What nonsense might be, and what Wittgenstein thought that nonsense might be, are two of the central questions in the current debate between those—such as Cora Diamond, James Conant and Michael Kremer—who favour a “resolute” approach to Wittgenstein’s work, and those—such as P. M. S. Hacker and Hans-Johann Glock—who instead favour a more “traditional” approach. What answer we give to these questions will determine the nature and force of his criticisms of traditional philosophy, and so the very shape Wittgenstein’s work (...) has for us, as well as, to some extent, what the lesson of the Tractatus might be. My aim in this paper is to provide a detailed defence of the austere view of nonsense, that lies at the heart of the resolute approach, against a range of influentialcriticisms developed by Hans-Johann Glock and which focus on Wittgenstein’s contextualism. In so doing, I hope also to shed some light on the kind of view the austere view is, as well as how it might relate to certain other crucial aspects of Wittgenstein’s thought. (shrink)

If, as the title of this book suggests, the state of Tractatus commentary has at times recently resembled something close to a state of war, then it has most of all resembled a war of attrition. Against this background, Roger White's "Throwing the Baby Out with the Ladder" makes for refreshing reading. To be sure, White repeats some of the familiar misconceptions of what resolute readers do or must claim that have marred the debate over the adequacies or inadequacies of (...) such an approach to the Tractatus (TLP). But he also introduces some novel and interesting lines of criticism that merit serious attention. Foremost among the latter is White's treatment (in Section III of his paper) of three engaging examples that he sees as making trouble for resolute readers, and for their opposition to the standard idea that the lesson of the Tractatrrs could consist in its communicating, and our grasping, ineffable insights by way of its nonsense-sentences. (shrink)

The paper contains a short story which is inconsistent, essentially so, but perfectly intelligible. The existence of such a story is used to establish various views about truth in fiction and impossible worlds.

Authors have a lot of leeway with regard to what they can make true in their story. In general, if the author says that p is true in the fiction we’re reading, we believe that p is true in that fiction. And if we’re playing along with the fictional game, we imagine that, along with everything else in the story, p is true. But there are exceptions to these general principles. Many authors, most notably Kendall Walton and Tamar Szabó Gendler, (...) have discussed apparent counterexamples when p is “morally deviant”. Many other statements that are conceptually impossible also seem to be counterexamples. In this paper I do four things. I survey the range of counterexamples, or at least putative counterexamples, to the principles. Then I look to explanations of the counterexamples. I argue, following Gendler, that the explanation cannot simply be that morally deviant claims are impossible. I argue that the distinctive attitudes we have towards moral propositions cannot explain the counterexamples, since some of the examples don’t involve moral concepts. And I put forward a proposed explanation that turns on the role of ‘higher-level concepts’, concepts that if they are satisfied are satisfied in virtue of more fundamental facts about the world, in fiction, and in imagination. (shrink)

This paper argues that there is no genuine puzzle of ‘imaginative resistance’. In part 1 of the paper I argue that the imaginability of fictional propositions is relative to a range of different factors including the ‘thickness’ of certain concepts, and certain pre-theoretical and theoretical commitments. I suggest that those holding realist moral commitments may be more susceptible to resistance and inability than those holding non-realist commitments, and that it is such realist commitments that ultimately motivate the problem. However, I (...) argue that the relativity of imaginability is not a particularly puzzling feature of imagination. In part 2, I claim that it is the so-called ‘alethic’ puzzle, concerning fictional truth, which generates a real puzzle about imaginative resistance. However, I argue that the alethic puzzle itself depends on certain realist assumptions about the nature of fictional truth which are implausible and should be rejected in favour of an interpretive view of fictional truth. Once this is done, I contend, it becomes evident that the supposed problem of imaginative resistance as it has hitherto been discussed in the literature is not puzzling at all. (shrink)

Recently, philosophers have identified certain fictional propositions with which one does not imaginatively engage, even where one is transparently intended by their authors to do so. One approach to explaining this categorizes it as 'resistance', that is, as deliberate failure to imagine that the relevant propositions are true; the phenomenon has become generally known (misleadingly) as 'the puzzle of imaginative resistance'. I argue that this identification is incorrect, and I dismiss several other explanations. I then propose a better one, that (...) in central cases of imaginative failure, the basis for the failure is the contingent incomprehensibility of the relevant propositions. Why the phenomenon is especially commonplace with respect to moral propositions is illuminated along the way. (shrink)

I argue that the current methodology employed to study imaginative resistance should not be used to draw general conclusions about the influence of genre on episodes of imaginative resistance caused by complex works of art. One of the main problems is that the mini stories upon which the current methodology relies are inadequate—mostly because they are artless and ‘flat’. Mini stories cannot generate imaginative experiences structurally similar to the experiences elicited by complex and interesting works of fictional art.

This paper is about what might be called the philosophical tradition of ethics, and Wittgenstein’s opposition or hostility to that tradition. My aim will be to argue that ethics, or a large part of what we think of as ethics, is nonsense, and in doing so I shall be developing the line of argument that I take to lie behind Wittgenstein’s claim in the Tractatus Logico-Philosophicus that there can be no ethical propositions. That argument has its basis in the simple (...) thought that value is not arbitrary or accidental, and what I shall show is how thinking through what is involved in that thought leads to a radically different conception of the possibilities open to ethical thinking than that which is assumed within the prevailing conception of ethics today. (shrink)

The problem of imaginative resistance holds interest for aestheticians, literary theorists, ethicists, philosophers of mind, and epistemologists. We present a somewhat opinionated overview of the philosophical discussion to date. We begin by introducing the phenomenon of imaginative resistance. We then review existing responses to the problem, giving special attention to recent research directions. Finally, we consider the philosophical significance that imaginative resistance has—or, at least, is alleged to have—for issues in moral psychology, theories of cognitive architecture, and modal epistemology.

ABSTRACTWhat explains the difference between a proposition and a mere list of the words it contains, presented in the same order? What unites the parts of a proposition to form a whole? José Zalaba...

Iris Murdoch's moral philosophy has long influenced contemporary ethics, yet it has not, in general, received the kind of sustained critical attention that it deserves. "Existentialists and Mystics" and "Metaphysics as a Guide to Morals" provide new access to most of Murdoch's philosophical writings and make possible a deeper appreciation of her contribution to current thought. After assessing the recent critical reception of Murdoch's thought, this review places her moral philosophy in the context of contemporary trends in ethics by tracing (...) her influence on the work of Charles Taylor, highlights the distinctive features of her moral philosophy, and suggests future directions for Murdochian ethics. (shrink)