- Submit
-
Browse
- All Categories
- Metaphysics and Epistemology
- Value Theory
- Science, Logic, and Mathematics
- Science, Logic, and Mathematics
- Logic and Philosophy of Logic
- Philosophy of Biology
- Philosophy of Cognitive Science
- Philosophy of Computing and Information
- Philosophy of Mathematics
- Philosophy of Physical Science
- Philosophy of Social Science
- Philosophy of Probability
- General Philosophy of Science
- Philosophy of Science, Misc
- History of Western Philosophy
- Philosophical Traditions
- Philosophy, Misc
- Other Academic Areas
- More
Switch to: References
Citations of:
Imagination, Philosophy and the Arts
Matthew Kieran & Dominic Lopes (eds.)
New York: Routledge (2003)
Add citations
You must login to add citations.
|
|
|
This paper argues that the diversity of conflicting comprehensive doctrines in liberal pluralist societies raises a problem of estrangement between citizens and the basic structure of society that Rawls' version of political liberalism does not successfully solve. 'Political estrangement' occurs when someone refuses to accept a political outcome that favors a comprehensive doctrine she rejects, based on what she imagines, correctly or incorrectly, to be true of her fellow citizens' comprehensive doctrines and their effect on political outcomes. Rawls argues that (...) |
|
|
An observation of Hume’s has received a lot of attention over the last decade and a half: Although we can standardly imagine the most implausible scenarios, we encounter resistance when imagining propositions at odds with established moral (or perhaps more generally evaluative) convictions. The literature is ripe with ‘solutions’ to this so-called ‘Puzzle of Imaginative Resistance’. Few, however, question the plausibility of the empirical assumption at the heart of the puzzle. In this paper, we explore empirically whether the difficulty we (...) |
|
|
This paper argues that there is no genuine puzzle of ‘imaginative resistance’. In part 1 of the paper I argue that the imaginability of fictional propositions is relative to a range of different factors including the ‘thickness’ of certain concepts, and certain pre-theoretical and theoretical commitments. I suggest that those holding realist moral commitments may be more susceptible to resistance and inability than those holding non-realist commitments, and that it is such realist commitments that ultimately motivate the problem. However, I (...) |
|
|
In this paper, I survey in some depth three issues arising from the connection between imagination and fiction: (i) whether fiction can be defined as such in terms of its prescribing imagining; (ii) whether imagining in response to fiction is de se, or de re, or both; (iii) the phenomenon of ‘imaginative resistance’ and various explanations for it. Along the way I survey, more briefly, several other prominent issues in this area too. |
|
|
Philosophical accounts of narrative fiction can be loosely divided into two types. Participant accounts argue that some sort of simulation, or 1st person perspective taking plays a critical role in our engagement with narratives. Observer accounts argue to the contrary that we primarily engage narrative fictions from a 3rd person point of view, as either side participants or outside observers. Recent psychological research suggests a means to evaluate this debate. The perception of distance and slope is influenced by the energetic (...) |
|
|
The principal concern of my paper is a distinction between two ways of appreciating works of art, characterised here in terms of the phrases ‘seeing is believing’ and ‘believing is seeing’. I examine this distinction in the light of an epistemological requirement at times at least grounded in what David Davies, in his Art as Performance , refers to as the ‘common sense theory of art appreciation’ in order to assess exactly what aspect of the philosophical approach generally known as (...) |
|
|
It is standard practice in philosophical inquiry to test a general thesis (of the form 'F iff G' or 'F only if G') by attempting to construct a counterexample to it. If we can imagine or conceive of1an F that isn't a G, then we have evidence that there could be an F that isn't a G — and thus evidence against the thesis in question; if not, then the thesis is (at least temporarily) secure. Or so it is standardly (...) |
|
|
According to what Robert Stecker dubs the “ethical-aesthetic interaction” thesis, the ethical defects of a literary work can diminish its aesthetic value. Both the thesis and the only prominent argumentative strategy employed to support it the affective response argument have been hotly debated; however, Stecker has recently argued that the failure of the ARA does not undermine the thesis, since the argument “fails to indentify the main reason [the thesis] holds, when it in fact does.” I critically examine Stecker’s objection (...) |
|
|
The Narrative Practice Hypothesis (NPH) is a recently conceived, late entrant into the contest of trying to understand the basis of our mature folk psychological abilities, those involving our capacity to explain ourselves and comprehend others in terms of reasons. This paper aims to clarify its content, importance and scientific plausibility by: distinguishing its conceptual features from those of its rivals, articulating its philosophical significance, and commenting on its empirical prospects. I begin by clarifying the NPH's target explanandum and the (...) |
|
|
Cognitivism in respect to the arts refers to a constellation of positions that share in common the idea that artworks often bear, in addition to aesthetic value, a significant kind of cognitive value. In this paper I concentrate on three things: (i) the challenge of understanding exactly what one must do if one wishes to defend a cognitivist view of the arts; (ii) common anti-cognitivist arguments; and (iii) promising recent attempts to defend cognitivism. |
|
|
One version of the Humean Theory of Motivation holds that all actions can be causally explained by reference to a belief–desire pair. Some have argued that pretense presents counter-examples to this principle, as pretense is instead causally explained by a belief-like imagining and a desire-like imagining. We argue against this claim by denying imagination the power of motivation. Still, we allow imagination a role in guiding action as a script . We generalize the script concept to show how things besides (...) |
|
|
|
|
|
|
PhilPapers logo by Andrea Andrews and Meghan Driscoll.
This site uses cookies and Google Analytics (see our terms & conditions for details regarding the privacy implications). Use of this site is subject to terms & conditions.
All rights reserved by The PhilPapers Foundation
Server: philpapers-web-7c76586df8-5tf24 uwo