Recourse to meta-argument is an important feature of successful argument exchanges; it is where norms are made explicit or clarified, corrections are offered, and inferences are evaluated, among much else. Sadly, it is often an avenue for abuse, as the very virtues of meta-argument are turned against it. The question as to how to manage such abuses is a vexing one. Erik Krabbe proposed that one be levied a fine in cases of inappropriate meta-argumentative bids (2003). In a recent publication (...) (2022) Beth Innocenti expands on this notion of a penalty, arguing that some meta-arguments should be halted with “shouting, cussing, sarcasm, name-calling.” In this essay, we review Innocenti’s case that these confrontations and haltings improve the argumentative circumstances. We provide three reasons that this promise is not well-founded. First, that such confrontations have a significant audience problem, in that they are more likely to be interpreted as destroying the argumentative context than improving it. Second, that Innocenti’s procedural justification, that those who lose meta-discussions should pay a penalty, is not satisfied if the meta-discussion is halted. And third, there is a boundary problem for the cases, since it seems there is no principled reason to restrict halting meta-arguments just to these cases (especially if there is no meta-discussion on the matter to make the bounds explicit). Though expressions of anger can be appropriate in argument, we argue, it cannot take the place of argument. (shrink)

This thesis explores and describes the comic features of Samuel Beckett’s prose works. It explores fundamental questions about Beckett’s humour. On the one hand, it investigates the nature of humour, and, on the other, it investigates what counts as humour in Beckett. This twofold investigation requires ‘attuning’ philosophy and literary criticism, where questions and tools of each discipline mutually sharpen and refine each other. Chapter 1 evaluates philosophical accounts of humour and identifies Incongruity Theory as the theory offering the best (...) account of humour. According to this theory, a necessary and not sufficient condition for comic amusement is the perception of an incongruity. Chapter 2 starts exploring what counts as humour in Beckett by examining where comic incongruities are located. By doing so, this chapter puts the Incongruity Theory to the test, and, evaluates the analytical tools ordinarily used in describing humour. This exploration uses Ruby Cohn’s seminal description of Beckett’s humour as a springboard. This chapter individuates a comic layer which Cohn’s description has overlooked – the ‘comic of language acts’. Chapter 3 analyses Beckett’s texts in order to describe the comic devices that depend on the performance of language acts. In order to do so, the discussion makes use of Austin’s Theory of Speech Acts. As a result, this chapter develops a set of tools able to capture ‘the comic of language acts’, a comic layer which crucially shapes Beckett’s writing. Chapter 4 demonstrates how to make use of the set of tools developed in Chapter 3 by examining three key works of Beckett – More Pricks than Kicks, Watt, and Molloy. This examination leads to the individuation of three movements at the level of illocutionary acts – ‘twists’, ‘convolutions’, and ‘oscillations’ – which are informative of Beckett’s writing and of the experience of reading these works. (shrink)