■ ■ 1 the historical context I am not of their age or time and so have not personally heard their voices or seen their faces, but I know this by what is ...

This study reviews some of the principal themes in contemporary work on religious language. Unlike other recent surveys, the most pressing issues about religious language are addressed from the perspective of the philosophy of language; different positions taken on these issues by philosophers of religion and theologians are considered. Topics that are covered include: the subject matter of religious discourse, reductionism and subjectivism, expressivism, the nature of religious metaphor, religious fictionalism and truth in religious discourse. The study also looks at (...) the relationship between questions about religious language and cognate areas of philosophy of religion such as epistemology and metaphysics, and potential future directions of research. (shrink)

Apophaticism -- the view that God is both indescribable and inconceivable -- is one of the great medieval traditions of philosophical thought about God, but it is largely overlooked by analytic philosophers of religion. This paper attempts to rehabilitate apophaticism as a serious philosophical option. We provide a clear formulation of the position, examine what could appropriately be said and thought about God if apophaticism is true, and consider ways to address the charge that apophaticism is self-defeating. In so doing (...) we draw on recent work in the philosophy of language, touching on issues such as the nature of negation, category mistakes, fictionalism, and reductionism. (shrink)

On a familiar and prima facie plausible view of metaphor, speakers who speak metaphorically say one thing in order to mean another. A variety of theorists have recently challenged this view; they offer criteria for distinguishing what is said from what is merely meant, and argue that these support classifying metaphor within 'what is said'. I consider four such criteria, and argue that when properly understood, they support the traditional classification instead. I conclude by sketching how we might extract a (...) workable notion of 'what is said' from ordinary intuitions about saying. (shrink)

: Nagarjuna seems willing to embrace contradictions while at the same time making use of classic reductio arguments. He asserts that he rejects all philosophical views including his own-that he asserts nothing-and appears to mean it. It is argued here that he, like many philosophers in the West and, indeed, like many of his Buddhist colleagues, discovers and explores true contradictions arising at the limits of thought. For those who share a dialetheist's comfort with the possibility of true contradictions commanding (...) rational assent, for Nagarjuna to endorse such contradictions would not undermine but instead confirm the impression that he is indeed a highly rational thinker. It is argued that the contradictions he discovers are structurally analogous to many discovered by Western philosophers and mathematicians. (shrink)

Tian 天 is central to the metaphysics, cosmology, and ethics of the 800-year-long Chinese philosophical tradition we call “Neo-Confucianism,” but there is considerable confusion over what tian means—confusion which is exacerbated by its standard translation into English as “Heaven.” This essay analyzes the meaning of tian in the works of the most influential Neo-Confucian, Zhu Xi 朱熹, presents a coherent interpretation that unifies the disparate aspects of the term’s meaning, and argues that “cosmos” does an excellent job of capturing this (...) meaning and therefore should be adopted as our translation of tian. (shrink)

Religious fictionalism is the theory that it is morally and intellectually legitimate to affirm religious sentences and to engage in public and private religious practices, without believing the content of religious claims. This article discusses the main features of fictionalism, contrasts hermeneutic, and revolutionary kinds of fictionalism and explores possible historical and recent examples of religious fictionalism. Such examples are found in recent theories of faith, pragmatic approaches to religion, and mystical traditions in religious theology.

The aesthetic sense we inherited from our successful ancestors drew them toward conditions that made for survival and reproductive success and repelled them away from conditions that impacted negatively on longevity and fertility. But for them, as for us, those desirable outcomes were incidental and uncalculated. Their search was for the beautiful and sublime. Aesthetic behaviours are apparent in our forerunner species about 400,000 years ago. They sometimes made symmetrical hand axes that were then not used. We can take an (...) aesthetic interest in more or less anything, but the aesthetic responses that are rooted in our biology include those to landscapes and environments, to non-human animals, and to the appearance and behaviour of our fellow humans. (shrink)

This paper explores the possibility that Zhuangzi can be fruitfully interpreted as a fictionalist. It proceeds in four parts. Part one discusses two distinct and very general types of fictionalism—force and content—that might prove useful for an interpreter of the Zhuangzi. The former type of view would have it that the expressions in question—that is, the expressions that Zhuangzi is held to advocate using and interpreting non-literally—are not best seen as used in a way that aims at, e.g., truth, whereas (...) the latter type of view would have it that the expressions in question are best seen as used in a way that aims at truth, if in a non-literal fashion. Part two surveys evidence in favor of the claim that Zhuangzi can be interpreted in terms of one or the other of these two types of fictionalism and argues that he is better characterized as endorsing a version of the former. Part three explains how interpreting Zhuangzi as a fictionalist can help to resolve notable tensions in the text and briefly explores a few additional merits of this reading of the Zhuangzi: namely, that it can give us a clearer idea of what Zhuangzi’s positive project is, unify seemingly disparate scholarly interpretations of it, and reconcile objectivist and non-objectivist strands in his work. Finally, part four concludes by gesturing toward how the interpretation proposed here might bring the Zhuangzi into productive dialogue with two longstanding philosophical questions: specifically, the question of how we should respond to skeptical arguments, and the question of how aesthetic features of works of art—and in particular, literature—might be related to their cognitive or epistemic value. (shrink)