<P>While there are many books on the romantics, and many books on Heidegger, there has been no book exploring the connection between the two. Pol Vandevelde’s new study forges this important link. </P> <P>Vandevelde begins by analyzing two models that have addressed the interaction between literature and philosophy: early German romanticism (especially Schlegel and Novalis), and Heidegger’s work with poetry in the 1930s. Both models offer an alternative to the paradigm of mimesis, as exemplified by Aristotle’s and Plato’s discussion of (...) poetry, and both German romanticism and Heidegger owe a deep debt to Plato. The study goes on to defend the view that Heidegger was influenced by romanticism. The author’s project is thus both historical, showing the specificity of the romantic and Heideggerean works, and systematic, defending aspects of their alternative mode of thinking while also pointing to their weaknesses. </P>. (shrink)

Experiences of art involve exercise of ordinary cognitive and perceptual capacities but in unique ways. These two features of experiences of art imply the mutual importance of aesthetics and cognitive science. Cognitive science provides empirical and theoretical analysis of the relevant cognitive capacities. Aesthetics thus does well to incorporate cognitive scientific research. Aesthetics also offers philosophical analysis of the uniqueness of the experience of art. Thus, cognitive science does well to incorporate the explanations of aesthetics. This paper explores this general (...) framework of expansionism : a research strategy that suggests that the explanatory goals and resources of both aesthetics and cognitive science should expand to include those of the other. Two relations are considered. First, what is the relation between aesthetics and more traditional cognitive science? Second, what is the relation between aesthetics and new developments in cognitive science that de-emphasize mental representation and emphasize body and action? (shrink)

In this paper I argue, from the consideration of what I hope is the complete variety of a hearer’s approaches to a speaker’s utterance, that the speaker’s intention does not settle the meaning of her utterance and the hearer does not take a genuine interest in the speaker’s actual intention. The reason why the speaker’s intention does not settle utterance meaning is simply that no utterance meaning determination, as presupposed by intentionalists and anti-intentionalists alike, takes place. Moreover, in the regular (...) course of interpretation the hearer does not care about the speaker’s actual intention, but only about what the speaker presents as her intention: the hearer’s goal is to come up with an interpretation which the speaker will accept rather than an interpretation which corresponds to the speaker’s intention. In cases of accountability, suspicion and lying, the speaker’s actual intention is irrelevant; it is at most the speaker’s hypothetical intention which is at stake. (shrink)

This paper explores early Australasian philosophy in some detail. Two approaches have dominated Western philosophy in Australia: idealism and materialism. Idealism was prevalent between the 1880s and the 1930s, but dissipated thereafter. Idealism in Australia often reflected Kantian themes, but it also reflected the revival of interest in Hegel through the work of ‘absolute idealists’ such as T. H. Green, F. H. Bradley, and Henry Jones. A number of the early New Zealand philosophers were also educated in the idealist tradition (...) and were influential in their communities, but produced relatively little. In Australia, materialism gained prominence through the work of John Anderson, who arrived in Australia in 1927, and continues to be influential. John Anderson had been a student of Henry Jones, who might therefore be said to have influenced both main strands of Australian philosophical thought. (shrink)

The utterance model is a popular basis for theories of interpretation in the contemporary analytic philosophy of literature. This model suggests that interpretation should be constrained by a work's identity‐relevant factors in its context of production because a work, like an utterance, acquires its identity and content in part from its relations with that context. From a descriptive point of view, I argue that the implied author account of interpretation best describes critical practice following the current positions based on the (...) utterance model. That is, people who interpret in accordance with these positions end up interpreting an implied author. (shrink)

Résumé J’examine la thèse défendue par Donald Davidson selon laquelle un être ne peut avoir des pensées que s’il a été en communication linguistique avec quelqu’un d’autre par le passé. Cette thèse, que j’appelle « l’interprétationnisme radical », dérive de la thèse A selon laquelle il est nécessaire d’avoir les concepts de croyance et de vérité objective pour avoir des croyances, et de la thèse B voulant que la communication linguistique soit requise pour l’acquisition du concept de vérité objective. En (...) réponse à A, je préconise un point de vue contextualiste, selon lequel les normes d’attribution de croyances dépendent du contexte conversationnel. Le contextualisme entraîne non pas que A est fausse, mais qu’elle doit être relative à un contexte. Je montre par ailleurs que contrairement à ce qu’affirme B, l’interaction avec autrui n’est pas nécessaire pour acquérir le concept de vérité objective. Je conclus que les arguments de Davidson soutiennent au mieux l’interprétationnisme modéré, c’est-à-dire l’idée selon laquelle un être a des pensées si et seulement si ces pensées sont interprétables par un interprète pleinement informé.I examine Donald Davidson’s thesis that a creature cannot have thoughts unless it has had a linguistic communication with another creature. This thesis, which I call “Radical Interpretationism”, derives from the claim that it is necessary to have the concepts of belief and objective truth in order to have beliefs and the claim that linguistic communication is required to acquire the concept of objective truth. In response to, I put forward a contextualist viewpoint, according to which the norms of belief attribution are context-dependent. Contextualism entails not that is false, but that it must be relativised to a context. I then show that contrary to what says, interaction with others is not necessary to acquire the concept of objective truth. I conclude that Davidson’s arguments at best support moderate interpretationism, that is, the view that a creature has thoughts if and only if these thoughts are interpretable by a fully-informed interpreter. (shrink)

In this paper I argue against the theory--popular among theorists of narrative artworks--that we must posit a fictional narrative agent in every narrative artwork in order to explain our imaginative engagement with such works. I accept that every narrative must have a narrator, but I argue that in some central literary cases the narrator is not a fictional agent, but rather the actual author of the work. My criticisms focus on the strongest argument for the ubiquity of fictional narrators, Jerrold (...) Levinson's ontological-gap argument. Finally, I outline an alternative "minimal theory" of narrators, and some consequences thereof. (shrink)

In contemporary analytic philosophy of art, the intentionalist debate is about whether the author’s intention is relevant to the interpretation of her work. Various positions have been proposed, and in this paper I defend what I call hypothetical author-hypothetical intentionalism, the position that interpretation is based on the intention attributed to the author constructed from the work. There are three aims to achieve: (1) to give a general account of hypothetical author-hypothetical intentionalism; (2) to present a moderate version of hypothetical (...) author-hypothetical intentionalism; (3) to defend the moderate version of hypothetical author-hypothetical intentionalism against actual intentionalism and actual author-hypothetical intentionalism. Against the current trend that focuses on actual authors, I hope to show that the hypothetical author account is still a sustainable contender in the intentionalist debate. (shrink)

In this paper I argue, from the consideration of what I hope is the complete variety of a hearer’s approaches to a speaker’s utterance, that the speaker’s intention does not settle the meaning of her utterance and the hearer does not take a genuine interest in the speaker’s actual intention. The reason why the speaker’s intention does not settle utterance meaning is simply that no utterance meaning determination, as presupposed by intentionalists and anti-intentionalists alike, takes place. Moreover, in the regular (...) course of interpretation the hearer does not care about the speaker’s actual intention, but only about what the speaker presents as her intention: the hearer’s goal is to come up with an interpretation which the speaker will accept rather than an interpretation which corresponds to the speaker’s intention. In cases of accountability, suspicion and lying, the speaker’s actual intention is irrelevant; it is at most the speaker’s hypothetical intention which is at stake. (shrink)

I discuss two ways one may explain how we interpret the content of a fictional. In the first, the interpreter’s task aims at deciding what is true in a fictional story by figuring out the narrative intentions behind its production. Narrative interpretation is a matter of figuring out the story-telling intentions of the (implied) author of the work. This is Currie’s intentionalist model of narrative interpretation, a conception I present and discuss on the basis of experimental results in the psychology (...) of language. In the second, narrative interpretation is explained by reference to the emotions of the reader or the viewer of the fictional narrative. It is on the basis of his emotional sensibility, of how things feel to him that the reader or the viewer is led to understand the narrated events. This is Velleman’s emotional theory of narrative understanding. Finally, I compare both conceptions. (shrink)

Museums establish specific contexts, framings, which distinguish them from viewing the world face-to-face. One striking aspect of exhibition in so-calledparticipatorymuseums is that it echoes and transforms the limits of its own frame as a public space. I argue that it is a mistake to think of the meaning of an exhibit aseitherdetermined by the individual viewer's narrativeoras determined by the conception as presented in the museum's ‘authoritative’ narrative. Instead I deploy the concept of amodel of comparisonto illuminate the philosophical significance (...) of perspective in understanding the idea of objectivity in museum narratives. (shrink)

The Aristotelian Society’s Virtual Issue is a free, online publication, made publically available on the Aristotelian Society website. Each volume is theme-based, collecting together papers from the archives of the Proceedings of the Aristotelian Society and the Proceedings of the Aristotelian Society Supplementary Volume that address the chosen theme. This year's Virtual Issue includes a selection of papers from across the Society’s fourteen decades, each accompanied by a specially commissioned present-day response. The aim of the volume is to aid reflection (...) on how to go about doing moral and political philosophy, by bringing together papers that bear on their epistemology and methodology. In some cases this involves pieces whose declared focus is on one of those areas, as is the case with Margaret MacDonald’s 1941 essay ‘The Language of Political Theory’ and Mary Midgley’s 1974 article ‘The Neutrality of the Moral Philosopher’. In other cases the editor, Ben Colburn, selected papers whose primary focus is elsewhere, but which include some interesting epistemological or methodological reflections or implications along the way. The contributions from our present-day commentators vary similarly in how far their explicit attention is methodological. Nevertheless, there is throughout a concern on how to ‘be an honest reasoner’, to borrow a phrase from the late Dudley Knowles. (shrink)