Pritchard calls his epistemological disjunctivism ‘the holy grail of epistemology’. What this metaphor means is that the acceptance of this thesis puts the internalism-externalism debate to an end, thanks to satisfaction of intuitions standing behind both competing views. Simultaneously, Pritchard strongly emphasizes that the endorsement of epistemological disjunctivism does not commit one to metaphysical disjunctivism. In this paper I analyze the formulations and motivations of epistemological disjunctivism presented by Pritchard and McDowell. Then I consider the most common argument for the (...) claim that epistemological disjunctivism can be held without the support of metaphysical disjunctivism. I conclude that the plausibility of epistemological disjunctivism depends on the plausibility of metaphysical disjunctivism. If the latter is false, the former postulates a set of conditions for epistemic justification that are impossible to be fulfilled. (shrink)

Expressions belonging to the lexical fields of medicine and psychology recur repeatedly throughout Ludwig Wittgenstein’s writings since the 1930s. He uses therapeutic vocabulary mostly in the context of metaphilosophical reflections, i.e. reflections about the activity of philosophizing. But how are we to understand such expressions? Even though some interpreters admit their metaphorical nature, the methodological background of using figurative language has hitherto been neglected concerning this matter. Here, I argue that Wittgensteinian therapy is what G. Lakoff and M. Johnson have (...) termed a “structural metaphor”. Thus we do not only obtain a better understanding of Wittgenstein’s metaphilosophy, but also of the role metaphor use plays within his methodology. I shall try to show that he uses therapeutic metaphors (akin to pictorial elements) as argumentative and epistemological devices and thereby investigates the philosophically problematic expression ‘philosophy’ grammatically. (shrink)

Images, sounds and thoughts as orientation factors: Clues with Nietzsche and Wittgenstein. – The paper demonstrates how images and sounds become clues both for Nietzsche and Wittgenstein in order to understand sentences and thoughts (I). Nietzsche pursues the question of how we orient ourselves not only through thoughts but also through images and sounds from his philosophical beginnings and, by doing so, he draws horizon lines for answering this question (II). In approximately these leeways, Wittgenstein asks how thinking, instead of (...) simply thinking itself, shows itself: he explores the possibilities of methodically describing this showing itself and finds them in analogizing the understanding of a sentence on the one hand and the understanding of an image and of a piece of music on the other (III). (shrink)

Images share a common feature with all phenomena of imagination, since they make us aware of what is not present or what is fictional and not existent at all. From this perspective, the philosophical approach of Kendall Lewis Walton—born in 1939 and active since the 1960s at the University of Michigan—is perhaps one of the most notable contributions to image theory. Walton is an authoritative figure within the tradition of analytical aesthetics. His contributions have had a considerable influence on a (...) broad range of topics, such as the role of categories in the understanding of the arts (Walton, “Categories of Art”. Philosophical Review, 79(3): 334–367, 1970), the ambiguous nature of emotions in the experience of fictional stories (Walton, “Fearing Fictions”. The Journal of Philosophy, 75(1): 5–25, 1978), the transparency of photographic images compared to other depictions (Walton, “Transparent Pictures: On the Nature of Photographic Realism”. Noûs, 18(1): 67–72, 1984) and, above all, the development of a general theory of fiction as imaginative activity. His 1990 book Mimesis as Make-believe: On the Foundations of the Representational Arts collects and re-elaborates articles Walton published on the subject since the 1970s. Though he does not attempt to give a definitive answer for what imagination is, Walton thoroughly investigates its role in all cases of representational works, describing depictions as a specific case of “make-believe” activity: images, in short, are specific props of a visual and perceptual “make-believe” game. (shrink)