What is truth. Paul Horwich advocates the controversial theory of minimalism, that is that the nature of truth is entirely captured in the trivial fact that each proposition specifies its own condition for being true, and that truth is therefore an entirely mundane and unpuzzling concept. The first edition of Truth, published in 1980, established itself as the best account of minimalism and as an excellent introduction to the debate for students. For this new edition, Horwich has refined and developed (...) his treatment of the subject in the light of subsequent discussions, while preserving the distinctive format that made the earlier edition so successful. (shrink)

This expanded edition of C L Hardin's ground-breaking work on colour features a new chapter, 'Further Thoughts: 1993', in which the author revisits the dispute ...

In this concise survey, intended for advanced undergraduate students of aesthetics, Alan Goldman focuses on the question of aesthetic value, using many practical examples from painting, music, and literature to make his case. Although he treats a wide variety of views, he argues for a nonrealist view of aesthetic value, showing that the personal element can never be factored out of evaluative aesthetic judgments and explaining why this is so.

To say that an object is beautiful or ugly is seemingly to refer to a property of the object. But it is also to express a positive or negative response to it, a set of aesthetic values, and to suggest that others ought to respond in the same way. Such judg- ments are descriptive, expressive, and normative or prescriptive at once. These multiple features are captured well by Humean accounts that analyze the judgments as ascribing relational properties. To say that (...) an object is beautiful is to say, in part, that it is such as to elicit a response expressing pleasure in certain observers. The observers in question must not be ignorant, biased, insensitive, or of poor taste, and they must not base their evaluations on aesthetically irrelevant properties of the objects they judge. The reference to the object's "being such . . ." captures the objective side of the relation; refer- ence to the pleasurable response captures the expressive function of these judgments; and the ideal properties of the observers suggest that others ought to judge in the same way. (shrink)

This book is an introduction to aesthetics, from the perspective of analytic philosophy. It traces aesthetics from its ancient beginnings through the changes it underwent in the eighteenth, nineteenth, and the first half of the twentieth century. The responses in the 1960s of the cultural theories to these earlier developments are discussed in detail. Five traditional art evaluational theories, Beardsley's and Goodman's evaluational theories, and the author's own evaluational theory are presented. Four miscellaneous topics are discussed - internationalist criticism, symbolism, (...) metaphor, and expression. (shrink)

This second edition includes a new Afterword by the author.

Aesthetics has typically been regarded as an arena where claims about truth cannot be made as questions about art seem to involve more matters of taste than knowledge. In _Real Beauty_, however, Eddy Zemach maintains that beauty, ugliness, gracefulness, gaudiness, and similar aesthetic properties are real features of public things and argues that whether these features are present is a matter of fact that can be empirically investigated. By examining the opposing nonrealistic views of Subjectivism, Noncognitivism, and Relativism, Zemach attempts (...) to show how antirealistic interpretations of art generate absurd results and leave the realistic reading as the only cogent semantic interpretation of aesthetic statements. By discussing what inclines most people to hold nonrealistic views in aesthetics, such as the fluctuations of taste in fashion, Zemach argues that Realism can account for these fluctuations. He proposes that the aesthetic value of some things is due to their relations to other things and that relation may be temporal, resulting in the need for a temporal point for the correct temporal angle from which to view things. Zemach concludes that great art reveals significant truths about reality and that significantly true statements are aesthetically valuable, hence truth is an aesthetic merit. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

Based on John Dewey's lectures on esthetics, delivered as the first William James Lecturer at Harvard in 1932, Art as Experience has grown to be considered internationally as the most distinguished work ever written by an American on the formal structure and characteristic effects of all the arts: architecture, sculpture, painting, music, and literature.

It seems to be the case that when we look at a flower in the way that the scientist does, we see the flower in one way, but when we look at the flower in a way as to view it as a thing of beauty, charm, elegance, we see it in a different way; we see it as an aesthetic object. Viewing the flower in such a way as to see it, or any object, as an aesthetic object, is (...) to be in the aesthetic attitude. What this work means to do is to formulate necessary and sufficient conditions for adoption of the aesthetic attitude. ;Analytically and traditionally, the aesthetic attitude is an attitude or state-of-perceiving that is entered into by an agent which serves to make the agent receptive to the having of an aesthetic experience, and transform the object of the agent's attention from an object-in-the-world into an aesthetic object. ;The aesthetic attitude has figured prominently in aesthetics from the Enlightenment until the present. Its most important formulations are disinterestedness , Psychical Distance , Aldrich's Impressionistic Viewing, Scruton's Empiricistic Account, and the naturalistic work of John Dewey and Monroe Beardsley. I conclude that a naturalistic formulation of the aesthetic attitude is correct. (shrink)

In this extensively revised and updated edition, 168 alphabetically arranged articles provide comprehensive treatment of the main topics and writers in this area of aesthetics. Written by prominent scholars covering a wide-range of key topics in aesthetics and the philosophy of art Features revised and expanded entries from the first edition, as well as new chapters on recent developments in aesthetics and a larger number of essays on non-Western thought about art Unique to this edition are six overview essays on (...) the history of aesthetics in the West from antiquity to modern times. (shrink)

In der "Kritik der praktischen Vernunft" (1787) begründet Kant seinen wohl bekanntesten Lehrsatz, den Kategorischen Imperativ: "Handle so, daß die Maxime deines Willens jederzeit zugleich als Prinzip einer allgemeinen Gesetzgebung gelten könne". Das Bewußtsein dieses Grundgesetzes der praktischen Vernunft ist nach Kant ein "Faktum der reinen Vernunft", dem sich niemand verschließen kann, und in diesem Faktum sieht er den - nicht weiter herleitbaren und keiner weiteren Herleitung bedürftigen - Beweisgrund der Wirklichkeit unserer Freiheit, den die "Kritik der reinen Vernunft" auf (...) dem Felde der theoretischen Vernunft zwar fordern, aber nicht beibringen konnte. Neben den Schriften David Humes, der sich um eine empirische Begründung allgemeingültiger ethischer Grundsätze bemühte, gilt Kants Ansatz eines rein rational begründeten für jedermann verbindlichen Moralgesetzes bis auf den heutigen Tag als ein starkes und maßgebliches Argument für die Grundlegung einer rationalen Kriterien genügenden und daher allgemein verbindlichen Ethik. Diese Neuausgabe des Textes hält sich strikt an die Fassung der ersten Ausgabe von 1787, d.h. Lautstand, Diktion und die - typisch Kantische - Interpunktion des Originals werden auch dort bewahrt, wo sie heutigen Regeln nicht mehr entsprechen. Lediglich veraltete orthographische Schreibungen und offensichtliche Fehler in der Interpunktion wurden korrigiert, da sie die Lesbarkeit des Textes unnötig erschweren. Lesarten und Korrekturvorschläge späterer Ausgaben sowie die Eintragungen in Kants Handexemplar wurden berücksichtigt oder angemerkt, soweit sie nach dem Stand der neueren Kantforschung noch Beachtung verdienen, und im kritischen Apparat ausgewiesen. Die Einleitung gibt Auskunft über die Entstehung und die Verortung der Schrift in Kants Gesamtwerk und ihre Rezeption, Sachanmerkungen, Register und eine ausführliche Bibliographie geben weitere Hilfen zur Erschließung der Bedeutung des Werkes. (shrink)

Paul Horwich gives the definitive exposition of a prominent philosophical theory about truth, `minimalism'. His theory has attracted much attention since the first edition of Truth in 1990; he has now developed, refined, and updated his treatment of the subject, while preserving the distinctive format of the book. This revised edition appears simultaneously with a new companion volume, Meaning; the two books demystify central philosophical issues, and will be essential reading for all who work on the philosophy of language.

The International Research library of Philosophy collects in book form a wide range of important and influential essays in philosophy, drawn predominantly from English language journals. Each volume in the library deals with a field of enquiry which has received significant attention in philosophy in the last 25 years and is edited by a philosopher noted in that field.

Theories of Truth provides a clear, critical introduction to one of the most difficult areas of philosophy. It surveys all of the major philosophical theories of truth, presenting the crux of the issues involved at a level accessible to nonexperts yet in a manner sufficiently detailed and original to be of value to professional scholars. Kirkham's systematic treatment and meticulous explanations of terminology ensure that readers will come away from this book with a comprehensive general understanding of one of philosophy's (...) thorniest set of topics. -/- Included are discussions of the correspondence, coherence, pragmatic, semantic, performative, redundancy, appraisal, and truth-as-justification theories. There are also chapters or sections of chapters on the liar paradox, three-valued logic, Field's critique of Tarski, Davidson's program, Dummett's theory of linguistic competence, satisfaction, recursion, the extension/intension distinction, and an explanation of how theories of justification, properly understood, differ from theories of truth. -/- A persistent theme is that philosophers have too often failed to recognize that not all theories of truth are intended to answer the same question. When the various questions are made distinct, it is apparent that many of the "debates" in this field are really cases of philosophers talking past one another. There is much less disagreement within the field than has commonly been thought. (shrink)

Edward Wilson Averill By the phrase 'anthropocentric account of color' I mean an account of color that makes an assumption of the following form: two ...

This is a collection of papers on metaethics very broadly conceived, to include, for example, moral psychology. Incorporates a broad view of philosophy, utilizing contributions from leading philosophers Provides readers with the latest cutting-edge developments in this extensive subject.

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..

Unlike the first English translation in 1974, this edition contains the text corresponding to Brentano's original 1874 edition.

Colour has often been supposed to be a subjective property, a property to be analysed orretly in terms of the phenomenological aspects of human expereince. In contrast with subjectivism, an objectivist analysis of color takes color to be a property objects possess in themselves, independently of the character of human perceptual expereince. David Hilbert defends a form of objectivism that identifies color with a physical property of surfaces - their spectral reflectance. This analysis of color is shown to provide a (...) more adequate account of the features of human color vision than its subjectivist rivals. The author's account of colro also recognises that the human perceptual system provides a limited and idiosyncratic picture of the world. These limitations are shown to be consistent with a realist account of colour and to provide the necessary tools for giving an analysis of common sense knowledge of color phenomena. (shrink)

This book is an important collection of new essays on various topics relating to realism and its rivals in metaphysics, logic, metaethics, and epistemology. The contributors include some of the leading authors in these fields and in several cases their essays constitute definitive statements of their views. In some cases authors write in response to the essays of other contributors, in other cases they proceed independently. Although not primarily historical this collection includes discussions of philosophers from the middle ages to (...) the present day, from Aquinas to Wittgenstein. No one seriously interested in questions about realism, whether as a general philosophical outlook or as a particular position within specific debates, can afford to be without this collection. (shrink)

The philosophy of mind is one of the fastest-growing areas in philosophy, not least because of its connections with related areas of psychology, linguistics and computation. This _Companion_ is an alphabetically arranged reference guide to the subject, firmly rooted in the philosophy of mind, but with a number of entries that survey adjacent fields of interest. The book is introduced by the editor's substantial _Essay on the Philosophy of Mind_ which serves as an overview of the subject, and is closely (...) referenced to the entries in the Companion. Among the entries themselves are several "self-profiles" by leading philosophers in the field, including Chomsky, Davidson, Dennett, Dretske, Fodor, Lewis, Searle and Stalnaker, in which their own positions within the subject are articulated. In some more complex areas, more than one author has been invited to write on the same topic, giving a polarity of viewpoints within the book's overall coverage. All main entries have a full bibliography, and the book is indexed to the high standards set by other volumes in the Blackwell Companions to Philosophy series. (shrink)

This major collection of essays stands at the border of aesthetics and ethics and deals with charged issues of practical import: art and morality, the ethics of taste, and censorship. As such its potential interest is by no means confined to professional philosophers; it should also appeal to art historians and critics, literary theorists, and students of film. Prominent philosophers in both aesthetics and ethics tackle a wide array of issues. Some of the questions explored in the volume include: Can (...) art be morally enlightening and, if so, how? If a work of art is morally better does that make it better as art? Is morally deficient art to be shunned, or even censored? Do subjects of artworks have rights as to how they are represented? Do artists have duties as artists and duties as human beings, and if so, to whom? How much tension is there between the demands of art and the demands of life? (shrink)

I. Causal Thesis: Dispositions have a causal basis. II. Distinctness Thesis: Dispositions are distinct from their causal basis. III. Impotence Thesis: Dispositions are not causally active.

When we open our eyes, the world seems full of colored opaque objects, light sources, and transparent volumes. One historically popular view, _eliminativism_, is that the world is not in this respect as it appears to be: nothing has any color. Color _realism_, the denial of eliminativism, comes in three mutually exclusive varieties, which may be taken to exhaust the space of plausible realist theories. Acccording to _dispositionalism_, colors are _psychological_ dispositions: dispositions to produce certain kinds of visual experiences. According (...) to both _primitivism_ and _physicalism_, colors are not psychological dispositions; they differ in that primitivism says that no reductive analysis of the colors is possible, whereas physicalism says that they are physical properties. This paper is a defense of physicalism about color. (shrink)