Darwin discusses why different muscles are brought into action under different emotions and how particular animals have adapted for association with man.

This paper develops an account of freedom of expression by drawing lessons from the strategic logic of China’s censorship regime. It argues that freedom of expression helps build the common knowledge needed for overcoming coordination problems and is, thus, a source of collective power. However, realizing the full empowering potential of freedom of expression requires supplementing it with (a) public sources of information that are reliable, trusted, and democratically accountable and (b) measures that will provide citizens with (...) equal opportunity to speak and be heard in ways that will enable them to contribute to their society’s stock of common knowledge. (shrink)

We talk not only of enjoying music, but of understanding it. Music is often taken to have expressive import--and in that sense to have meaning. But what does music mean, and how does it mean? Stephen Davies addresses these questions in this sophisticated and knowledgeable overview of current theories in the philosophy of music. Reviewing and criticizing the aesthetic positions of recent years, he offers a spirited explanation of his own position. Davies considers and rejects in turn the positions that (...) music describes (like language), or depicts (like pictures), or symbolizes (in a distinctive fashion) emotions. Similarly, he resists the idea that music's expressiveness is to be explained solely as the composer's self-expression, or in terms of its power to evoke a response from the audience. Music's ability to describe emotions, he believes, is located within the music itself; it presents the aural appearance of what he calls emotion characteristics. The expressive power of music awakens emotions in the listener, and music is valued for this power although the responses are sometimes ones of sadness. Davies shows that appreciation and understanding may require more than recognition of and reaction to music's expressive character, but need not depend on formal musicological training. (shrink)

Philosophers ask just whose expression, if anyone’s, we hear in lyric poetry. Walton provides a novel possibility: it’s the reader who “uses” the poem (just as a speech giver uses a speech) who makes the language expressive. But worries arise once we consider poems in particular social or political settings, those which require a strong self-other distinction, or those with expressions that should not be disassociated from the subjects whose experience they draw from. One way to meet this challenge (...) is to consider the poem expressive of a plural subject, which frees us from looking for a particular individual whose voice we hear in the work, whether she be fictional or actual. Some lyrics give voice to a group whose experience is attended to in the work. This may be done through a posited fictional speaker, but the ontology of the speaker is shown to be less important. Attending to a group whose concerns are voiced allows us to explain how poems can manage to address our-worldly concerns even when lacking actual persons whose expressions we encounter in the poems. (shrink)

Romanticism fabricated a poet of vast oracular powers largely from superstitious notions and suspicious philosophies which the Renaissance had gathered up somewhat by chance with the rational part of the Graeco-Roman legacy. The model was surely an imposture and, historically considered, a scandal. Seer, sage, prophet, mage—the pretensions varied, but all were titles to transcendent disclosure in times increasingly committed, at least officially, to a unified scientific view. That the poet could be confirmed to any degree in this anachronistic role (...) was probably owing to the circumstance that the general cultural reflex following the Enlightenment reawakened widespread interest in those dark and excluded passages of the human spirit which mystics and seers were thought to frequent. Poets who pretended to voyance benefited from the muffled but persistent rumor of profound mysteries accessible to the high priests of Kabbala and the Corpus Hermeticum, to Illuminists, Rosicrucians, and Neopythagoreans. Western Europe had never ceased to acknowledge, even in such unlikely periods as the later Middle Ages, the aboriginal priestly and prophetic functions of the poet; but romanticism contrived—out of occultism and neoplatonism, antirationalism and anticlassicism—such a warrant for unabashed oracular saying as Antiquity had scarcely imagined. While perhaps none of the romantic was actually prepared to grant the poet his ancient powers in full measure, few seemed inclined to diminish the stature of the heroic abstraction, who symbolically contested the claims of naturalism and positivism. (shrink)

Faith is often regarded as having a fraught relationship with evidence. Lara Buchak even argues that it entails foregoing evidence, at least when this evidence would influence your decision to act on the proposition in which you have faith. I present a counterexample inspired by the book of Job, in which seeking evidence for the sake of deciding whether to worship God is not only compatible with faith, but is in fact an expression of great faith. One might still (...) think that foregoing evidence may make faith more praiseworthy than otherwise. But I argue against this claim too, once more drawing on Job. A faith that expresses itself by a search for evidence can be more praiseworthy than a faith that sits passively in the face of epistemic adversity. (shrink)

It is often said that people are ‘not themselves’ when they are in situations which rob them of their self‐control. Strangely, these are also circumstances in which people are often said to be most fully themselves. This paper investigates the pictures of the self behind these two truisms, and the relation between them. Harry Frankfurt’s work represents the first truism, and standard objections to his work the second. Each of these approaches is found to capture one independent and widely employed (...) picture of the self. The connection each draws between being oneself and flourishing, however, suggests a point of contact between them. This point of contact is used to develop a third view of being oneself which integrates the insights of the other two. (shrink)

Contemporary discussions of self-knowledge share a presupposition to the effect that the only way to vindicate so-called first-person authority as understood by our folk-psychology is to identify specific “good-making” epistemic features that render our self-ascriptions of mental states especially knowledgeable. In earlier work, I rejected this presupposition. I proposed that we separate two questions: How is first-person authority to be explained? What renders avowals instances of a privileged kind of knowledge?In response to question, I offered a neo-expressivist account that, I (...) argued, is compatible with a variety of non-deflationary, substantive answers to question. Here I re-evaluate the relative merits of the neo-expressivist account in light of some recent attempts to capture first-person authority by appealing to the so-called transparency of mental self-attributions. I then canvass two recent appeals to transparency that give priority to question. Bearing in mind.. (shrink)

Winner of the 2014 Edward Goodwin Ballard Award for an Outstanding Book in Phenomenology, awarded by the Center for Advance Research in Phenomenology. -/- Merleau-Ponty and the Paradoxes of Expression offers a comprehensive reading of the philosophical work of Maurice Merleau-Ponty, a central figure in 20th-century continental philosophy. -/- By establishing that the paradoxical logic of expression is Merleau-Ponty's fundamental philosophical gesture, this book ties together his diverse work on perception, language, aesthetics, politics and history in order to (...) establish the ontological position he was developing at the time of his sudden death in 1961. Donald A. Landes explores the paradoxical logic of expression as it appears in both Merleau-Ponty’s explicit reflections on expression and his non-explicit uses of this logic in his philosophical reflection on other topics, and thus establishes a continuity and a trajectory of his thought that allows for his work to be placed into conversation with contemporary developments in continental philosophy. The book offers the reader a key to understanding Merleau-Ponty's subtle methodology and highlights the urgency and relevance of his research into the ontological significance of expression for today's work in art and cultural theory. (shrink)

Summary A pupil of Köhler and von Hornbostel in Berlin, Arnheim published an article in the Musical Quarterly in 1984, where he applied the principles of visual composition to the musical form. In a painting, for example, the forces of visual composition are essential for aesthetic enjoyment; in music, sounds are essential as they are always occurring in time, and this constitutes the main dynamic vector of music. Starting with the tetrachord of ancient Greek music and analysing the relationships between (...) notes in the major and minor scales, Arnheim identifies what in the Western musical tradition represents the basis on which each note must relate: the tonal centre, the attractive motor that determines the perceptual dynamics of musical expression. Two examples, taken from Schubert and Béla Bartók, show us how the structure of the melodic construction is essential in generating different states of mind; Arnheim, however, does not stop at the simple eliciting of an emotion, but situates the musical structure in a more general framework, which refers to perceptual patterns belonging to any sphere, mental or physical, thanks to which we experience our reality. (shrink)

For Hegel and Merleau-Ponty, the concept of expression is crucial to understand meaning and signification in a variety of contexts, including the aesthetic, anthropological, and psychological domain. However, they also point out the paradoxical nature of the notion of expression, in that it presupposes what it is supposed to explain, namely its principle of determination. In my reading, both Hegel and Merleau-Ponty endorse a common strategy to avoid the paradox, and their approach is rooted in the use of (...) genetic descriptions. In this way, they bring to light the active side of receptivity without producing any hypostatization of a prior Logos. Before addressing their common strategy, I briefly present the earlier articulation of the problem of expression in Hegel’s Science of Logic. (shrink)

This book features the full scope of Susan Petrilli's important work on signs, language, communication, and of meaning, interpretation, and understanding. Although readers are likely familiar with otherness, interpretation, identity, embodiment, ecological crisis, and ethical responsibility for the biosphere—Petrilli forges new paths where other theorists have not tread. This work of remarkable depth takes up intensely debated topics, exhibiting in their treatment of them what Petrilli admires—creativity and imagination. Petrilli presents a careful integration of divergent thinkers and diverse perspectives. While (...) she abandons hope of attaining a final synthesis or an unqualifiedly comprehensive outlook, there remains a drive for coherence and detailed integration. The theory of identity being advocated in this book will provide the reader with an aid to appreciating the identity of the theorizing undertaken by Petrilli in her confrontation with an array of topics. Her theory differentiates itself from other offerings and, at the same time, is envisioned as a process of self-differentiation. Petrilli's contribution is at once historical and theoretical. It is historical in its recovery of major figures of language; it is theoretical in its articulation of a comprehensive framework. She expertly combines analytic precision and moral passion, theoretical imagination and political commitment. (shrink)

In the framework of Japanese studies, the relationship between Buddhism and Japanese poetry has received very little academic consideration. The noticeable founded narrative forms and potent and substantial philosophical influence of classical Chinese writings have resulted in the image of China being recontextualized during the process of fantasy, development, and encounters on the part of Japanese writers or investigators, with the result that many distortions and mischaracterizations have occurred as a result of this process. This work employs a comparative method (...) that incorporates literature and philosophy to examine the poetry of Hagiwara Sakutarô (1886–1942). The comparative analysis is seen from the viewpoint of Naturalism's impact and the use of description in the development of Japanese contemporary poetry. This has led to several inaccurate depictions of the country. The image of China that is presented in Japanese literature is both a perception and an illusion that is produced when cultural knowledge and creative achievements are combined. This combination creates the image of China. In the article, an examination and classification of the depiction of China in Japanese literature is provided. (shrink)

Remarks such as 'I am in pain' and 'I think that it's raining' present opportunity for reflection and theory. Ostensibly such remarks report what one feels or thinks. But we do not in conversation treat these remarks as we do ordinary reports. If I ask you about the weather and you say, "I think it's raining," I can't complain that you told me just about your thoughts, and not about the weather. It is often held, moreover, when we do take (...) such remarks as revealing the speaker's mental states, those remarks are not subject to the kind of challenges that are in place with ordinary reports. Indeed, such remarks are often taken to exhibit some kind of epistemic privilege, and some have even maintained that one cannot be wrong when one says such things. (shrink)

This paper examines implicaturist hybrid theories by examining how closely attitude expression by moral utterances fits with the varieties of implicature (conventional, particular conversational, generalized conversational) using five standard criteria for implicature: indeterminacy (§3), reinforceability (§4), non-detachability (§5), cancellability (§6), and calculability (§7). I argue (1) that conventional implicature is a clear non-starter as a model of attitude expression by moral utterances (2) that generalised conversational implicature yields the most plausible implicaturist hybrid but (3) that a non-implicaturist, and (...) non-hybrid, alternative might in fact be superior. (shrink)

In this commentary, John O'Neill concentrates upon three themes in the goal Merleau-Ponty set for himself, namely "to restore to things their concrete physiognomy, to organisms their individual ways of dealing with the world, and to subjectivity its inherence in history." O'Neill considers the three objectives in their original order: first, the study of animal and human psychology; then, the phenomenology of perception; and finally, certain extensions of these perspectives in the historical and social sciences.