The Surprise Exam Paradox continues to perplex and torment despite the many solutions that have been offered. This paper proposes to end the intrigue once and for all by refuting one of the central pillars of the Surprise Exam Paradox, the 'No Friday Argument,' which concludes that an exam given on the last day of the testing period cannot be a surprise. This refutation consists of three arguments, all of which are borrowed from the literature: the 'Unprojectible Announcement Argument,' the (...) 'Wright & Sudbury Argument,' and the 'Epistemic Blindspot Argument.' The reason that the Surprise Exam Paradox has persisted this long is not because any of these arguments is problematic. On the contrary, each of them is correct. The reason that it has persisted so long is because each argument is only part of the solution. The correct solution requires all three of them to be combined together. Once they are, we may see exactly why the No Friday Argument fails and therefore why we have a solution to the Surprise Exam Paradox that should stick. (shrink)

This essay reviews Theatre, Communication, Critical Realism (2010) by Tobin Nellhaus. It begins by outlining the objective of the book and proceeds to evaluate its central argument. The objective is to develop a theory of theatre founded on the premises of critical realism and thereby theoretically situate theatrical performance in its socio-cultural matrix. The argument is that critical realism is effective for developing a comprehensive account of theatrical performance because it has the capacity to reveal truths about the structure of (...) social reality (that correspond to those articulated by critical realism). In the second part of the review, employing the methods of conceptual analysis, I propose that Nellhaus’s thesis of ‘ontological doubling’ (which claims that performance doubles human agency) is undermined by certain epistemological presuppositions regarding the ontology of fictional characters. (shrink)