Formal theories of mental representation have receded from the importance they had in the early days of cognitive science. I argue that such theories are crucial in any mental domain, not just for their own sake, but to guide experimental inquiry, as well as to integrate the domain into the mind as a whole. To illustrate the criteria of adequacy for theories of mental representation, I compare two theoretical approaches to language: classical generative grammar (Chomsky, 1965, 1981, 1995) and the (...) parallel architecture (Jackendoff, 1997, 2002). The grounds for comparison include (a) the internal coherence of the theory across phonology, syntax, and semantics; (b) the relation of language to other mental faculties; (c) the relationship between grammar and lexicon; (d) relevance to theories of language processing; and (e) the possibility of languages with little or no syntax. (shrink)

Though the revised edition of A Theory of Justice, published in 1999, is the definitive statement of Rawls's view, so much of the extensive literature on Rawls's theory refers to the first edition. This reissue makes the first edition once again available for scholars and serious students of Rawls's work.

Formal semantics and pragmatics as they have developed since the late 1960's have been shaped by fruitful interdisciplinary collaboration among linguists, philosophers, and logicians, among others, and in turn have had noticeable effects on developments in syntax, philosophy of language, computational linguistics, and cognitive science.In this paper I describe the environment in which formal semantics was born and took root, highlighting the differences in ways of thinking about natural language semantics in linguistics and in philosophy and logic. With Montague as (...) a central but not solo player in the story, I reflect on crucial developments in the 1960's and 70's in linguistics and philosophy, and the growth of formal semantics and formal pragmatics from there. I discuss innovations, key players, and leading ideas that shaped the development of formal semantics and its relation to syntax, to pragmatics, and to the philosophy of language in its early years, and some central aspects of its early impact on those fields. (shrink)

What is it for a picture to depict a scene? The most orthodox philosophical theory of pictorial representation holds that depiction is grounded in resemblance. A picture represents a scene in virtue of being similar to that scene in certain ways. This essay presents evidence against this claim: curvilinear perspective is one common style of depiction in which successful pictorial representation depends as much on a picture's systematic differences with the scene depicted as on the similarities; it cannot be analyzed (...) in terms of similarity alone. The same problem arises for many other kinds of depiction. The essay concludes that depiction in general is not grounded in resemblance but geometrical transformation. (shrink)

Formal semantics is an approach to SEMANTICS1, the study of meaning, with roots in logic, the philosophy of language, and linguistics, and since the 1980’s a core area of linguistic theory. Characteristics of formal semantics to be treated in this article include the following: Formal semanticists treat meaning as mind-independent (though abstract), contrasting with the view of meanings as concepts “in the head” (see I-LANGUAGE AND E-LANGUAGE and MEANING EXTERNALISM AND INTERNALISM); formal semanticists distinguish semantics from knowledge of semantics (Lewis (...) 1975, Cresswell 1978), which has consequences for the notion of semantic COMPETENCE. A central part of the meaning of a sentence on this approach is its TRUTH CONDITIONS, and most although not all formal semantics is model-theoretic, relating linguistic expressions to model-theoretically constructed semantic values cast in terms of truth, REFERENCE, and possible worlds. This sets formal semantics apart from approaches which view semantics as relating a sentence just to a representation on another linguistic “level” (LOGICAL FORM) or a representation in an innate LANGUAGE OF THOUGHT. The formal semanticist could accept such representations as an aspect of semantics but would insist on asking what the model-theoretic semantic interpretation of the given representationlanguage is (Lewis 1970). Formal semantics is centrally concerned with COMPOSITIONALITY at the SYNTAX-SEMANTICS INTERFACE, how the meanings of larger constituents are built up from the meanings of their parts on the basis of their syntactic structure, and with the relation between compositional SENTENCE MEANING and meaning in discourse. (shrink)

This paper presents an analysis of face emoji (disc-shaped pictograms with stylized facial expressions) that accompany written text. We propose that there is a use of face emoji in which they comment on a target proposition expressed by the accompanying text, as opposed to making an independent contribution to discourse. Focusing on positively valenced and negatively valenced emoji (which we gloss as _happy_ and _unhappy_, respectively), we argue that the emoji comment on how the target proposition bears on a contextually (...) provided discourse value endorsed by the author. Discourse values embody what an author desires, aspires to, wishes for, or hopes for. Our analysis derives a range of non-trivial generalizations, including (i) ordering restrictions with regards to the placement of emoji and text, (ii) cases of apparent mixed emotions, and (iii) cases where the lexical content of the accompanying text influences the acceptability of a face emoji. (shrink)

The specific goal of the article is to investigate the principles governing the perception of rhythmic structure in dance and music—taken separately and together—on the basis of a case study. I take as a starting point Lerdahl and Jackendoff’s (A generative theory of tonal music. MIT Press, 1983) conception of musical rhythm as the interaction between grouping and meter, and I examine to what extent it can apply to dance. Then, I explore how the rhythmical structures of music and dance (...) interact in a single event. I conclude that dance and music perception largely share the same abstract system, and the differences in the properties of their structure derives from the different (visual vs. auditory) modalities in which they are perceived; their modality difference also affects the perceived structure resulting from their combination in dance-music events. The exploration is guided by a detailed examination of the opening of Stravinsky’s _Augurs of Spring_ (1913) as choreographed by Nijinsky (1913), Béjart (1970) and Bausch (1975). By comparing these minimal pairs of dance-music events, I adapt the formal methodology of linguistics to other cognitive systems. The general goal of the article is to shed further light on the organizational principles of mental representations by comparing several cognitive systems in order to distinguish between general cognitive properties and modality-specific or domain-specific properties. (shrink)