A critical survey of the main philosophical theories about events and event talk, organized in three main sections: (i) Events and Other Categories (Events vs. Objects; Events vs. Facts; Events vs. Properties; Events vs. Times); (ii) Types of Events (Activities, Accomplishments, Achievements, and States; Static and Dynamic Events; Actions and Bodily Movements; Mental and Physical Events; Negative Events); (iii) Existence, Identity, and Indeterminacy.

We think recent work in linguistics tells against the traditional claim that a string of words like (1) Every girl pushed some truck has two readings, indicated by the following formal language sentences (with restricted quantifiers): (1a) [!x:Gx]["y:Ty]Pxy (1b) ["y:Ty][!x:Gx]Pxy. In our view, (1) does not have any b-reading in which ‘some truck’ has widest scope.1 The issue turns on details concerning syntactic transformations and terms like ‘every’. This illustrates an important point for the study of natural language: ambiguity hypotheses (...) are indeed hypotheses—i.e., theoretical claims to be justified in light of various considerations, not theses whose truth can be directly observed by speakers. (shrink)

We tend to talk about (refer to, quantify over) parts in the same way in which we talk about whole objects. Yet a part is not something to be included in an inventory of the world over and above the whole to which it belongs, and a whole is not something to be included in the inventory over and above its constituent parts. This paper is an attempt to clarify a way of dealing with this tension which may be labeled (...) the Minimalist View: An element in the field of a part-whole relation is to be included in an inventory of the world if and only if it does not overlap any distinct element that is itself included in the inventory. (shrink)

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 (...) and art-historical evidence and philosophical argument suggests that not only is such a criterion unsatisfied by most of the art-historical canon, but it also rests on a false premise: concepts of 'art' are not shared between cultures, nor even in the same culture across time. My dissertation aims to rectify this error by first exploring what our commitment to art's intention-dependence actually entails, and then showing that, properly understood, intention-dependence sets a number of important constraints on theories of art with respect to explanatory desiderata such as the success- and failure-conditions of art-attempts, the cross-cultural identification of art, and the reference of 'art' and art-kind terms. I begin by situating art's intention-dependence in the philosophical literature on intentional action, arguing that, properly conceived, intention-dependence is a weak criterion which can be satisfied either directly or indirectly. It therefore does not necessarily entail concept-dependence. I then use this distinction to motivate a new treatment of the success- and failure-conditions for art-attempts, arguing that the extant model's emphasis on compliance with 'the manner intended' is far too restrictive to capture actual artistic practices. I go on to show that Ruth Millikan's model of linguistic conventions supplies an independently plausible explanation of art's concept-independent origins in terms of the development of a system of indirectly intention-dependent conventions called an 'artworld'. I argue that this account of artworld development supplies us with the tools we need to distinguish art-kinds from other artifactual kinds. Finally, I turn my attention to methodological issues, arguing that even though 'art' is a social kind with its roots in arbitrary and historically-contingent networks of conventions, the philosophy of art is not merely an exercise in bare conceptual analysis. In fact, there is now a great deal of evidence to show that the ways we think about 'art' are inconsistent, incomplete, imperialistic, and largely unprincipled. Yet I argue that this does not mean that the artworld data have no bearing on theories of art. Instead, I argue that our best reflective understanding of our artworld practices sets the constraints on the reference of 'art' and art-kind terms. I argue that we have no privileged epistemic access to the ontology of social kinds; our only privilege lies in our ability to determine the proper subject of our inquiries. (shrink)

Reverse Compositionality (RC) is the thesis that one understands a complex expression only if one understands its parts. I argue that this thesis is false for natural languages. I then argue that the phenomenon that motivates the thesis is more likely to be a fact about human sentence-processing than linguistic understanding per se. Finally, I argue that RC is not useful in the debates about prototype-style theories of concepts in which it figures heavily.

Wayne Davis’s Meaning, Expression and Thought argues that linguistic meaning is conventional use to express ideas. An obvious problem with this proposal is that complex expressions that have never been used are nonetheless meaningful. In response to this concern, Davis associates conventions of use not only with linguistic expressions but also with the modes in which such expressions can combine into larger expressions. I argue that such constructive conventions are in conflict with the principle of compositionality (as it is usually (...) understood) and that (at least in the cases Davis considers) they are unnecessary for semantic explanations. (shrink)

This paper presents a slightly modified version of the compositional semantics proposed in Events and Semantic Architecture (OUP 2005). Some readers may find this shorter version, which ignores issues about vagueness and causal constructions, easier to digest. The emphasis is on the treatments of plurality and quantification, and I assume at least some familiarity with more standard approaches.

Nominalizations are expressions that are particularly challenging philosophically in that they help form singular terms that seem to refer to abstract or derived objects often considered controversial. The three standard views about the semantics of nominalizations are [1] that they map mere meanings onto objects, [2] that they refer to implicit arguments, and [3] that they introduce new objects, in virtue of their compositional semantics. In the second case, nominalizations do not add anything new but pick up objects that would (...) be present anyway in the semantic structure of a corresponding sentence without a nominalization. In the first and third case, nominalizations in a sense ‘create’ new objects’, enriching the ontology on the basis of the meaning of expressions. I will argue that there is a fourth kind of nominalization which requires a quite different treatment. These are nominalizations that introduce ‘new’ objects, but only partially characterize them. Such nominalizations generally refer to events or tropes. I will explore an account according on which such nominalizations refer to truth makers. (shrink)

There is a long tradition of drawing metaphysical conclusions from investigations into language. This paper concerns one contemporary variation on this theme: the alleged ontological significance of cognitivist truth-theoretic accounts of semantic competence. According to such accounts, human speakers’ linguistic behavior is in part empirically explained by their cognizing a truth-theory. Such a theory consists of a finite number of axioms assigning semantic values to lexical items, a finite number of axioms assigning semantic values to complex expressions on the basis (...) of their structure and the semantic values of their constituents, and a finite number of production schemata. The theory enables the derivation of truth-conditions for each sentence of the language: something of roughly the form ‘S is true iff P’.1 The claim that speakers stand in a cognitive relation to such theories is advanced, not as a conceptual analysis of semantic competence or understanding, but rather as an empirical hypothesis about human speakers in particular, one part of a broader empirical account of our linguistic competence and cognition generally. It therefore must mesh with the rest of our theorizing in these areas and whatever relevant data from neighboring inquiries there may be. The precise nature of the cognitive relation a speaker is supposed to bear to a truththeory is a matter of some dispute. I speak of ‘‘cognizing’’ (following. (shrink)

This paper has three main concerns. First, it proposes a deflationary theory of the concept of truth, arguing thatthe concept can be explicitly defined in terms of substitutionalquantification. Second, it attempts to describe and explainthe intuitions that have traditionally been thought tofavor correspondence theories of truth over deflationarytheories. And third, it argues that these intuitions areultimately compatible with deflationism, maintaining,among other things, that the relation of semantic correspondence can itself be characterized in terms ofsubstitutional quantification.

The theory of events as property-instances has been considered one of the most widely accepted metaphysical theories of events. On the other hand, several philosophers claim that if both events and objects perdure, then objects must be identified with events. In this work, I investigate whether these two views can be held together. I shall argue that if they can, it depends on the particular theory of instantiation one is to adopt. In particular, I shall conclude that the theory of (...) events as property-instances and the view that identifies objects with events can be held together only if instances of eventive universals are temporal parts of objects – namely, those temporal parts that have the universals in question. (shrink)