Fictional and non-fictional texts rely on the same language to express their meaning; yet many philosophers in the analytic tradition would say, with reason, that fictional texts literally make no truth claims, or more modestly that the rhetorical and literary devices to which fiction and non-fiction writers alike have recourse are unconnected to truth or have no propositional content. These related views are associated with a doctrine in the philosophy of language, most notably advanced by the late (...) Donald Davidson, which holds that we understand the semantic structure of a language by applying to it a theory of truth, which involves discovering the truth conditions of its sentences. This approach to semantic theory raises several seemingly intractable problems, such as the problem of stating the meaning of non-declarative sentences, e.g. questions and imperatives. The chief aim of this paper will be to try to dispel these problems by suggesting an adjustment in Davidson’s account of the relation of truth to meaning, one which will also allow us to picture such troublesome linguistic items as metaphor within a semantic theory, and to expand the range of objects which can be brought into a general theory of meaning. (shrink)

Narrative persuasion, i.e. the impact of narratives on beliefs, behaviors and attitudes, and the mechanisms underpinning endorsement of conspiracy theories have both drawn substantial attention from social scientists. Yet, to date these two fields have evolved separately, and to our knowledge no study has empirically examined the impact of conspiracy narratives on real-world conspiracy beliefs. In a first study, we exposed a group of participants (n = 37) to an X-Files episode before asking them to fill in a questionnaire (...) class='Hi'>related to their narrative experience and conspiracy beliefs. A control group (n = 41) had to answer the conspiracy beliefs items before watching the episode. Based on past findings of both the aforementioned lines of research, we hypothesized that the experimental group would show greater endorsement of conspiracy beliefs, an effect expected to be mediated by identification to the episodes’ characters. We furthermore hypothesized that identification would be associated with cognitive elaboration of the narrative information. The first two hypotheses were disproved since no narrative persuasion effect was observed. In a second study, we sought to replicate these results in a larger sample (n = 166). No persuasive effect was found in the new data and a bayesian meta-analysis of the two studies strongly supports the absence of a positive effect of exposure to narrative material on endorsement of conspiracy theories. In both studies, a significant relation between conspiracy mentality and enjoyment was observed. In the second study, this relation was fully mediated by two dimensions of perceived realism, i.e., plausibility and narrative consistency. We discuss our results, based on theoretical models of narrative persuasion and compare our studies with previous narrative persuasion studies. Implications of these results for future research are also discussed. (shrink)

In the history of mathematics, Charles Lutwidge Dodgson (1832–1898), better known as Lewis Carroll, stands out as the rare mathematician who also was an exceptional literary figure. In The Pamphlets of Lewis Carroll, each volume of a projected six volumes deals with a particular aspect of his work. When the series is complete, it will include all of his works that were not originally issued in hard cover with the exception of his poetry and fiction. This fourth volume focuses (...) on his writings on logic. It includes pamphlets and sheets privately printed by Dodgson, unpublished manuscript sheets, rare previously published documents, and early versions of published works. These are collected together for the first time, organized by subject, and presented with suitable commentary so that the reader can fully appreciate Dodgson’s contributions to the logic of his time and of ours. The general introduction to the book describes the importance of logic in Dodgson’s life and work and provides a historical perspective on the state of logic that existed during his lifetime. The sections of the book that follow contain introductory essays that provide analyses and context both for the general reader and for the specialist, followed by the items in transcription or facsimile. Distributed for the Lewis Carroll Society of North America. (shrink)

Love, Subjectivity, and Truth engages in a lively manner with the overlapping areas of philosophy and literature, philosophy of emotions, and existential thought. "Subjective truth," a phrase used in Proust's novel In Search of Lost Time, is rich with existential connotations. It invokes Kierkegaard above all, but significantly Nietzsche as well, and other philosophers who thematize love, subjectivity, and truth. In Search of Lost Time is especially concerned about what we can know about others through love. Insofar as it conveys (...) and analyzes experience, the novel is capable not only of exploring existential issues but also of doing something like phenomenology. What we know is shaped by our way of knowing, just as the properties of visible, colored objects are determined by the wavelengths of light our eyes can see. Nowhere does the subjective basis of our awareness appear so evident as it does when we view things through loving eyes. In Proust's novel we find skeptical views about love expressed again and again. However, we also note countercurrents, in which love is shown to provide a unique sort of insight. At those times, love seems to be a prerequisite of veridical apprehension. Love, Subjectivity, and Truth investigates this tension as it is played out in Proust's fiction. (shrink)

In this book, a general type ontology of works is defended and developed in detail. A wide concept of “work” is used here, such that “work” roughly corresponds to “artefact”. Though the focus is on works of art, the theory is meant to be applicable, in principle, to works of science and technology and to everyday items of all sorts as well. Among others, the following questions are discussed: To what ontological category or categories do works belong? Is there (...) a principled ontological divide between linguistic and musical works, on the one hand, and works of the visual arts on the other? What is the relationship between works and such diverse things as performances, manuscripts, scores, blueprints, stagings, film screenings, printing plates, data carriers, and others? What is the relationship between works and interpretations? In what way do works come into existence? Can works, once they are finished, be changed and/or cease to exist, and if so, under what conditions? Which sorts of parts can be distinguished within a work? Is the context of origin constitutive of a work’s identity? Can a translation be identical with the original linguistic work? Who is the author of a computer-generated work? The central thesis is that works of all kinds are abstract artefacts, i. e., types that are instantiated in concrete particulars, that is, in material or mental objects and events. The relationship between works and their “realizations” is defined by means of a modes of predication distinction, as it is used in a variety of Meinongian logics. An extensive chapter is dedicated to the relation between “representing works” and their represented worlds, with a focus on fictitious worlds and their objects. The latter are modeled as parts of fictional works. (shrink)

This paper addresses problems related to transferring market concepts to non-market domains. More specifically it is about fallacies following from the use of the commodity concept in environmental valuation studies. First of all, the standard practice tends to misconstrue the ethical aspects related to environmental choices by forcing them into becoming ordinary trade-off problems. Second, the commodity perspective ignores important technical interdependencies within the environment and the relational character of environmental goods. These are all properties that have made (...) many such goods escape the commoditisation pressure of markets in the first place. Further, it is shown that these interdependencies are the source of some of the ethical dilemmas observed. Finally, inherent characteristics of the environment tend to make the concept of the margin, so indispensable to economic calculus, either difficult or irrelevant to define. The commodity 'fiction' twists the perception of the environment from systems preservation to items use or transformation. This is a problem of increased importance as we approach potential systems perturbations. (shrink)

According to a widespread view in metaphysics and philosophy of science, all explanations involve relations of ontic dependence between the items appearing in the explanandum and the items appearing in the explanans. I argue that a family of mathematical cases, which I call “viewing-as explanations”, are incompatible with the Dependence Thesis. These cases, I claim, feature genuine explanations that aren’t supported by ontic dependence relations. Hence the thesis isn’t true in general. The first part of the paper defends (...) this claim and discusses its significance. The second part of the paper considers whether viewing-as explanations occur in the empirical sciences, focusing on the case of so-called fictional models. It’s sometimes suggested that fictional models can be explanatory even though they fail to represent actual worldly dependence relations. Whether or not such models explain, I suggest, depends on whether we think scientific explanations necessarily give information relevant to intervention and control. Finally, I argue that counterfactual approaches to explanation also have trouble accommodating viewing-as cases. (shrink)

In Art and intention Paisley Livingston develops a broad and balanced perspective on perennial disputes between intentionalists and anti-intentionalists in philosophical aesthetics and critical theory. He surveys and assesses a wide range of rival assumptions about the nature of intentions and the status of intentionalist psychology. With detailed reference to examples from diverse media, art forms, and traditions, he demonstrates that insights into the multiple functions of intentions have important implications for our understanding of artistic creation and authorship, the ontology (...) of art, conceptions of texts, works, and versions, basic issues pertaining to the nature of fiction and fictional truth, and the theory of art interpretation and appreciation. Livingston argues that neither the inspirationist nor rationalistic conceptions can capture the blending of deliberate and intentional, spontaneous and unintentional processes in the creation of art. Texts, works, and artistic structures and performances cannot be adequately individuated in the absence of a recognition of the relevant makers4intentions. The distinction between complete and incomplete works receives an action-theoretic analysis that makes possible an elucidation of several different senses of "fragment" in critical discourse. Livingston develops an account of authorship, contending that the recognition of intentions is in fact crucial to our understanding of diverse forms of collective art-making. An artist's short-term intentions and long-term plans and policies interact in complex ways in the emergence of an artistic oeuvre, and our uptake of such attitudes makes an important difference to our appreciation of the relations between items belonging to a single life-work. The intentionalism Livingston advocates is, however, a partial one, and accommodates a number of important anti-intentionalist contentions. Intentions are fallible, and works of art, like other artefacts, can be put to a bewildering diversity of uses. Yet some important aspects of art's meaning and value are linked to the artist's aims and activities. (shrink)

The volume includes Mark Twain's previously published philosophical writing. Fictional pieces are ordinarily excluded, as are other works appropriate to different volumes in this edition. However, "Letter from the Recording Angel," "The Five Boons of Life," and "Letters from the Earth," although they are in a strict sense fictional, have been judged more relevant to the present volume that to the volumes of short fiction. "Things a Scotsman Wants to Know," previously unpublished, is included by agreement with the editor (...) of The Mark Twain Papers, as being especially relevant to themes of this volume. Other unpublished items appear as supplements because of their close relation to What Is Man?, Christian Science, and " 'The Turning Point of My Life.' " The two works that break off with unfinished sentences, "Bible Teaching and Religious Practice" and the introductory section of "Letters from the Earth," were abandoned by the author or else their endings have been lost. The order of works in this volume is according to date of publication or, for those unpublished during the author's lifetime, date of composition. For works published during his lifetime, dates of first publication appear in roman type below titles; for works first published after his death, date are in italics and indicate time of composition. (shrink)

A dramatic problem facing the concept of the self is whether there is anything to make sense of. Despite the speculative view that there is an essential role for the perceiver in measurement, a physicalist view of reality currently seems to be ruling out the conditions of subjectivity required to keep the concept of the self. Eliminative materialism states this position explicitly. The doctrine holds that we have no objective grounds for attributing personhood to anyone, and can therefore dispense with (...) the concept. That implication would require us to dispense with many of the most basic commitments of our manifest or common sense image of the world. And it would require us to abandon, to maintain as an act of bad faith, or radically to adjust, virtually every significant basic commitment underlying the variety of traditions that have evolved historically from the (natural) platform of common sense. Daniel Dennett’s sympathies seem to be divided over this issue. He is reluctant to eliminate the most fundamental linguistic-conceptual-institutional commitments that have evolved from common sense. Yet, I will argue, the basis of his support for these, beneath the surface of his rhetoric, is a mirage. His view of persons and related (intentional) concepts is a case in point. In place of the eliminative materialist position, Dennett recommends that we regard the self as a highly useful “theorist’s fiction.” He adopts a similar epistemic stance toward intention, belief, mind, and so on. In this paper I aim to show that Dennett’s recommendation is based on a subtle version of the dualism of subject and object (or scheme and content), which he seems to agree that we should transcend. Against Dennett’s view of the self as a “theorist’s fiction,” I argue in favour of a version of Donald Davidson’s realist thesis that, once we properly appreciate the significance of abandoning this pervasive dualism, we can maintain the self and associated intentional items – belief, mind, and so on – within a thoroughly realist ontology. (shrink)

I first show in this paper how twentieth century Set Theory got into its greatest tangle by, amongst other things, regarding relational remarks like ‘Rxy’ asbinary functions. I then show how the lack of indexicality, and of ‘that’-clauses, in Modern Logic led that subject into its intractable difficulties with the Theory of Truth. Both errors arose not only through a contempt for ordinary language, but also through the related failure to recognise that being logical is not a matter of (...) being brainy, but of being coherent. It is not a mathematical talent, but a literary one. Later in the paper I go on to demonstrate this same conclusion with respect to Modal Logic and General Intensional Logic, and in particular with respect to fictions, since these are the central items that have been misunderstood, as is witnessed in some recent writings of Graham Priest. (shrink)

PROBLEM: THE BEING OF NONEXISTENTS. In matters of irreality, medieval philosophers were not much concerned with fiction as such. The prime focus of their attention was theology, and their dealings with nonexistence related to the role of such items in relation to the thoughts of God rather than those of man. In this light, the medievals approached the issue of nonexistents on essentially the following basis.

Craft in a modern context is more often a symbolic good rather than a utilitarian item. It carries stories of its production along with related values. Given the mute nature of the object, many of these narratives are projected by the consumer, which can often be based on fiction rather than reality. This makes ethnographic research, such as that collected in Critical Craft, of great importance.One of the principal structures addressed is the hierarchy of craft and design. Geoffrey (...) Gowlland's "Materials, the Nation and the Self: Division of Labor in a Taiwanese Craft" offers a fascinating overview of the values attached to the production process of traditional ceramics. This involves the division between the... (shrink)

Do the artists intentions have anything to do with the making and appreciation of works of art? In Art and Intention, Paisley Livingston develops a broad and balanced perspective on perennial disputes between intentionalists and anti-intentionalists in philosophical aesthetics and critical theory. He surveys and assesses a wide range of rival assumptions about the nature of intentions and the status of intentionalist psychology. With detailed reference to examples from diverse media, art forms, and traditions, he demonstrates that insights into the (...) multiple functions of intentions have important implications for our understand- ing of artistic creation and authorship, the ontology of art, conceptions of texts, works, and versions, basic issues pertaining to the nature of fiction and fictional truth, and the theory of art interpretation and appreciation. Livingston argues that neither the inspirationist nor rationalistic con- ceptions can capture the blending of deliberate and intentional, sponta- neous, and unintentional processes in the creation of art. Texts, works, and artistic structures and performances cannot be adequately individ- uated in the absence of a recognition of the relevant makers intentions. The distinction between complete and incomplete works receives an action-theoretic analysis that makes possible an elucidation of several different senses of fragment in critical discourse. Livingston develops an account of authorship, contending that the recognition of intentions is in fact crucial to our understanding of diverse forms of collective art-making. An artists short-term intentions and long-term plans and policies interact in complex ways in the emergence of an artistic oeuvre, and our uptake of such attitudes makes an important difference to our appreciation of the relations between items belonging to a single life-work. The intentionalism Livingston advocates is, however, a partial one, and accommodates a number of important anti-intentionalist contentions. Intentions are fallible, and works of art, like other artefacts, can be put to a bewildering diversity of uses. Yet some important aspects of arts meaning and value are linked to the artists aims and activities. (shrink)

Recently, the government of Zimbabwe unveiled a newly constructed statue of the esteemed spirit medium and liberation icon who intrepidly fought against the British imperialism. The distinguished heroine is passionately known as Mbuya Nehanda Charwe Nyakasikana. The lexical item, ‘Mbuya’ in Shona language literally means grandmother. This study examines the ways in which the spectres of religion, historiography, gender and national politics find expression in often contested state narratives of Mbuya Nehanda and in selected Zimbabwean fictional writings. Foucault’s theorisation of (...) socio-political practices and subjectification as sites of power, together with the Critical Discourse Analysis (CDA) framework and bell hooks’ feminist thought of ‘talking back’, provide provocative insights about regimes of power that could be more edifying in the interlocking discursive terrain of the African cosmology, frequently disputed archeology of historical memory, socio-political relations, which are noticeable in discourses and gender politics. The study interrogates whether the Nehanda grand narrative is told by politicians as the revolutionary story of all citizens or not. If not, what alternative versions are proffered in selected Yvonne Vera and NoViolet Bulawayo’s literary texts? Arguably, the mythology of Nehanda in the chosen literary texts locates women as agents of revolution thereby generating semantic dissonance in the Zimbabwean context, which is largely considered as land of the Fathers. Contribution: The study situates the Nehanda narrative within contested terrains of national history, gender and religion in Zimbabwe’s transitional politics and literature. It concludes that in Vera and Bulawayo’s writings, the Nehanda narrative is deployed to interject significations of woman (hood) and nation (hood) which seek to marginalise some sections of the society. The dissonances embedded in the Nehanda narrative produce a dialoguing space that’ talks back’ and rebuts single storytelling. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Witness Against the Beast, William Blake and the Moral LawDan LatimerWitness Against the Beast, William Blake and the Moral Law, by E. P. Thompson; xxi & 324 pp. New York: The New Press, 1993, $30.00.The social context from which William Blake arose was fundamentally hostile to the grandiose projects of Court and official Church. So modest were the ambitions of Blake’s working-class forebears that their historical oblivion would (...) be assured, had they not professed theological views irksome to those whose job it was to enforce uniformity. The eccentric theology of this nonconformist class earned them the name antinomian, from “anti-nomos,” “against the law,” a term which carried the sense of both “heretic” and “terrorist.”Antinomians emerged from the Puritan Interregnum of the 1650s. They went quiet during the Restoration of Charles II, then were given a second life in the 1790s when the energies of Jacobinism refocused working-class frustrations on the hegemonic alliance of Court and Church. Eventually, sedition laws drove the antinomians underground to stay. Abhorring all official places of worship, they met over pints of beer in public houses, singing songs composed by themselves out of their home-made hymnals set to such unthreatening melodies as “God Save the King” to delude the casual passer-by.One such sect was the Muggletonians, whose very name ensured groans of genteel ridicule from the educated and powerful. They never numbered more than two hundred members in all of England. Taking their name from a seventeenth-century sectary, Ludowick Muggleton, they kept largely to themselves, did not evangelize, and did not pray, since they considered prayer servile. They met for fellowship, song, and hours of intricate theological discussion. For three hundred years, the faithful preserved the manuscripts of their prophets, records of discussion and debate, song books and membership lists, until Thompson tracked it all down in 1975 to a furniture depository in Tunbridge Wells. What Thompson wanted to show was some empirical connection between Muggletonian theology and the eccentric mythos of William Blake, since the two systems had so many already obvious antinomian similarities. It must have been discouraging for him to get no closer than “Hermitage,” the name of Blake’s mother’s first husband, a hosier named Thomas. In the Muggletonian song books are compositions from the 1750s by a George Hermitage, who in Thompson’s working hypothesis is a possible uncle of Blake. Thompson admits, however, that the image of Blake’s mother singing nonconformist family songs over the cradle of her infant son will have to remain a pretty fiction.Why does Thompson specifically want the Muggletonians in the Blakean picture? There are four pertinent articles of Muggletonian belief. The first is that they repudiate moral law, that is, the notion of religion as a system of discipline and punishment for sin. They substitute love and generosity as [End Page 412] characteristic of the divine principle. The second is that Reason is explicitly identified as a Satanic item, binding, constraining, and inhibiting the imaginative vision of God. The third article is the doctrine of the Two Seeds, according to which Satan, in the form of the serpent, had carnal relations with Eve, who subsequently gave birth to Cain, the serpent’s child and half-brother to Abel and Seth, the legitimate offspring of Adam. Henceforth, though, the Satanic and divine seeds are mixed in all human beings. The persistent Satanic element, the humanum maternum, gives our worshippers occasion, not only for an indictment of the rich and powerful, serpent-spawn all, but for a gnostic hostility for all material creation, including the body, implying, one need hardly say, a robust sense of woman’s addiction to the secret and forbidden, the worm that flies in the night.The fourth article deals with the divine influx of God into man on the occasion of Christ’s birth. For the Muggletonians, this incarnation (and eventual extinction) was entire. There weren’t any other parts of God left over somewhere else. Thompson sees here elements of a radical humanism which may have motivated such notions as “the human form divine” in Blake. On the other hand, the doctrine of the... (shrink)