Structuring Sense explores the difference between words however defined and structures however constructed. It sets out to demonstrate over three volumes, of which this is the first, that the explanation of linguistic competence should be shifted from lexical entry to syntactic structure, from memory of words to manipulation of rules. Its reformulation of how grammar and lexicon interact has profound implications for linguistic, philosophical, and psychological theories about human mind and language. Hagit Borer departs from both language specific constructional (...) approaches and lexicalist approaches to argue that universal hierarchical structures determine interpretation, and that language variation emerges from the morphological and phonological properties of inflectional material. In Name Only applies this radical approach to nominal structure. Integrating research in syntax, semantics, and morphology, the author argues that nominal structure is based on the syntactic realization of semantic notions such as classifier, quantity, and reference. In the process she seeks to do away with lexical ambiguity and type-shifting. Among the topics she considers are the interpretation of proper names, the mass-count distinction, the weak-strong interpretation of quantifiers, partitive and measure phrases, and the structural representation of the definite article. In the process she explores inter-language variation through the properties of the morpho-phonological system. The languages discussed include English, Chinese, Italian, and Hebrew. (shrink)

Are kind properties presented to us in visual experience? I propose an account of kind recognition that incorporates two conflicting intuitions: Kind properties a...

The purpose of the present work is to analyze Hegel's Unhappy Consciousness in light of the psychoanalytic conceptualization of the relation Subject-Other. The analysis will investigate unhappiness on two counts: its relation to Hegelian dialectic and the possibility of its coming to an end. Examining Hegelian unhappiness through the prism of psychoanalytic thought will allow us to formulate a crucial distinction between the philosophical (Hegelian) and psychoanalytic (Freudian, Lacanian) approaches to unhappiness as they relate to the arch-concepts of knowledge, possibility, (...) negation, and end.The first part of this work will be dedicated to the investigation of these arch-concepts through two main and opposing .. (shrink)

A crucial disanalogy between Twin Earth and Inverted Earth undermines qualia‐internalism. A recent transplant to Inverted Earth has been equipped with color‐inverting contact lenses, so that she is unable to see the colors of objects whereas a recent transplant to Twin Earth can see twater. It is implausible to think that time alone could rectify this perceptual shortcoming – that the passage of time could alter the contents of her visual perceptions or the meaning of her color terms. Thus, the (...) thought experiment does not refute the close tie between phenomenology and representation in the case of color. (shrink)

Issues concerning UG access for L2 acquisition as formulated by Epstein et al. are misleading as well as poorly discussed. UG accessibility can only be fully evaluated with respect to the steady state gram mar reached by the learner. The steady state for LI learners is self evidently the adult grammar in the speech community. For L2 learners, however, the steady state is not obvious. Yet, without its clear characterization, debates concerning stages of L2 acquisition and direct and indirect UG (...) accessibility cannot be resolved. (shrink)

Mark Johnston argues that the identity between water and H2O generates a puzzle: Ice is related to H2O just as water is related to H2O. If water is identical to H2O, so is ice, and we end up with an absurdity: water is ice. This paper suggests a way to preserve the identity between water and H2O without this absurd result.

Name der Zeitschrift: Der Islam Jahrgang: 92 Heft: 2 Seiten: 507-513.

A recalcitrant emotion is an emotion that we experience despite a judgment that seems to conflict with it. Having been bitten by a dog in her childhood, Jane cannot shake her fear of dogs, including Fido, the cute little puppy that she knows to be in no way dangerous. There is something puzzling about recalcitrant emotions, which appear to defy the putatively robust connection between emotions and judgments. If Jane really believes that Fido cannot harm her, what is she afraid (...) of? This article seeks to show how recalcitrant emotion is possible. I argue that reductive theories that identify emotions with judgments, desires, or some combination thereof, cannot explain the possibility of emotional irrationality without contradiction. I then show that the appeal to sui generis attitudes also fails to solve the puzzle of recalcitrant emotions, and diagnose this failure as stemming from a misleading analogy between emotions and perceptions, and in particular, between recalcitrant emotions and perceptual illusions. The solution can be found in a different analogy: between emotions and actions; more specifically, between recalcitrant emotions and weakness of the will, akrasia. Like akratic actions, recalcitrant emotions entail responding to reasons, but to inferior reasons. Irrational but non-contradictory emotions are possible just as weakness of will is possible. (shrink)

This chapter contains sections titled: Epigraphs Twice‐Told Tales Darwin to the Rescue? Back to the Subject Contradiction? The Problem of Obsessive Repetition Reading Again—Again The End of the Beginning.

Structuring Sense explores the difference between words however defined and structures however constructed. It sets out to demonstrate over three volumes, of which this is the second, that the explanation of linguistic competence should be shifted from lexical entry to syntactic structure, from memory of words to manipulation of rules. Its reformulation of how grammar and lexicon interact has profound implications for linguistic, philosophical, and psychological theories about human mind and language. Hagit Borer departs from both language specific constructional (...) approaches and lexicalist approaches to argue that universal hierarchical structures determine interpretation, and that language variation emerges from the morphological and phonological properties of inflectional material. The Normal Course of Events applies this radical approach to event structure. Integrating research results in syntax, semantics, and morphology, the author shows that argument structure is based on the syntactic realization of semantic event units. The topics she addresses include the structure of internal arguments and of telic and atelic interpretations, accusative and partitive case, perfective and imperfective marking, the unaccusative-unergative distinction, existential interpretation and post-verbal subjects, and resultative constructions. The languages discussed include English, Catalan, Finnish, Hebrew, Czech, Polish, Russian, and Spanish. (shrink)

What does bodily pain have in common with mental pain? According to “evaluativism,” both are representations of something bad. This paper puts forward three claims. First, that evaluativism vis-à-vis bodily pain is false for it renders it irrational to take painkillers. Second, that evaluativism vis-à-vis mental pain is true. Third, that this difference between bodily and mental pain stems from the fact that only the latter is normative, that is, based on reasons. The normative difference between bodily and mental pain (...) implies that mental pains are not bad, while bodily pains are not representations. (shrink)

'May one be pardon’ d and retain the offence?’ asks King Claudius in his tormented monologue in Hamlet. Forgiveness appears incompatible with the retention of the offence, both in the sense of enjoying its consequences and in the sense of the subsistence of the attitude which underlay the offensive act. There are, however, views which allow for, even admire, an attitude of forgiveness towards people who have ‘retained’ their offense in some way. This idea of forgiveness is harder to justify, (...) since no change has taken place in the agent. We suggest that the concept of toleration can serve as an illuminating clue in such an analysis. The tolerant attitude involves a certain kind of reconciliation with people who not only have done something wrong in the past, but insist on sticking to their objectionable conduct in the present and the future. Tolerance, in other words, is not conditioned by repentance or by commitment to behavioral transformation; it is a kind of unconditional ‘forgiveness’ in advance. (shrink)

Recently it has been argued that we cannot intend at will. Since intentions cannot be true or false, our involuntariness cannot be traced to “the characteristic of beliefs that they aim at truth”, as Bernard Williams convincingly argues. The alternative explanation is that the source of involuntariness is the shared normative nature of beliefs and intentions. Three analogies may assimilate intentions to beliefs vis-à-vis our involuntariness: first, beliefs and intentions aim at something; second, beliefs and intentions are transparent to the (...) true and the good respectively; third, beliefs and intentions are answers to questions other than that of whether to endorse them. The purpose of this paper is to argue that attempts to ground involuntariness in normativity rather than truth imply that we cannot act at will. I assume that actions are the paradigm case of doing something at will, and utilize this assumption as a restriction on any account of our inability to believe at will: it should not be possible to generalize it to actions. Any account of doxastic involuntarism that implies that we cannot act at will is false—if we cannot act at will, what can we do at will? I close by offering a notion of doing something at will that is based on Williams’ insight that truth—rather than reason—matters to our inability to believe at will. (shrink)

Philosophy of music has flourished in the last thirty years, with great advances made in the understanding of the nature of music and its aesthetics. Peter Kivy has been at the center of this flourishing, and now offers his personal introduction to philosophy of music, a clear and lively explanation of how he sees the most important and interesting philosophical issues relating to music. Anyone interested in music will find this a stimulating introduction to some fascinating questions and ideas.

The article argues that the proposal to produce a digital Ring cycle was not just ethically and economically misguided, but aesthetically misguided as well. Orchestras produces performances, and the proposed digital Ring would not have produced genuine performances of the Ring operas. Nevertheless, a digital musical work might allow us to reconstruct, and in that way recover and gain access to, a full-fledged musical work.

Peter Kivy is the author of many books on the history of art and, in particular, the aesthetics of music. This collection of essays spans a period of some thirty years and focuses on a richly diverse set of issues: the biological origins of music, the role of music in the liberal education, the nature of the musical work and its performance, the aesthetics of opera, the emotions of music, and the very nature of music itself. Some of these (...) subjects are viewed as part of the history of ideas, others as current problems in the philosophy of art. A particular feature of the volume is that Kivy avoids the use of musical notation so that no technical knowledge at all is required to appreciate his work. The essays will prove enjoyable and insightful not just to professionals in the philosophy of art and musicologists, or to musicians themselves, but also to any motivated general reader with a deep interest in music. (shrink)

The controversy over the interpretative issue—is Thomas Reid a perceptual direct realist?—has recently had channelled into it a host of imaginative ideas about what direct perception truly means. Paradoxically enough, it is the apparent contradiction at the heart of his view of perception which keeps teasing us to review our concepts: time and again, Reid stresses that the very idea of any mental intermediaries implies scepticism, yet, nevertheless insists that sensations are signs of objects. But if sensory signs are not (...) mental intermediaries, what are they? Hasn't Reid merely swapped the common ‘sensation’ for the notorious ‘idea’, ending up with indirect realism?1 Current imaginative strategies answer negatively: Reid's sensory sign does not contradict direct perception, and those who think otherwise merely fail to understand what it means. (shrink)

This chapter contains sections titled: Some Varieties of Aesthetic Properties The Aesthetics of Fiction What Properties are Aesthetic? Mind Aesthetics? Number Aesthetics?

Primitivism is the view that colors are sui generis properties of physical objects. The basic insight underlying primitivism is that colours are as we see them, i.e. they are categorical properties of physical objects—simple, monadic, constant, etc.—just like shapes. As such, they determine the content of colour experience. Accepting the premise that colours are sui generis properties of physical objects, this paper seeks to show that ascribing primitive properties to objects is, ipso facto, ascribing to objects irreducible dispositions to look (...) coloured, and that anything that primitive redness can do, the non-reductive disposition to look red can do just as well. What makes primitivism suspect is not the commitment to sui generis properties, but instead the claim that colours are more than dispositions. Since, as I show, whatever primitivism appeals to for the purpose of arguing that colours are more than dispositions—objectivity, explanation, causation, phenomenology, constancy, etc.—can also be invoked... (shrink)

This chapter contains sections titled: Temporal and Non‐Temporal Arts Literary Time and Real Time Novel Discontinuity The Goal of the Gaps Musical Time and Real Time A Puzzling Problem A Bizarre Suggestion Historical Narrative Fictional Time and Music‐Fictional Time Formal Structure The Other Proposal.

The concept of genius—artistic genius in particular—is generally thought of as a quintessentially nineteenth-century phenomenon: the cornerstone, in fact, of German Romanticism. Kant’s treatment of the concept has always been recognized as the source from which the early Romantics drew. But the fact of the matter is that it is to the British Enlightenment that we must look for the first modern formulation of the concept of artistic genius. For it was already well formed and clearly recognizable before Kant got (...) his hands on it. In this article, the author begins by suggesting two ancient sources for the concept of genius as it developed in eighteenth-century Britain, then goes on to discuss the contributions to the concept of Joseph Addison, Edward Young, Alexander Gerard, William Duff, and Gerard again, who dipped his oar in twice. (shrink)

This chapter contains sections titled: What Am I Doing? My Experience The Title Literature: What Is It? A Friendly Witness?

This chapter contains sections titled: The Art of Silent Reading It's All in the Mind Ideal Presence and Radford's Problem Faulty Foundations Home away from Home? The Text and the Real Seeing and Being Told Suspension of Disbelief Yet Again.

This chapter contains sections titled: Poetry (Briefly) The Aesthetics of Fiction (Again) A Non‐Aesthetic Art? Fiction as Non‐Aesthetic.

This chapter contains sections titled: Radford's Problem Suspension of Disbelief “Willing” Disbelief Disbelief The Long and Short of It Suspension at the Movies Believing the Unbelievable Emotion and Action Experiencing the Movies Suspension in the Theater.

This chapter contains sections titled: A Preliminary Distinction Aesthetics and Philosophy of Art Plato's Problem Aesthetic Properties More Plato and a Little Bit of History A Little More History Hearing with the Inner Ear.

This chapter contains sections titled: Structure Aesthetics Form and Content The Quick and the Dead Good, Bad, Beautiful Goodness and Beauty A Short History Aesthetic Morality Naturalized? Beauty of Soul: A Contemporary Version Ethics, Art, and the Aesthetic Suppose I am Wrong.

Incorporating the complete, corrected text of The Corded Shell, Kivy brings his earlier arguments up to date in light of recent work in the field, and discusses ...

In De Gustibus Peter Kivy deals with a question that has never been fully addressed by philosophers of art: why do we argue about art? We argue about the 'facts' of the world either to influence people's behaviour or simply to get them to see what we take to be the truth about the world. We argue over ethical matters, if we are ethical 'realists,' because we think we are arguing about 'facts' in the world. And we argue about (...) ethics, if we think matters of ethics are simply matters of 'attitude,' to influence the behaviour of others. But why should we argue about works of art? There are no 'actions' we wish to motivate. Whether I think Bach is greater than Beethoven and you think the opposite, why should it matter to either of us to convince the other? Kivy claims here that we argue over taste because we think, mistakenly or not, that we are arguing over matters of fact. (shrink)

"In his latest book on the aesthetics of music, Peter Kivy presents an argument not for authenticity but for authenticities of performance, including ...

Proponents of the explanatory gap claim that consciousness is a mystery. No one has ever given an account of how a physical thing could be identical to a phenomenal one. We fully understand the identity between water and H2O but the identity between pain and the firing of C-fibers is inconceivable. Mark Johnston [Journal of philosophy , 564–583] suggests that if water is constituted by H2O, not identical to it, then the explanatory gap becomes a pseudo-problem. This is because all (...) “manifest kinds”—those identified in experience—are on a par in not being identical to their physical bases, so that the special problem of the inconceivability of ‘pain = the firing of C-fibers’ vanishes. Moreover, the substitute relation, constitution, raises no explanatory difficulties: pain can be constituted by its physical base, as can water. The thesis of this paper is that the EG does not disappear when we substitute constitution for identity. I examine four arguments for the EG, and show that none of them is undermined by the move from constitution to identity. (shrink)

It is sometimes claimed that ordinary objects, such as mountains and chairs, are not material in their own right, but only in virtue of the fact that they are constituted by matter. As Fine puts it, they are “only derivatively material” (2003, 211). In this paper I argue that invoking “constitution” to account for the materiality of things that are not material in their own right explains nothing and renders the admission that these objects are indeed material completely mysterious. Although (...) there may be metaphysical contexts in which mysterianism can be accepted with equanimity, I further argue, the question of the materiality of quotidian objects is not one of them. (shrink)