RÉSUMÉCet article concerne le rejet controversé de la notion de signification métaphorique par Donald Davidson. Il a deux objectifs: d'abord, de montrer que l'argument de Davidson contre la signification mètaphorique est vicié par une ambiguîté qui, une fois révélée, lui ôte toute portée; et deuxièmement, d'expliquer d'où vient cette ambiguîté. L'explication proposée rapporte l'erreur de Davidson au sujet de la signification métaphorique à sa négligence de la notion de signification du locuteur et, plus généralement, à une orientation théorique envers le (...) langage, qui ne s'intéresse, principalement, qu'aux aspects de la communication qui peuvent recevoir un traitement sémantique formel. (shrink)

In 1978 Donald Davidson published an article entitled “What Metaphors Mean” (WMM), in which he championed the idea that “metaphors mean what the words, in their most literal interpretation, mean, and nothing more.” In 1986 Davidson published a somewhat related article entitled “ A Nice Derangement of Epitaphs” (NDE), in which he defended a unique and controversial theory of literal meaning according to which the literal meaning of an expression is determined by the speaker’s first intention in uttering it. Both (...) of these articles (WMM and NDE) have attracted a considerable amount of attention in the literature. However, the connection between these two articles has received much less attention, and those interested in Davidson’s philosophy of language have had to conjecture about whether the ideas expressed in WMM are consistent with those of NDE. The principal goal of this article is to clarify the connection between the main ideas expressed in those two articles. (shrink)

Philosophical analysis of metaphor in the non-linguistic arts has been biased towards what I call the ‘aesthetic metaphor’: metaphors in non-linguistic art are normally understood as being completely formed by the work'sinternalcontent, that is, by its perceptual and aesthetic properties such as its images. I aim to unearth and analyse a neglected type of metaphor also used by the non-linguistic arts: the ‘artistic metaphor’, as I call it. An artistic metaphor is composed by an artwork's internal content, but also by (...) itsexternalcontent, which is provided by the work's artistic properties such as its history. The artistic metaphor has been gestured at but not afforded a considered analysis; I aim to do this. Identifying the artistic metaphor has at least two benefits. It shows how curation plays a role in generating metaphors in artworks, which has been overlooked, and it illuminates a potentially powerful tool to interpret and understand ‘conceptual’ art. (shrink)