This paper argues that we need to re-think the semantics/pragmatics distinction in the light of new evidence from embedding of irony. This raises a new version of the old problem of ‘embedded implicatures’. I argue that embedded irony isn’t fully explained by solutions proposed for other embedded implicatures. I first consider two strategies: weak pragmatics and strong pragmatics. These explain embedded irony as truth-conditional content. However, by trying to shoehorn irony into said-content, they raise problems of their own. I conclude (...) by considering how a modified Gricean model can explain that irony embeds qua implicature. This leads us to prefer a local implicature model. This has important consequences for how we draw the semantics/pragmatics distinction. (shrink)

The debate concerning the ontological status of musical works is perhaps the most animated debate in contemporary analytic philosophy of music. In my view, progress requires a piecemeal approach. So in this article I hone in on one particular musical work concept – that of the classical Western art musical work; that is, the work concept that regulates classical art-musical practice. I defend a fictionalist analysis – a strategy recently suggested by Andrew Kania as potentially fruitful – and I develop (...) a version of such an analysis in line with a broad commitment to philosophical naturalism. (shrink)

While a large body of literature on pejorative language has emerged recently, derogatory communication is a broader phenomenon that need not constitutively involve the use of words. This paper delineates the class of non-verbal pejoratives and sketches an account of the derogatory power of a subset of NVPs, namely those whose effectiveness crucially relies on iconicity. Along the way, I point out some ways in which iconic NVPs differ from wholly arbitrary NVPs and ritualized threat signals in the animal kingdom, (...) such as the wolf’s snarl, which do not threaten or demean targets by virtue of any kind of iconographic depiction. An iconic portrayal such as a racist caricature disparages its target by inviting recipients to entertain an unflattering image of the target. “Blackface” performers in the nineteenth-century, for example, promulgated an unflattering image of African-Americans by means of make-up, costumes, and vocal impersonations. (shrink)

Davidson advocates a radical and powerful form of anti-conventionalism, on which the scope of a semantic theory is restricted to the most local of contexts: a particular utterance by a particular speaker. I argue that this hyper-localism undercuts the explanatory grounds for his assumption that semantic meaning is systematic, which is central, among other things, to his holism. More importantly, it threatens to undercut the distinction between word meaning and speaker’s meaning, which he takes to be essential to semantics. I (...) argue that a moderate form of conventionalism can restore systematicity and the word/speaker distinction while accommodating Davidson’s insights about the complexities and contextual variability of language use. (shrink)