The genre to which an artwork belongs affects how it is to be interpreted and evaluated. An account of genre and of the criteria for genre membership should explain these interpretative and evaluative effects. Contrary to conceptions of genres as categories distinguished by the features of the works that belong to them, I argue that these effects are to be explained by conceiving of genres as categories distinguished by certain of the purposes that the works belonging to them are intended (...) to serve. (shrink)

In 1956, W.B. Gallie introduced his idea of essentially contested concepts. In my paper, I offer a novel interpretation of his theory and argue that his theory, thus interpreted, is correct. The key to my interpretation lies in a condition Gallie places on essentially contested concepts that other interpreters downplay or dismiss: that the use of an essentially contested concept must be derived “from an original exemplar whose authority is acknowledged by all the contestant users of the concept.” This reveals (...) a similarity between Gallie’s views and the semantic externalist views of Hilary Putnam, and others, about natural kind terms like “water” and “tiger.” I argue that natural kind terms and terms for essentially contested concepts are two species of a single semantic genus. In the case of natural kind terms, a term refers to a natural kind, the exemplars are instances of that kind, and the relation between the exemplars and anything to which the term applies is co-membership of the kind. In the case of terms for essentially contested concepts, a term refers to an historical tradition, the exemplar is a stage or temporal part of that tradition, and the relation between the exemplar and anything to which the term refers is being the heir of. This allows me to understand the contests that alerted Gallie to the phenomenon of essentially contested concepts as contests over the ownership of historical traditions. (shrink)

What constitutes numerically one and the same tradition diachronically, at different times? This question is the focus of often violent dispute in societies. Is it capable of a rational resolution? Many accounts attempt that resolution with a diagnosis of ambiguity of the disputed concept-Islam, Marxism, or democracy for example. The diagnosis offered is in terms of vagueness, namely the vague criteria for sameness or similarity of central beliefs and practices.

An adequate account of the nature of genre and of the criteria for genre membership is essential to understanding the nature of the various categories into which comics can be classified. Because they fail adequately to distinguish genre categories from other ways of categorizing works, including categorizations according to medium or according to style, previous accounts of genre fail to illuminate the nature of comics categories. I argue that genres are sets of conventions that have developed as means of addressing (...) particular interpretative and/or evaluative concerns, and have a history of co‐instantiation within a community, such that a work’s belonging to some genre generates interpretative and evaluative expectations among the members of that community. Genres are distinct from styles in consisting of conventions, and are distinct from media both in consisting of conventions and in generating interpretative and evaluative expectations. (shrink)

Standard theories define fiction in terms of an invited response of imagining or make-believe. I argue that these theories are not only subject to numerous counterexamples, they also fail to explain why classification matters to our understanding and evaluation of works of fiction as well as non-fiction. I propose instead that we construe fiction and non-fiction as genres: categories whose membership is determined by a cluster of nonessential criteria, and which play a role in the appreciation of particular works. I (...) claim that this proposal captures the intuitions motivating alternative theories of fiction. (shrink)

In virtue of what are later and an earlier group members of one and the numerically same tradition? Gallie was one of the few philosophers to have engaged with issues surrounding this question. My article is not a faithful exegesis of Gallie but develops a terminology in which to discuss issues surrounding the numerical identity of a tradition over time, based on some of his insights.

Constitution is the relation between something and what it is made of. Composition is the relation between something and its parts. I examine three different approaches to the relation between constitution and composition. One approach, associated with neo-Aristotelians like Mark Johnston and Kathrin Koslicki, identifies constitution with composition. A second, popular with those sympathetic to classical mereology such as Judith Thomson, defines constitution in terms of parthood. A third, advocated strongly by Lynne Baker, takes constitution to be somehow inconsistent with (...) relations of parthood. All of these approaches, I argue, face serious problems. I conclude, tentatively, that constitution and composition have nothing to do with each other. (shrink)

Challenges popular (and often demeaning) myths about why romantic fiction, one of publishing's most lucrative categories, captivates millions of women readers. In a new introduction, author Radway places the book within the context of current scholarship and offers both an explanation and critique of the study's limitations.--From publisher description.

Philosophical questions about the arts go naturally with other kinds of questions about them. Art is sometimes said to be an historical concept. But where in our cultural and biological history did art begin? If art is related to play and imagination, do we find any signs of these things in our nonhuman relatives? Sometimes the other questions look like ones the philosopher of art has to answer. Anyone who thinks that interpretation in the arts is an activity that leaves (...) the intentions of the author behind needs to explain how and why this differs so fundamentally from ordinary conversational interpretation, where the only decent models we have are ones that depend crucially on the recovery of intention. Anyone who thinks that imaginative literature has anything to tell us about time had better have a position on how earlier and later relate to past and future. Anyone who thinks that empathy plays a role in literary engagement had better have a psychologically plausible account of what empathy is. Philosophical questions about the arts also go naturally with other kinds of philosophical questions: we can't think constructively about representation in art without thinking about representation; text, meaning, reference and existence get similarly drawn into the conversation. Some ideas that philosophers of art deal with emerge from other disciplines. In literary theory an enormous amount of attention has been lavished on tracing the sources of unreliability in narrative. Is the result adequate to the details of the particular works we call unreliable? Contemporary film theory is generally hostile to the fiction/documentary distinction. Are there in fact any grounds for this? This book of thirteen connected essays examines questions of all these kinds. It ranges from the semantics of proper names, through the pragmatics of literary and filmic interpretation, to the aesthetic function of stone age implements. Some of the essays have not been published before; some that have are here substantially revised. (shrink)

This chapter contains sections titled: Introduction Desiderata for an Account of Genre Existing Accounts of Genre An Account of Genre Conclusion Notes References.