What is the relation between works of fiction and the acquisition of knowledge?

Might fiction films have cognitive value, and if so, how might such value interact with films’ artistic and aesthetic values? Philosophical consideration of this question tends to consist in either ceteris paribus extensions of claims relating to prose fiction and literature; meta-philosophical inquiries into the capacity of films to be or do philosophy; or generalised investigations into the cognitive value of any, and thereby all, artworks. I first establish that fiction films can be works of art, then address this lacuna (...) and identify three hitherto unrecognised values relevant to the issue of learning from fiction films. These values are (i) a film’s stance-based cinematic value, which is neither an artistic nor an aesthetic value, but which pertains to the integration of a film’s content, its form, and its themes and/or theses; (ii) a film’s dramatic value, which recognises the use of dramatic argumentation to enable us to make sense of agents’ intentional actions; and (iii) a film’s humanistic value which acknowledges a film’s power to provide illuminating insights into the human condition. In tandem with a series of sceptical arguments that question the very notion of cognitive value, I demonstrate how stance-based cinematic value, dramatic value, and humanistic value can provide fresh ways with which to understand and appreciate that we learn from films, what we learn from films, and how we learn from films. Grouping these values together under the rubric of cinematic humanism offers new resources for a paradigm shift capable of staying true to the spirit that informs both sides of the cognitivist/non-cognitivist debate whilst cutting through the Gordian knot it has become. (shrink)

Thought experiments (TEs) are important tools in science, used to both undermine and support theories, and communicate and explain complex phenomena. Their interest within philosophy of science has been dominated by a narrow question: How do TEs increase knowledge? My aim is to push beyond this to consider their broader value in scientific practice. I do this through an investigation into the scientific imagination. Part one explores questions regarding TEs as “experiments in the imagination” via a debate concerning the epistemic (...) status of computer simulations in science. I outline how, against Hacking, TEs also have “a life of their own” and I argue against accounts that privilege experiments over simulations (and by extension TEs) in light of their capacity to surprise in a productive way. Part two develops a pluralist account of the nature of the imagination in science. At its core, my view is that when we attend to a number of examples of TEs and consider the context in which they are used, we see that TEs engage a variety of our imaginative capacities. Existing monistic views fail to recognise the richness of the imagination and its potential in science. Part three looks to the “beauty” of TEs which is currently overlooked in the aesthetics of science literature. I put forward a new account that demonstrates the epistemic value of aesthetic features in science by showing how an appropriate fit between form and content enhances the usability of a TE, and its effectiveness as a prompt for our imagination. This also enables a more nuanced take on the proposed similarities between TEs and literary fictions. In the concluding chapter, I outline ways in which the core features of my account can be extended beyond TEs to illuminate the significance of the imagination and aesthetic values in other areas of science. (shrink)

Is it appropriate to honor artists who have created great works but who have also acted immorally? In this article, after arguing that honoring involves identifying a person as someone we ought to admire, we present three moral reasons against honoring immoral artists. First, we argue that honoring can serve to condone their behavior, through the mediums of emotional prioritization and exemplar identification. Second, we argue that honoring immoral artists can generate undue epistemic credibility for the artists, which can lead (...) to an indirect form of testimonial injustice for the artists’ victims. Third, we argue, building on the first two reasons, that honoring immoral artists can also serve to silence their victims. We end by considering how we might respond to these reasons. (shrink)

Literatur ist ein sehr vielschichtiges und lebendiges Phänomen, das beständig im Wandel ist. So wie sie im Laufe der Jahrhunderte und in den verschiedenen Kulturkreisen unter-schiedliche Formen angenommen und anderen Funktionen gedient hat, liegt es in ihrer Natur, immer wieder neue Ausdrucksformen zu entwickeln, die den sich ändernden Be-dürfnissen und Rahmenbedingungen gerecht werden können. Auch die theoretische Aus-einandersetzung mit der Literatur ist Veränderungen unterworfen, die manchmal wellen-förmige Bewegungen anzunehmen scheinen. Neue Fragestellungen geraten in den Mittel-punkt des Interesses, einzelne Aspekte werden (...) besonders beachtet, während andere in Vergessenheit geraten – um eventuell zu einem späteren Zeitpunkt in neuer Form wieder-aufzutauchen. In der Philosophie der Literatur gilt es seit Längerem als weithin anerkannt, dass der Text die entscheidende Größe sei, und dass die Tatsache, dass an der Produktion und Rezeption von literarischen Kunstwerken Menschen beteiligt sind, die mit diesen Werken Ziele verfolgen und Wünsche und Interessen verwirklichen wollen, ignoriert werden kön-ne. Im vorliegenden Beitrag will ich auf die gegenwärtige Diskussion in der Philosophie der Literatur eingehen und für einen Perspektivenwechsel argumentieren: Um dem Phä-nomen Literatur gerecht zu werden, sollten wir versuchen, es ganzheitlich in das Blickfeld zu bekommen. Literatur ist mehr als bloß Text. Sie ist eine soziale Praxis, die einen festen Stellenwert in unserer Gesellschaft hat und stellt ein Medium dar, in dem wir uns mit an-deren austauschen und auf sie abstimmen können. Mein Hauptaugenmerk liegt auf der Debatte um den kognitiven Gehalt der Literatur, weil hier die negativen Auswirkungen der Verkürzung der vorherrschenden Perspektive besonders augenscheinlich sind. (shrink)

This entry surveys issues at the intersection of art and morality. Particular emphasis is placed on whether, and in what way, the moral character of a work of art influences its artistic value. Other topics include the educational function of art and artistic censorship.

Ordinary Language Philosophy has largely fallen out of favour, and with it the belief in the primary importance of analyses of ordinary language for philosophical purposes. Still, in their various endeavours, philosophers not only from analytic but also from other backgrounds refer to the use and meaning of terms of interest in ordinary parlance. In doing so, they most commonly appeal to their own linguistic intuitions. Often, the appeal to individual intuitions is supplemented by reference to dictionaries. In recent times, (...) Internet search engine queries for expressions of interest have become quite popular. Apparently, philosophers attempt to surpass the limits of their own linguistic intuitions by appealing to experts or to factual uses of language. I argue that this attempt is commendable but that its execution is wanting. Instead of appealing to dictionaries or Internet queries, philosophers should employ computer-based linguistic corpora in order to confirm or falsify hypotheses about the factual use of language. This approach also has some advantages over methods employed by experimental philosophers. If the importance of ordinary language is stressed, the use of linguistic corpora is hardly avoidable. (shrink)

Distributive egalitarians believe that distributive justice is to be explained by the idea of distributive equality (DE) and that DE is of intrinsic value. The socio-relational critique argues that distributive egalitarianism does not account for the “true” value of equality, which rather lies in the idea of “equality as a substantive social value” (ESV). This paper examines the socio-relational critique and argues that it fails because – contrary to what the critique presupposes –, first, ESV is not conceptually distinct from (...) DE, and second, the idea of ESV cannot serve as a “foundation” or “root” of distributive egalitarianism. (shrink)

The (im)moral character of art works often affects how we respond to them. But should it affect our evaluation of them as art? The article surveys the contemporary debate whilst outlining further lines of argument and enquiry. The main arguments in favour of aestheticism, the claim that there is no internal relation between artistic value and moral character, are considered. Nonetheless the connection between art's instructional aspirations and artistic value, as well as the ways in which works solicit responses from (...) us, underwrite the claim that a work's moral character can be directly relevant to a work's value as art. Various competing accounts of how the relationship goes, ethicism, moderate moralism and immoralism, are considered. The article goes on to elaborate novel considerations in favour of a suitably qualified cognitive immoralism and suggests avenues of further enquiry with respect to the moral character of art works. (shrink)

This article addresses a question still frequently posed in the context of UK universities which offer courses in the visual arts: Does the PhD research model of contributing new knowledge fit art,...

During the last decades, there has been a debate on the question whether literary works are utterances, or have utterance meaning, and whether it is reasonable to approach them as such. Proponents of the utterance model in literary interpretation, whom I will refer to as “utterance theorists”, such as Noël Carroll and especially Robert Stecker, suggest that because of their nature as linguistic products of intentional human action, literary works are utterances similar to those used in everyday discourse. Conversely, those (...) whom I will refer to as “appreciation theorists”, such as Stein Haugom Olsen and Peter Lamarque, argue that literary works are by no means comparable to conversational utterances, and treating them in terms of utterances mistakenly dismisses their literary features. The aim of this article is twofold: to defend a central aspect of the utterance theory and to reconcile the two main positions about central issues in the debate on the meaning of literary works. On the one hand, I shall argue that it is both legitimate and reasonable to discuss the utterance meaning of a literary work on the basis of an interpretative approach interested in the author's “message”. My aim is to show that literary works should be considered utterances in a conversational approach which aims at examining the illocutionary actions conveyed through the work. On the other hand, I attempt both to show that there are various legitimate interpretative approaches which are governed by the interpreter's purposes, and to suggest that the debate between utterance theorists and appreciation theorists is actually about merely different emphases. (shrink)

In this article I aim to shed light on the question of whether aesthetic experience can constitute practical knowledge and, if so, how it achieves this. I will compare the approaches of Nelson Goodman and Edmund Husserl. Both authors treat the question of which benefits aesthetic experience can bring to certain basic skills. Though one could argue together with Goodman that repeated aesthetic experience allows for a trained and discriminating approach to artworks, Husserl argues that by viewing aesthetic objects we (...) can learn to perceive in a more undiluted fashion and to qualify our own perceptions against the backdrop of the conceptual framework that shapes our everyday experience. As a consequence, aesthetic experience is not to be regarded as something that only contributes to a normatively loaded involvement in the distinct field of the ‘aesthetic’. Reading Goodman with Husserl and vice versa, I will argue in support of a practical aesthetic knowledge account that mediates cognitivist-constructivist and phenomenological concerns and can thus overcome some of their respective shortcomings. The account I present is useful for understanding the practical value of aesthetic experience in and beyond the confined field of the arts. (shrink)