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Michel-Antoine Xhignesse
Capilano University
  1.  42
    Schopenhauer's Perceptive Invective.Michel-Antoine Xhignesse - 2020 - In Jens Lemanski (ed.), Language, Logic, and Mathematics in Schopenhauer. Basel, Schweiz: Birkhäuser. pp. 95-107.
    Schopenhauer’s invective is legendary among philosophers, and is unmatched in the historical canon. But these complaints are themselves worthy of careful consideration: they are rooted in Schopenhauer’s philosophy of language, which itself reflects the structure of his metaphysics. This short chapter argues that Schopenhauer’s vitriol rewards philosophical attention; not because it expresses his critical take on Fichte, Hegel, Herbart, Schelling, and Schleiermacher, but because it neatly illustrates his philosophy of language. Schopenhauer’s epithets are not merely spiteful slurs; instead, they reflect (...)
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  2.  23
    What Makes a Kind an Art-Kind?Michel-Antoine Xhignesse - forthcoming - British Journal of Aesthetics:ayaa027.
    The premise that every work belongs to an art-kind has recently inspired a kind-centred approach to theories of art. Kind-centred analyses posit that we should abandon the project of giving a general theory of art and focus instead on giving theories of the arts. The main difficulty, however, is to explain what makes a given kind an art-kind in the first place. Kind-centred theorists have passed this buck on to appreciative practices, but this move proves unsatisfactory. I argue that the (...)
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  3.  43
    Exploding Stories and the Limits of Fiction.Michel-Antoine Xhignesse - forthcoming - Philosophical Studies:1-18.
    It is widely agreed that fiction is necessarily incomplete, but some recent work postulates the existence of universal fictions—stories according to which everything is true. Building such a story is supposedly straightforward: authors can either assert that everything is true in their story, define a complement function that does the assertoric work for them, or, most compellingly, write a story combining a contradiction with the principle of explosion. The case for universal fictions thus turns on the intuitive priority we assign (...)
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  4.  37
    Inheriting the World.Michel-Antoine Xhignesse - 2020 - Journal of Applied Logics 7 (2):163-70.
    A critical reflection on John Woods's new monograph, Truth in Fiction – Rethinking its Logic. I focus in particular on Woods’s world-inheritance thesis (what others have variously called ‘background,’ ‘the principle of minimal departure,’ and ‘the reality assumption,’ and which replaces Woods’s earlier ‘fill-conditions’) and its interplay with auctorial say-so, arguing that world-inheritance actually constrains auctorial say-so in ways Woods has not anticipated.
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  5.  28
    Social Kinds, Reference, and Meta-Ontological Revisionism.Michel-Antoine Xhignesse - 2018 - Journal of Social Ontology 4 (2):137-156.
    Julian Dodd has characterized the default position in metaphysics as meta-ontologically realist: the answers to first-order ontological questions are thought to be entirely independent of the things we say and think about the entities at issue. Consequently, folk ontologies are liable to substantial error. But while this epistemic humility is commendable where the ontology of natural kinds is concerned, it seems misplaced with respect to social kinds since their ontology is dependent upon the human social world. Using art and art-kinds (...)
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  6.  81
    Entitled Art: What Makes Titles Names?Michel-Antoine Xhignesse - 2019 - Australasian Journal of Philosophy 97 (3):437-450.
    Art historians and philosophers often talk about the interpretive significance of titles, but few have bothered with their historical origins. This omission has led to the assumption that an artwork's title is its proper name, since names and titles share the essential function of facilitating reference to their bearers. But a closer look at the development of our titling practices shows a significant point of divergence from standard analyses of proper names: the semantic content of a title is often crucial (...)
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  7.  34
    The Trouble with Poetic Licence.Michel-Antoine Xhignesse - 2016 - British Journal of Aesthetics 56 (2):149-161.
    It is commonly thought that authors can make anything whatsoever true in their fictions by artistic fiat. Harry Deutsch originally called this position the Principle of Poetic License. If true, PPL sets an important constraint on accounts of fictional truth: they must be such as to allow that, for any x, one can write a story in which it is true that x. I argue that PPL is far too strong: it requires us to abandon the law of non-contradiction and (...)
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  8.  75
    Fake Views—or Why Concepts Are Bad Guides to Art’s Ontology.Michel-Antoine Xhignesse - 2018 - British Journal of Aesthetics 58 (2):193-207.
    It is often thought that the boundaries and properties of art-kinds are determined by the things we say and think about them. More recently, this tendency has manifested itself as concept-descriptivism, the view that the reference of art-kind terms is fixed by the ontological properties explicitly or implicitly ascribed to art and art-kinds by competent users of those terms. Competent users are therefore immune from radical error in their ascriptions; the result is that the ontology of art must begin and (...)
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  9.  53
    Andina, Tiziana. The Philosophy of Art: The Question of Definition—From Hegel to Post‐Dantian Theories, Trans. Natalia Iacobelli, New York: Bloomsbury, 2013, 190 Pp., 5 B&W Illus., $37.95 Paperback, $120.00 Cloth. [REVIEW]Michel-Antoine Xhignesse - 2016 - Journal of Aesthetics and Art Criticism 74 (1):106-108.
    A review of Tiziana Andina's The Philosophy of Art: The Question of Definition: From Hegel to Post-Dantian Theories (Bloomsbury 2013).
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  10.  29
    Willingly Disinterested: Altruism in Schopenhauer’s Ethics.Michel-Antoine Xhignesse - 2013 - In Margit Ruffing, Claudio La Rocca, Alfredo Ferrarin & Stefano Bacin (eds.), Kant Und Die Philosophie in Weltbürgerlicher Absicht: Akten des Xi. Kant-Kongresses 2010. De Gruyter. pp. 639-650.
    In Kant’s ethics, disinterest is derived from the concept of the categorical imperative and is taken to be the condition of the possibility of all moral actions. Schopenhauer, by contrast, treats disinterest as a necessary but insufficient condition for morality, and severs it from its ties to the categorical imperative. Disinterest, for Schopenhauer, leads to the concept of compassion, which he praises as the sole ground of all morality. But compassion seems fundamentally opposed to disinterest, since it involves taking an (...)
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  11.  27
    Christy Mag Uidhir, Art & Art-Attempts. Reviewed By. [REVIEW]Michel-Antoine Xhignesse - 2015 - Philosophy in Review 35 (3):182-184.
    A review of Christy Mag Uidhir's Art & Art-Attempts (OUP 2013).
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  12. Getting Stuffy in Here: The Problem of Coincident Objects.Michel-Antoine Xhignesse - 2011 - Gnosis 10 (2).
    I argue that the coincidence of statue and matter is a special case of a common linguistic phenomenon: the use of partitive terms to individuate uses of non-count nouns (NCNs). By marking partitives and NCNs, we can easily account for the intuition that a statue and its matter are identical.
     
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  13.  67
    Attempting Art: An Essay on Intention-Dependence.Michel-Antoine Xhignesse - 2017 - Dissertation, McGill University
    Attempting art: an essay on intention-dependenceIt is a truism among philosophers that art is intention-dependent—that is to say, art-making is an activity that depends in some way on the maker's intentions. Not much thought has been given to just what this entails, however. For instance, most philosophers of art assume that intention-dependence entails concept-dependence—i.e. possessing a concept of art is necessary for art-making, so that what prospective artists must intend is to make art. And yet, a mounting body of anthropological (...)
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