The concept of metaphor as primarily a vehicle for conveying ideas, even if unusual ones, seems to me as wrong as the parent idea that a metaphor has a special meaning. I agree with the view that metaphors cannot be paraphrased, but I think this is not because metaphors say something too novel for literal expression but because there is nothing there to paraphrase. Paraphrase, whether possible or not, inappropriate to what is said: we try, in paraphrase, to say it (...) another way. But if I am right, a metaphor doesn't say anything beyond its literal meaning. This is not, of course, to deny that a metaphor has a point, nor that that point can be brought out by using further words.... My disagreement is with the explanation of how metaphor works its wonders. To anticipate: I depend on the distinction between what words mean and what they are used to do. I think metaphor belongs exclusively to the domain of use. It is something brought off by the imaginative employment of words and sentences and depends entirely on the ordinary meanings of those words and hence on the ordinary meanings of the sentences they comprise. Donald Davidson is University Professor of philosophy at the University of Chicago. He is the author of many important essays, including "Actions, Reasons and Causes," "Causal Relations," and "Truth and Meaning," coauthor of Decision-Making: An Experimental Approach, and coeditor of Words and Objections, Semantics of Natural Language, and The Logic of Grammar. (shrink)

The concept of metaphor as primarily a vehicle for conveying ideas, even if unusual ones, seems to me as wrong as the parent idea that a metaphor has a special meaning. I agree with the view that metaphors cannot be paraphrased, but I think this is not because metaphors say something too novel for literal expression but because there is nothing there to paraphrase. Paraphrase, whether possible or not, inappropriate to what is said: we try, in paraphrase, to say it (...) another way. But if I am right, a metaphor doesn't say anything beyond its literal meaning . This is not, of course, to deny that a metaphor has a point, nor that that point can be brought out by using further words. . . . My disagreement is with the explanation of how metaphor works its wonders. To anticipate: I depend on the distinction between what words mean and what they are used to do. I think metaphor belongs exclusively to the domain of use. It is something brought off by the imaginative employment of words and sentences and depends entirely on the ordinary meanings of those words and hence on the ordinary meanings of the sentences they comprise. Donald Davidson is University Professor of philosophy at the University of Chicago. He is the author of many important essays, including "Actions, Reasons and Causes," "Causal Relations," and "Truth and Meaning," coauthor of Decision-Making: An Experimental Approach, and coeditor of Words and Objections, Semantics of Natural Language, and The Logic of Grammar. (shrink)

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

It is generally accepted that there is something special about reasoning by using mental images. The question of how it is special, however, has never been satisfactorily spelled out, despite more than thirty years of research in the post-behaviorist tradition. This article considers some of the general motivation for the assumption that entertaining mental images involves inspecting a picture-like object. It sets out a distinction between phenomena attributable to the nature of mind to what is called the cognitive architecture, and (...) ones that are attributable to tacit knowledge used to simulate what would happen in a visual situation. With this distinction in mind, the paper then considers in detail the widely held assumption that in some important sense images are spatially displayed or are depictive, and that examining images uses the same mechanisms that are deployed in visual perception. I argue that the assumption of the spatial or depictive nature of images is only explanatory if taken literally, as a claim about how images are physically instantiated in the brain, and that the literal view fails for a number of empirical reasons – for example, because of the cognitive penetrability of the phenomena cited in its favor. Similarly, while it is arguably the case that imagery and vision involve some of the same mechanisms, this tells us very little about the nature of mental imagery and does not support claims about the pictorial nature of mental images. Finally, I consider whether recent neuroscience evidence clarifies the debate over the nature of mental images. I claim that when such questions as whether images are depictive or spatial are formulated more clearly, the evidence does not provide support for the picture-theory over a symbol-structure theory of mental imagery. Even if all the empirical claims were true, they do not warrant the conclusion that many people have drawn from them: that mental images are depictive or are displayed in some (possibly cortical) space. Such a conclusion is incompatible with what is known about how images function in thought. We are then left with the provisional counterintuitive conclusion that the available evidence does not support rejection of what I call the “null hypothesis”; namely, that reasoning with mental images involves the same form of representation and the same processes as that of reasoning in general, except that the content or subject matter of thoughts experienced as images includes information about how things would look. (shrink)

I propose that an account of metaphor understanding which covers the full range of cases has to allow for two routes or modes of processing. One is a process of rapid, local, on-line concept construction that applies quite generally to the recovery of word meaning in utterance comprehension. The other requires a greater focus on the literal meaning of sentences or texts, which is metarepresented as a whole and subjected to more global, reflective pragmatic inference. The questions whether metaphors convey (...) a propositional content and what role imagistic representation plays receive somewhat different answers depending on the processing route. (shrink)

The interpretation of metaphorical utterances often results in the attribution of emergent properties, which are neither standardly associated with the individual constituents in isolation nor derivable by standard rules of semantic composition. An adequate pragmatic account of metaphor interpretation must explain how these properties are derived. Using the framework of relevance theory, we propose a wholly inferential account, and argue that the derivation of emergent properties involves no special interpretive mechanisms not required for the interpretation of ordinary, literal utterances.

: Psychological explanations of philosophical intuitions can help us assess their evidentiary value, and our warrant for accepting them. To explain and assess conceptual or classificatory intuitions about specific situations, some philosophers have suggested explanations which invoke heuristic rules proposed by cognitive psychologists. The present paper extends this approach of intuition assessment by heuristics-based explanation, in two ways: It motivates the proposal of a new heuristic, and shows that this metaphor heuristic helps explain important but neglected intuitions: general factual intuitions (...) which have been highly influential in the philosophies of mind and perception but neglected in on-going debates in the epistemology of philosophy. To do so, the paper integrates results from three philosophically pertinent but hitherto largely unconnected strands of psychological research: research on intuitive judgement, analogy and metaphor, and memory-based processing, respectively. The paper shows that the heuristics-based explanation thus obtained satisfies the key requirements cognitive psychologists impose on such explanations, that it can explain the philosophical intuitions targeted, and that this explanation supports normative assessment of the intuitions' evidentiary value: It reveals whether particular intuitions are due to proper exercise of cognitive competencies or constitute cognitive illusions. (shrink)

Understanding novel phrases (e.g. upside‐down daisy) and classifying objects in categories named by phrases ought to have common properties, but you'd never know it from current theories. The best candidate for both jobs is the Theory Theory, but it faces difficulties when theories are impoverished. A potential solution is a dual approach that couples theories (representations‐about categories) with fixed mentalese expressions (representations‐of categories). Both representations combine information in parallel when understanding phrases. Although there are objections to the notion that theories (...) can combine, some of them lose their force when applied to a suitable dual model. (shrink)

We investigate the role of perceptual similarity in visual metaphor comprehension process. In visual metaphors, perceptual features of the source and the target are objectively present as images. Moreover, to determine perceptual similarity, we use an image-based search system that computes similarity based on low-level perceptual features. We hypothesize that perceptual similarity at the level of color, shape, texture, orientation, and the like, between the source and the target image facilitates metaphorical comprehension and aids creative interpretation. We present three experiments, (...) two of which are eye-movement studies, to demonstrate that in the interpretation and generation of visual metaphors, perceptual similarity between the two images is recognized at a subconscious level, and facilitates the search for creative conceptual associations in terms of emergent features. We argue that the capacity to recognize perceptual similarity—considered to be a hallmark of creativity—plays a major role in the creative understanding of metaphors. (shrink)

Now I may not be an educated man . . . But it seems to me to go against common sense to ask what the poet is ‘trying to say’. The poem isn’t a code for something easily understood. The poem is what he is trying to say.