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I argue that maps do not feature predication, as analyzed by Frege and Tarski. I take as my foil (Casati and Varzi, Parts and places, 1999), which attributes predication to maps. I argue that the details of Casati and Varzi’s own semantics militate against this attribution. Casati and Varzi emphasize what I call the Absence Intuition: if a marker representing some property (such as mountainous terrain) appears on a map, then absence of that marker from a map coordinate signifies absence (...) |
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Thinking about space is thinking about spatial things. The table is on the carpet; hence the carpet is under the table. The vase is in the box; hence the box is not in the vase. But what does it mean for an object to be somewhere? How are objects tied to the space they occupy? This book is concerned with these and other fundamental issues in the philosophy of spatial representation. Our starting point is an analysis of the interplay between (...) |
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Most of us create and use a panoply of non-sentential representations throughout our ordinary lives: we regularly use maps to navigate, charts to keep track of complex patterns of data, and diagrams to visualize logical and causal relations among states of affairs. But philosophers typically pay little attention to such representations, focusing almost exclusively on language instead. In particular, when theorizing about the mind, many philosophers assume that there is a very tight mapping between language and thought. Some analyze utterances (...) |
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Grice’s distinction between what is said and what is implicated has greatly clarified our understanding of the boundary between semantics and pragmatics. Although border disputes still arise and there are certain difficulties with the distinction itself (see the end of §1), it is generally understood that what is said falls on the semantic side and what is implicated on the pragmatic side. But this applies only to what is.. |
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It is generally recognised that an adequate resemblance-based account of depiction must specify some standard of correctness which explains how a picture’s content differs from the content we would attribute to it purely on the basis of resemblance. For example, an adequate standard should explain why stick figure drawings do not depict emaciated beings with gargantuan heads. Most attempts to specify a standard of correctness appeal to the intentions of the picture’s maker. However, I argue that the most detailed such (...) |
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When we speak, we mean more than we say. In this book Stephen C. Levinson explains some general processes that underlie presumptions in communication. |
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