Although philosophers of art and aesthetics regularly appeal to a notion of ‘pictorial content’, there is little agreement over its nature. The present paper argues that pictures have propositional contents. This conclusion is reached by considering a style of argument having to do with the phenomenon of negation intended to show that pictures must have some kind of non-propositional content. I first offer reasons for thinking that arguments of that type fail. Second, I show that when properly understood, such arguments (...) can in fact be turned on their heads and shown to support the propositionalist position. (shrink)

1. Lying -- 2. The problem of what is said -- 3. What is said -- 4. Is lying worse than merely misleading? -- 5. Some interesting cases.

continue to have armies, as I suspect we will for some time to come, then they, too, must be fully integrated, as well as our national guard, our state troopers, our local sheriffs' offices, our district attorneys' offices, our state prosecuting attorneys'  ...

It is advisable to treat some sorts of discourse about fiction with the aid of an intensional operator "in such-And-Such fiction...." the operator may appear either explicitly or tacitly. It may be analyzed in terms of similarity of worlds, As follows: "in the fiction f, A" means that a is true in those of the worlds where f is told as known fact rather than fiction that differ least from our world, Or from the belief worlds of the community in (...) which the fiction originated. (shrink)

Pre-philosophically, an artwork can lie in virtue of some authorial intention that the audience comes to accept as true something that the author believes to be false. This thought forces a confrontation with the debate about the relation between the interpretation of a work and the intentions of its author. Anti-intentionalist theories of artwork meaning, which divorce work meaning from the actual author’s intentions, cannot license the judgment that an artwork lies. But if artwork lying is a genuine possibility, then (...) anti-intentionalism must be rejected as false. (shrink)

This book examines the complex and varied ways in which fictions relate to the real world, and offers a precise account of how imaginative works of literature can use fictional content to explore matters of universal human interest. While rejecting the traditional view that literature is important for the truths that it imparts, the authors also reject attempts to cut literature off altogether from real human concerns. Their detailed account of fictionality, mimesis, and cognitive value, founded on the methods of (...) analytical philosophy, restores to literature its distinctive status among cultural practices. The authors also explore metaphysical and skeptical views, prevalent in modern thought, according to which the world itself is a kind of fiction, and truth no more than a social construct. They identify different conceptions of fiction in science, logic, epistemology, and make-believe, and thereby challenge the idea that discourse per se is fictional and that different modes of discourse are at root indistinguishable. They offer rigorous analyses of the roles of narrative, imagination, metaphor, and "making" in human thought processes. Both in their methods and in their conclusions, Lamarque and Olsen aim to restore rigor and clarity to debates about the values of literature, and to provide new, philosophically sound foundations for a genuine change of direction in literary theorizing. (shrink)

In order to lie, you have to say something that you believe to be false. But lying is not simply saying what you believe to be false. Philosophers have made several suggestions for what the additional condition might be. For example, it has been suggested that the liar has to intend to deceive (Augustine 395, Bok 1978, Mahon 2006), that she has to believe that she will deceive (Chisholm and Feehan 1977), or that she has to warrant the truth of (...) what she says (Carson 2006). In this paper, I argue that none of the existing definitions of lying identify a necessary condition on lying. I claim that lying is saying what you believe to be false when you believe that the following norm of conversation is in effect: "Do not say what you believe to be false" (Grice 1989, 27). And I argue that this definition handles all of the counter-examples to the existing definitions. (shrink)

In this article, I shall argue that being a lie disqualifies something from being a literary work. If something is a lie then it is not a literary work of any kind, and if something is a literary work of any kind then it is not a lie. Being a literary work, and being a lie, are mutually exclusive categories.

Beyond Aesthetics brings together philosophical essays addressing art and related issues by one of the foremost philosophers of art at work today. Countering conventional aesthetic theories - those maintaining that authorial intention, art history, morality and emotional responses are irrelevant to the experience of art - Noël Carroll argues for a more pluralistic and commonsensical view in which all of these factors can play a legitimate role in our encounter with art works. Throughout, the book combines philosophical theorizing with illustrative (...) examples including works of high culture and the avant-garde, as well as works of popular culture, jokes, horror novels, and suspense films. (shrink)

Few moral questions have greater bearing on the conduct of our everyday lives than questions about the morality of lying. These questions are also important for ethical theory. An important test of any theory of right and wrong is whether it gives an adequate account of the morality of lying. Conceptual questions about the nature of lying are prior to questions about the moral status of lying. Any theory about the moral status of lying presupposes an account of what lying (...) is. (shrink)

Pictures are notably absent from the current debate about how to define lying. Theorists in this debate tend to focus on linguistic means of communication and do not consider the possibility of lying with photographs, drawings and other kinds of pictures. The aim of this paper is to show that such a narrow focus is misguided: there is a strong case to be made for the possibility of lying with pictures and this possibility allows for insights concerning the question of (...) how lying should be defined. (shrink)

This fascinating new book explores the world of portraiture from a number of vantage points, and asks key questions about its nature. How has portraiture changed over the centuries? How have portraits represented their subjects, and how have they been interpreted? Issues of identity, modernity, and gender are considered within a cultural and historical context.Shearer West uncovers much intriguing detail about a genre that has often been seen as purely representational, featuring examples from African tribes to Renaissance princes, and from (...) 'stars' such as David and Victoria Beckham to ordinary people. In the process, she shows us how to communicate with the past in an exciting new way. (shrink)

Many recent definitions of lying are based on the notion of what is said. This paper argues that says-based definitions of lying cannot account for lies involving non-literal speech, such as metaphor, hyperbole, loose use or irony. It proposes that lies should instead be defined in terms of assertion, where what is asserted need not coincide with what is said. And it points to possible implications this outcome might have for the ethics of lying.

Titian's Rape of Europa is highly praised for its luminous colors and sensual textures. But the painting has an overlooked dark side, namely that it eroticizes rape. I argue that this is an ethical defect that diminishes the painting aesthetically. This argument-that an artwork can be worse off qua work of art precisely because it is somehow ethically problematic-demonstrates that feminist concerns about art can play a legitimate role in art criticism and aesthetic appreciation.

As a recent distinguished editor of British Journal of Aesthetics and a major contributor in his own right to recent debates on aesthetics and the philosophy of art – not least in the particular field with which this particular volume is concerned – Peter Lamarque is particularly well placed to author this survey of past and contemporary work on the philosophy of literature. Moreover, as those already familiar with Professor Lamarque's work will no doubt expect, this volume offers remarkably clear (...) and extensive coverage of a wide and complex philosophical field in its relatively short space of under 300 pages. Following a short preface, the work is divided into seven chapters. The first, entitled ‘Art’, generally explores the relationship between philosophy, literary theory, art. (shrink)