A Virtue Epistemology presents a new approach to some of the oldest and most gripping problems of philosophy, those of knowledge and scepticism. Ernest Sosa argues for two levels of knowledge, the animal and the reflective, each viewed as a distinctive human accomplishment. By adopting a kind of virtue epistemology in line with the tradition found in Aristotle, Aquinas, Reid, and especially Descartes, he presents an account of knowledge which can be used to shed light on different varieties of scepticism, (...) the nature and status of intuitions, and epistemic normativity. (shrink)

How do we know what's (metaphysically) possible and impossible? Arguments from Kripke and Putnam suggest that possibility is not merely a matter of (coherent) conceivability/imaginability. For example, we can coherently imagine that Hesperus and Phosphorus are distinct objects even though they are not possibly distinct. Despite this apparent problem, we suggest, nevertheless, that imagination plays an important role in an adequate modal epistemology. When we discover what is possible or what is impossible, we generally exploit important connections between what is (...) possible and what we can coherently imagine. We can often come to knowledge of metaphysical modality a priori. (shrink)

The primary aim of this book is to understand how seemings relate to justification and whether some version of dogmatism or phenomenal conservatism can be sustained. It also addresses a number of other issues, including the nature of seemings, cognitive penetration, Bayesianism, and the epistemology of morality and disagreement.

Elijah Chudnoff elaborates and defends a view of intuition according to which intuition purports to, and reveals, how matters stand in abstract reality by making us aware of that reality through the intellect. He explores the experience of having an intuition; justification for beliefs that derives from intuition; and contact with abstract reality.

That photography is a supremely realistic medium may be the commonsense view, but—as Edward Steichen reminds us—it is by no means universal. Dissenters note how unlike reality a photograph is and how unlikely we are to confuse the one with the other. They point to “distortions” engendered by the photographic process and to the control which the photographer exercises over the finished product, the opportunities he enjoys for interpretation and falsification. Many emphasize the expressive nature of the medium, observing that (...) photographs are inevitably colored by the photographer’s personal interests, attitudes, and prejudices.1 Whether any of these various considerations really does collide with photography’s claim of extraordinary realism depends, of course, on how that claim is to be understood.Those who find photographs especially realistic sometimes think of photography as a further advance in a direction which many picture makers have taken during the last several centuries, as a continuation or culmination of the post-Renaissance quest for realism.2 There is some truth in this. Such earlier advances toward realism include the development of perspective and modeling techniques, the portrayal of ordinary and incidental details, attention to the effects of light, and so on. From its very beginning, photography mastered perspective . Subtleties of shading, gradations of brightness nearly impossible to achieve with the brush, became commonplace. Photographs include as a matter of course the most mundane details of the scenes they portray—stray chickens, facial warts, clutters of dirty dishes. Photographic images easily can seem to be what painters striving for realism have always been after. 2. See André Bazin, “The Ontology of the Photographic Image,” What is Cinema?, trans. Hugh Gray, vol. 1 , p. 12; all further references to this work, abbreviated “OPI,” will be included in the text. See also Rudolf Arnheim, “Melancholy Unshaped,” Toward a Psychology of Art: Collected Essays , p. 186. Kendall L. Walton is professor of Philosophy at the University of Michigan. He is currently completing a book on representation in the arts. (shrink)

That photography is a supremely realistic medium may be the commonsense view, but—as Edward Steichen reminds us—it is by no means universal. Dissenters note how unlike reality a photograph is and how unlikely we are to confuse the one with the other. They point to “distortions” engendered by the photographic process and to the control which the photographer exercises over the finished product, the opportunities he enjoys for interpretation and falsification. Many emphasize the expressive nature of the medium, observing that (...) photographs are inevitably colored by the photographer’s personal interests, attitudes, and prejudices.1 Whether any of these various considerations really does collide with photography’s claim of extraordinary realism depends, of course, on how that claim is to be understood.Those who find photographs especially realistic sometimes think of photography as a further advance in a direction which many picture makers have taken during the last several centuries, as a continuation or culmination of the post-Renaissance quest for realism.2 There is some truth in this. Such earlier advances toward realism include the development of perspective and modeling techniques, the portrayal of ordinary and incidental details, attention to the effects of light, and so on. From its very beginning, photography mastered perspective. Subtleties of shading, gradations of brightness nearly impossible to achieve with the brush, became commonplace. Photographs include as a matter of course the most mundane details of the scenes they portray—stray chickens, facial warts, clutters of dirty dishes. Photographic images easily can seem to be what painters striving for realism have always been after. 2. See André Bazin, “The Ontology of the Photographic Image,” What is Cinema?, trans. Hugh Gray, vol. 1, p. 12; all further references to this work, abbreviated “OPI,” will be included in the text. See also Rudolf Arnheim, “Melancholy Unshaped,” Toward a Psychology of Art: Collected Essays, p. 186. Kendall L. Walton is professor of Philosophy at the University of Michigan. He is currently completing a book on representation in the arts. (shrink)

This article surveys recent developments in the epistemology of modality.

In this paper, I survey in some depth three issues arising from the connection between imagination and fiction: (i) whether fiction can be defined as such in terms of its prescribing imagining; (ii) whether imagining in response to fiction is de se, or de re, or both; (iii) the phenomenon of ‘imaginative resistance’ and various explanations for it. Along the way I survey, more briefly, several other prominent issues in this area too.

Consider the skeptic about the external world. Let’s straightaway concede to such a skeptic that perception gives us no conclusive or certain knowledge about our surroundings. Our perceptual justification for beliefs about our surroundings is always defeasible—there are always possible improvements in our epistemic state which would no longer support those beliefs. Let’s also concede to the skeptic that it’s metaphysically possible for us to have all the experiences we’re now having while all those experiences are false. Some philosophers dispute (...) this, but I do not. The skeptic I want to consider goes beyond these familiar points to the much more radical conclusion that our perceptual experiences can’t give us any knowledge or even justification for believing that our surroundings are one way rather than another. (shrink)

One of the key supposed 'platitudes' of contemporary epistemology is the claim that knowledge excludes luck. One can see the attraction of such a claim, in that knowledge is something that one can take credit for - it is an achievement of sorts - and yet luck undermines genuine achievement. The problem, however, is that luck seems to be an all-pervasive feature of our epistemic enterprises, which tempts us to think that either scepticism is true and that we don't know (...) very much, or else that luck is compatible with knowledge after all. In this book, Duncan Pritchard argues that we do not need to choose between these two austere alternatives, since a closer examination of what is involved in the notion of epistemic luck reveals varieties of luck that are compatible with knowledge possession and varieties that aren't. Moreover, Pritchard shows that a more nuanced understanding of the relationship between luck and knowledge can cast light on many of the most central topics in contemporary epistemology. These topics include: the externalism/internalism distinction; virtue epistemology; the problem of scepticism; metaepistemological scepticism; modal epistemology; and the problem of moral luck. All epistemologists will need to come to terms with Pritchard's original and incisive contribution. (shrink)

The guiding thread of this book is the distinction Colin McGinn draws between perception and imagination.

Michael Martin; V*—The Rational Role of Experience, Proceedings of the Aristotelian Society, Volume 93, Issue 1, 1 June 1993, Pages 71–88, https://doi.org/10.10.

Against the traditional view, Alvin Goldman argues that logic, probability theory, and linguistic analysis cannot by themselves delineate principles of rationality or justified belief. The mind's operations must be taken into account.

The capacity to represent things to ourselves as possible plays a crucial role both in everyday thinking and in philosophical reasoning; this volume offers much-needed philosophical illumination of conceivability, possibility, and the relations between them.

My primary aim in this article is to provide a philosophical account of the unity of hallucinations, which can capture both perceptual hallucinations (which are subjectively indistinguishable from perceptions) and non-perceptual hallucinations (all others). Besides, I also mean to clarify further the division of labour and the nature of the collaboration between philosophy and the cognitive sciences. Assuming that the epistemic conception of hallucinations put forward by M. G. F. Martin and others is largely on the right track, I will (...) focus on two main tasks: (a) to provide a satisfactory phenomenology of the subjective character of perceptions and perceptual hallucinations and (b) to redress the philosophers’ neglect of non-perceptual hallucinations. More specifically, I intend to apply one of the central tenets of the epistemic conception—that hallucinations can and should be positively characterised in terms of their phenomenological connections to perceptions—to non-perceptual hallucinations as well. That is, I will try to show that we can positively specify the class of non-perceptual hallucinations by reference to the distinctive ways in which we first-personally experience them and perceptions in consciousness. The task of saying more about their underlying third-personal nature may then be left to the cognitive sciences. (shrink)

In this essay, then, I would like to address what I believe are the most compelling epistemic arguments against the notion that literature (and art more broadly) can function as an instrument of education and a source of knowledge.

Chapter INTRODUCTION i. The Problem Why suppose that sense perception is, by and large, an accurate source of information about the physical environment? ...

This volume brings together Nussbaum's published papers on the relationship between literature and philosophy, especially moral philosophy. The papers, many of them previously inaccessible to non-specialist readers, deal with such fundamental issues as the relationship between style and content in the exploration of ethical issues; the nature of ethical attention and ethical knowledge and their relationship to written forms and styles; and the role of the emotions in deliberation and self-knowledge. Nussbaum investigates and defends a conception of ethical understanding which (...) involves emotional as well as intellectual activity, and which gives a certain type of priority to the perception of particular people and situations rather than to abstract rules. She argues that this ethical conception cannot be completely and appropriately stated without turning to forms of writing usually considered literary rather than philosophical. It is consequently necessary to broaden our conception of moral philosophy in order to include these forms. Featuring two new essays and revised versions of several previously published essays, this collection attempts to articulate the relationship, within such a broader ethical inquiry, between literary and more abstractly theoretical elements. (shrink)

Can literary fictions convey significant philosophical views, understood in terms of propositional knowledge? This study addresses the philosophical value of literature by examining how literary works impart philosophy truth and knowledge and to what extent the works should be approached as communications of their authors. Beginning with theories of fiction, it examines the case against the prevailing ‘pretence’ and ‘make-believe’ theories of fiction hostile to propositional theories of literary truth. Tackling further arguments against the cognitive function and value of literature, (...) this study illustrates how literary works can contribute to knowledge by making assertions and suggestions and by providing hypotheses for the reader to assess. Through clear analysis of the concept of the author, the role of the authorial intention and the different approaches to the ‘meaning’ of a literary work, this study provides an historical survey to the cognitivist—anti-cognitivist dispute, introducing contemporary trends in the discussion before presenting a novel approach to recognizing the cognitive function of literature. An important contribution to philosophical studies of literature and knowledge. (shrink)

This important book provides a theory about the nature of fiction, and about the relation between the author, the reader and the fictional text. The approach is philosophical: that is to say, the author offers an account of key concepts such as fictional truth, fictional characters, and fiction itself. The book argues that the concept of fiction can be explained partly in terms of communicative intentions, partly in terms of a condition which excludes relations of counterfactual dependence between the world (...) and the text. This communicative model is then applied to the following problems: how can something be 'true in the story' without being explicitly stated in the text? In what ways does interpreting a fictional story depend upon grasping its author's intentions? Is there always a unique best interpretation of a fictional text? What is the correct semantics for fictional names? What is the nature of our emotional response to a fictional work? In answering these questions the author explores the complex interaction between author, reader, and text. This interaction requires the reader to construct a 'fictional author' - a character in the story whose personality, beliefs and emotional states must be interpreted if the reader is to grasp the meaning of the work. (shrink)

David and Mary Norton present the definitive scholarly edition of Hume's Treatise, one of the greatest philosophical works ever written. The first volume contains the critical text of David Hume's Treatise of Human Nature (1739/40), followed by the short Abstract (1740) in which Hume set out the key arguments of the larger work; the volume concludes with A Letter from a Gentleman to his Friend in Edinburgh (1745), Hume's later defense of the Treatise.

Tye's book develops a persuasive and, in many respects, original argument for the view that the qualitative side of our mental life is representational in..

Ernest Sosa argues for two levels of knowledge, the animal and the reflective, each viewed as a distinctive human accomplishment.

In this provocative book, Fred Dretske argues that to achieve an understanding of the mind it is not enough to understand the biological machinery by means of...

The principal aim of my thesis is to provide a unified theory of imagining, that is, a theory which aspires to capture the common nature of all central forms of imagining and to distinguish them from all paradigm instances of non-imaginative phenomena. The theory which I intend to put forward is a version of what I call the Agency Account of imagining and, accordingly, treats imaginings as mental actions of a certain kind. More precisely, it maintains that imaginings are mental (...) actions that aim at the formation of episodic representations, the content of which is directly determined by what we want them to represent. My defence of this version of the Agency Account happens in two stages. On the one hand, I try to show that it is both extensionally adequate and explanatorily illuminating with respect to those mental states or projects which are clear instances of either imaginative or non- imaginative phenomena. And on the other hand, I seek to demonstrate that the most plausible alternative to the Agency Account - namely the Cognitive Account according to which it is distinctive of imaginings that they are non-cognitive phenomena and thus to be contrasted with perceptions, judgements, and so on - is bound to fail as a unified theory of imagining. The dissertation contains five main parts. In the first, I specify in more detail what a unified account of imagining has to achieve and, in particular, which phenomena it is supposed to capture. The second part presents the Cognitive Account, thereby focussing on Brian O'Shaughnessy's sophisticated version of it while the third part is reserved for the evaluation and rejection of the Cognitive Account. In the fourth part, I develop my version of the Agency Account of imagining. And the fifth and last part is concerned with the accommodation of potential counterexamples to it. (shrink)

In my remarks, I discuss Sosa's attempt to deal with the sceptical threat posed by dreaming. Sosa explores two replies to the problem of dreaming scepticism. First, he argues that, on the imagination model of dreaming, dreaming does not threaten the safety of our beliefs. Second, he argues that knowledge does not require safety, but a weaker condition which is not threatened by dreaming skepticism. I raise questions about both elements of his reply.