As common experience confirms, procrastination seems not only possible, but widespread. However, procrastination should not be taken for granted. Often, the procrastinator harms herself knowingly. It thus clearly seems that such a person lacks the self-concern that usually characterises us. After having spelled out what procrastination is, and having explored its main varieties, I consider the relation between procrastination and risk-taking. After this, I discuss the implications of this phenomenon for the debates about personal identity. The upshot, I argue, is (...) that reductionist accounts, according to which identity is a matter of psychological continuity, are in a better position as might have been thought. (shrink)

Le fameux paradoxe de la fiction (Radford 1975) a suscité maintes interprétations. L’une des distinctions importantes qui affleure bien souvent au sein de cette littérature, pour se voir presque aussitôt négligée, est celle entre les deux questions suivantes : « comment les émotions peuvent-elles être suscitées par des œuvres de fiction ? » et « les émotions suscitées par de telles œuvres peuvent-elles être rationnelles ? » Dans ce qui suit, je me concentrerai exclusivement sur la seconde de ces questions (...) et chercherai à montrer que la plupart de nos réponse affectives à la fiction ne sont pas irrationnelles. Ma discussion se structure de la manière suivante. La première section esquisse la nature du lien entre émotions et valeurs et introduit une conception selon laquelle les émotions sont des attitudes évaluatives. Au cours de la deuxième section, nous nous tournerons vers le problème de la rationalité des émotions pour mettre l’accent sur deux de ses aspects – celui qui regarde le rapport entre une émotion et sa base cognitive, d’un côté, et, de l’autre, celui entre l’émotion elle-même et les jugements et comportements auxquels elle peut donner lieu. La troisième section applique ces considérations à propos de la rationalité affective aux émotions suscitées par la fiction, dont je distingue trois types principaux : les émotions esthétiques, les émotions-blob et les émotions-pour. Une quatrième et dernière section explore quelques conséquences des conclusions auxquelles m’auront amené ce qui précède. (shrink)

This paper examines causal theories of reference with respect to how plausible an account they give of non-physical natural kind terms such as ‘gene’ as well as of the truth of the associated theoretical claims. I first show that reference fixism for ‘gene’ fails. By this, I mean the claim that the reference of ‘gene’ was stable over longer historical periods, for example, since the classical period of transmission genetics. Second, I show that the theory of partial reference does not (...) do justice to some widely held realist intuitions about classical genetics. This result is at loggerheads with the explicit goals usually associated with partial theories of reference, which is to defend a realist semantics for scientific terms. Thirdly, I show that, contrary to received wisdom and perhaps contrary to physics and chemistry, neither reference fixism nor partial reference are necessary in order to hold on to scientific realism about biology. I pinpoint the reasons for this in the nature of biological kinds, which do not even remotely resemble natural kinds (i.e., Lockean real essences) as traditionally conceived. (shrink)

The essays collected in this volume are all concerned with the connection between fiction and truth. This question is of utmost importance to metaphysics, philosophy of language, philosophical logic and epistemology, raising in each of these areas and at their intersections a large number of issues related to creation, existence, reference, identity, modality, belief, assertion, imagination, pretense, etc. All these topics and many more are addressed in this collection, which brings together original essays written from various points of view by (...) philosophers of diverse trends. These essays constitute major contributions to the current debates that the connection between truth and fiction continually enlivens, and give a sense of the directions in which research on this question is heading. Contributors: Fred Adams, Frederick Kroon, Robert Howell, Brendan Murday, Terence Parsons, Graham Priest, Erich Rast, Manuel Rebuschi, Marion Renauld, R.M. Sainsbury, Grant Tavinor, Alberto Voltolini. (shrink)

Are we really sure to correctly know what do we feel in front ofan artwork and to correctly verbalize it? How do we know what weappreciate and why we appreciate it? This paper deals with the problem ofintrospective opacity in aesthetics (that is, the unreliability of self-knowledge) in the light of traditional philosophical issues, but also of recentpsychological insights, according to which there are many instances ofmisleading intuition about one’s own mental processes, affective states orpreferences. Usually, it is assumed that (...) aesthetic statements are intuitivelyclear and self-evident. However, a long tradition in psychological researchhas called the idea of introspective transparency and the infallibility of self-knowledge into question (Wilson 2002). This topic has only recently beenrecognized as an interesting problem in aesthetics (Melchionne 2011, Irvin2014). In this paper I will discuss the main shortcomings in introspective self-knowledge, mostly referring to psychological findings. As a consequence, thedevelopment of a folk psychological account of aesthetic experience could beneeded, investigating how people develop intuitive and naïve theories abouttheir aesthetic reactions, taste, and feelings, distinct from a more objectiveand empirically grounded account of how judgment and preferences areactually formed in ourselves, even on a neurobiological level. However, itwill also be argued that bypassing the individual judgment and his expressedchoices in favor of allegedly more objective levels of description would notbe an innocent step to take. (shrink)

As sports fans, we often experience what seem to be strong garden-variety emotions—everything from joy and euphoria to anger, dread and despair. In self-description, in physiology and even in phenomenology, these reactions to sporting events present themselves as genuine emotions. But we don’t act on these ‘sporting emotions’ in the ways one might expect. This is because these reactions are not genuine emotions. Or so I argue. Johan Huizinga suggested that play has a pretend ‘set aside’ ‘extra-ordinary’ character. And Kendall (...) Walton has argued that make-believe is involved in our emotional responses to fiction, as well as to sport. Here I articulate and extend the idea that sporting emotions centrally involve pretense and make-believe in ways that can meet some forceful objections. These extensions draw on a ‘double-consciousness’ I claim to find in the pretense of play. I end by saying why the proper characterization of our sporting emotions is important. (shrink)

John Cook Wilson (1849–1915) was Wykeham Professor of Logic at New College, Oxford and the founder of ‘Oxford Realism’, a philosophical movement that flourished at Oxford during the first decades of the 20th century. Although trained as a classicist and a mathematician, his most important contribution was to the theory of knowledge, where he argued that knowledge is factive and not definable in terms of belief, and he criticized ‘hybrid’ and ‘externalist’ accounts. He also argued for direct realism in perception, (...) criticizing both empiricism and idealism, and argued for a moderate nominalist view of universals as being in rebus and only ‘apprehended’ by their particulars. His influence helped swaying Oxford away from idealism and, through figures such as H. A. Prichard, Gilbert Ryle, or J. L. Austin, his ideas were also to some extent at the origin of ‘moral intuitionism’ and ‘ordinary language philosophy’ which defined much of Oxford philosophy until the second half of the twentieth-century. Nevertheless, his name and legacy were all but forgotten for generations after World War II. Still, his views on knowledge are with us today, being in part at work in the writings of philosophers as diverse as John McDowell, Charles Travis, and Timothy Williamson. (shrink)

In this paper, drawing on Husserl, as well as on certain other phenomenologists such as Merleau-Ponty and Richir, I claim that the phenomenon of the apprehension of the perspectives and emotions of literary characters deserves to be called literary empathy. In order to support this claim, I’ll firstly argue that empathy is principally an act of presentification closely related with perception, memory and imagination. Secondly, I’ll argue that literary empathy with literary characters is an imaginative reproduction of the reader’s bodily (...) sedimentations under the instruction offered by the literary text. Thirdly, I’ll argue that through literary empathy, a reader forms a peculiar intersubjective link with the literary character. The subjects in play are thus the real existential “I” and the imagined Other. Asymmetry of existence-positing and lack of interaction do not prevent the imagined characters from exerting an effective influence upon the reader and reconfiguring her actual life. (shrink)