement between film critical and philosophical investigations. (...) Without philosophy, the valuable insights of film criticism lack rigour and have been blunted by conceptual imprecision and confusion; without film criticism, the provocative claims of philosophy lack support, floating free of the evidence that a suitably sharp awareness of the details of particular films alone provides. This paper brings philosophy and film criticism to bear on each other so that we stand to make headway on the issue of film and space-time discontinuity. (shrink)

Ascent: Philosophy and Paradise LostZamirTzachioup. 2018. pp. 218. £36.49.