Book synopsis: The most debated issue in aesthetics today Written by an international team of leading experts Addresses growing methodological concerns in the field Includes an extensive introduction which illuminates key issues Through much of the twentieth century, philosophical thinking about works of art, design, and other aesthetic products has emphasized intuitive and reflective methods, often tied to the idea that philosophy's business is primarily to analyze concepts. This 'philosophy from the armchair' approach contrasts with methods used by psychologists, sociologists, (...) evolutionary thinkers, and others who study the making and reception of the arts empirically. How far should philosophers be sensitive to the results of these studies? Is their own largely a priori method basically flawed? Are their views on aesthetic value, interpretation, imagination, and the emotions of art to be rethought in the light of best science? The essays in this volume seek answers to these questions, many through detailed studies of problems traditionally regarded as philosophical but where empirical inquiry seems to be shedding interesting light. No common view is looked for or found in this volume: a number of authors argue that the current enthusiasm for scientific approaches to aesthetics is based on a misunderstanding of the philosophical enterprise and sometimes on misinterpretation of the science; others suggest various ways that philosophy can and should accommodate and sometimes yield to the empirical approach. The editors provide a substantial introduction which sets the scene historically and conceptually before summarizing the claims and arguments of the essays. (shrink)

In his 2014 book Fiction and Narrative, Derek Matravers mounts a concerted attack on what he terms the ‘post-Walton consensus’ as to the features that distingui.

A common approach to drawing boundary between fiction and non-fiction is by appeal to the kinds of speech acts performed by authors of works of the respective categories. Searle, for example, takes fiction to be the product of illocutionary pretense of various kinds on the part of authors and non-fiction to be the product of genuine illocutionary action.1 Currie, in contrast, takes fiction to be the product of sui generis fictional illocutionary action on the part of authors and non-fiction to (...) be the product of assertion and other familiar kinds of illocutionary action.2 The central thesis of this paper is that the speech act approach to fictionality is simply a non-starter. Now it is, of course, commonplace to note that approaches of this kind run into difficulty accommodating nonliterary fictions3 and uncomposed or authorless fictions. What will be argued here, however, is that speech acts analyses are inadequate even understood narrowly as accounts of composed literary fiction. And the reason is that they fail to adequately attend to the distinction between composition and storytelling. (shrink)

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)

This chapter contains sections titled: Literature, Fiction, and Truth Literary Cognitivism Thought Experiments Genres Learning by Supposing De se Suppositions.

Gregory Currie defends the view that works of fiction guide the imagination, and then considers whether fiction can also guide our beliefs. He makes a case for modesty about learning from fiction, as it is easy to be too optimistic about the psychological insights of authors, and empathy is hard to acquire while not always morally advantageous.

That we can learn something from literature, as cognitivists claim, seems to be a commonplace. However, when one considers matters more deeply, it turns out to be a problematic claim. In this paper, by focusing on general revelatory facts about the world and the human spirit, I hold that the cognitivist claim can be vindicated if one takes it as follows. We do not learn such facts from literature, if by “literature” one means the truth-conditional contents that one may ascribe (...) to textual sentences in their fictional use, i.e., in the use in which one makes believe that things unfold in a certain way. What we improperly call learning from literature amounts to knowing actually true conversational implicatures concerning the above facts as meant by literary authors. So, in one and the same shot, we learn both a general revelatory fact and the fact that such a fact is meant via a true conversational implicature by an author. The author draws that implicature from the different truth-conditional content a sentence possesses when the sentence is interpreted in a fictional context, meant as Kaplan’s (1989) narrow context, i.e., a set of circumstantial parameters (agent, space, time, and world). (shrink)

In order for true beliefs acquired from reading fiction to count as knowledge proper, they must survive ‘the challenge from luck’. That is, it must be established that such beliefs are neither luckily true, nor luckily believed by readers. The author considers three kinds of true belief a reader may, she assumes, get from reading fiction: a) those based on testimony about empirical facts; b) those based on ‘true in passing’ sentences; and c) those beliefs about counterfactuals one may get (...) from reading a ‘didactic’ fiction. The first group escape the challenge from luck relatively easily, she argues. However, things turn out to be more complicated with the second group. The author examines Mitchell Green’s suggestion, effectively, that knowledge of fictional genre may see off the challenge from luck here, but rejects this in the form presented by Green, adapting it substantially to offer beliefs of this kind a more promising escape route. The author finishes by following Green’s lead once again, and discussing the category of ‘didactic’ fiction, as he calls it. She argues that any true beliefs about counterfactuals gained from such fictions are likely to be lucky. The author concludes however that things are much more promising for any true beliefs gained about oneself as a result of engaging with what Green calls an ‘interrogative’ fiction. (shrink)

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.

Ernest Sosa's A Virtue Epistemology, Vol. I is arguably the single-most important monograph to be published in analytic epistemology in the last ten years. Sosa, the first in the field to employ the notion of intellectual virtue – in his ground-breaking ‘The Raft and the Pyramid’– is the leading proponent of reliabilist versions of virtue epistemology. In A Virtue Epistemology, he deftly defends an externalist account of animal knowledge as apt belief, argues for a distinction between animal and reflective knowledge, (...) contends that rational intuition is an intellectual virtue ; and offers responses to dream scepticism, the problem of the criterion and the value problem. Nearly all of these arguments are new, albeit consistent with Sosa's earlier work; that is, consistent with two notable exceptions. First, c ontra Sosa's ‘Replies’ in Ernest Sosa and His Critics, A Virtue Epistemology explicitly contends that safety is not required for animal knowledge. Second, unlike Sosa's Knowledge in Perspective, which arguably construes the intellectual virtues as merely instrumentally valuable, A Virtue Epistemology explicitly contends that the intellectual virtues are instrumentally and constitutively valuable. Best read in conjunction with the above monographs and Epistemic Justification, A Virtue Epistemology is mandatory reading for epistemologists and graduate students in the field. It will rightly set the standard for debates in analytic epistemology for years to come.I will summarize and raise objections to two key conclusions that are unique to A Virtue Epistemology: the ‘kaleidoscope-perceiver’ has animal knowledge but lacks reflective knowledge; unlike the k-perceiver, the ordinary perceiver has reflective knowledge. My objections …. (shrink)

It is widely accepted that readers will resist imagining that a character in a story did something morally wrong, even if the story endorses this judgement. This paper argues, first, that readers will not resist if the question of whether that act was wrong is not salient as they read; and, second, that asking a certain question can be part of correctly appreciating a story—even if that question is not in the foreground of the story, and even if the story (...) itself discourages readers from asking it, as is common in some forms of the ‘hermeneutics of suspicion’. (shrink)

Can fictional narration yield knowledge in a way that depends crucially on its being fictional? This is the hard question of literary cognitivism. It is unexceptional that knowledge can be gained from fictional literature in ways that are not dependent on its fictionality (e.g., the science in science fiction). Sometimes fictional narratives are taken to exhibit the structure of suppositional argument, sometimes analogical argument. Of course, neither structure is unique to narratives. The thesis of literary cognitivism would be supported if (...) some novels exhibit a cogent and special argument structure restricted to fictional narratives. I contend that this is the case for a kind of transcendental argument. The reason is the inclusion and pattern of occurrence of the predicate ‘believable’ in the schema. Believability with respect to fictional stories is quite a different thing than it is with respect to nonfictional stories or anything else. (shrink)

Some philosophers, like Alex Rosenberg, claim that natural science delivers epistemic values such as knowledge and understanding, whereas, say, literature and, according to some, literary studies, merely have aesthetic value. Many of those working in the field of literary studies oppose this idea. But it is not clear exactly how works of literary art embody knowledge and understanding and how literary studies can bring these to the light. After all, literary works of art are pieces of fiction, which suggests that (...) they are not meant to represent the actual world. How then can they deliver knowledge and understanding? I argue that literature and literary studies confer knowledge and understanding in at least five ways: they give us insight into the work and the world of the work of art in question, they shape our intellectual virtues, they invite us to apply various hypotheses, they deliver moral propositional knowledge, and they increase or bring about full understanding with respect to meaning, virtue, and significance. In the course of my argument, I refer at several junctures to Thomas Hardy’s Tess of the D’Urbervilles and Edith Wharton’s Summer, in order to illustrate each of these claims. (shrink)

In the first half of this book, I offer a theory of fictional content or, as it is sometimes known, ‘fictional truth’.The theory of fictional content I argue for is ‘extreme intentionalism’. The basic idea – very roughly, in ways which are made precise in the book - is that the fictional content of a particular text is equivalent to exactly what the author of the text intended the reader to imagine. The second half of the book is concerned with (...) showing how extreme intentionalism and the lessons learnt from it can illuminate cognate questions in the philosophy of fiction and imagination. For instance, I argue, my position helps us to explain how fiction can provide us with reliable testimony ; it helps explain the phenomenon of imaginative resistance ; and it fits with, and so supports, a persuasive theory of the nature of fiction itself. In my final chapter, I show how attending to intentionalist practices of interpreting fictional content can illuminate the nature of propositional imagining itself. (shrink)

I shall be mainly concerned with the question ‘What is personal propositional knowledge?’. This question is obviously quite narrowly focused, in three respects. In the first place, there is impersonal as well as personal knowledge. Second, a distinction is often drawn between propositional knowledge and practical knowledge. And third, as well as asking what knowledge is, it is also possible to ask whether and how knowledge of various kinds can be acquired: causal knowledge, a priori knowledge, moral knowledge, and so (...) on. I shall dwell briefly on each of these three points. First, there is the distinction between personal and impersonal knowledge – in other words, between the psychological concept of knowledge and the social one.1 We use the concept of knowledge to describe the cognitive condition of individuals; but we also use it to describe the progress of scientific and historical research. So for example we can speak or enquire about the state of knowledge in a particular field of biology or history. And if we do so, we are evidently not concerned with what anyone in particular knows about, say, the genetics of fruit flies or the career of Charlemagne, but rather with what the scientific or academic community knows. Needless to say, there is a close connection between personal and impersonal knowledge. But ‘It is known that p’ does not simply mean ‘Someone or other. (shrink)

The philosophical interest in the nature, value, and varieties of human understanding has swelled in recent years. This article will provide an overview of new research in the epistemology of understanding, with a particular focus on the following questions: What is understanding and why should we care about it? Is understanding reducible to knowledge? Does it require truth, belief, or justification? Can there be lucky understanding? Does it require ‘grasping’ or some kind of ‘know-how’? This cluster of questions has largely (...) set the research agenda for the study of understanding in epistemology. This article will conclude by discussing some varieties of understanding and highlight directions for future research. (shrink)

This essay addresses the question whether artificial speakers can perform speech acts in the technical sense of that term common in the philosophy of language. We here argue that under certain conditions artificial speakers can perform speech acts so understood. After explaining some of the issues at stake in these questions, we elucidate a relatively uncontroversial way in which machines can communicate, namely through what we call verbal signaling. But verbal signaling is not sufficient for the performance of a speech (...) act. To explain the difference, we elucidate the notion of a speech act developed by Austin in the mid-twentieth century and then discuss Strawson’s influential proposal for how that notion may be related to Grice’s conception of speaker meaning. We then refine Strawson’s synthesis in light of Armstrong’s reconceptualization of speaker meaning in terms of objectives rather than intentions. We next extend this conception of speech acts to the cases of recorded, proxy, and conditional speech acts. On this basis, we propose that a characteristic role for artificial speakers is as proxies in the performance of speech acts on behalf of their human creators. We also consider two objections to our position, and compare our approach with others: while other authors appeal to notions such as “quasi-assertion,” we offer a sharp characterization of what artificial speakers can do that does not impute intentions or similarly controversial powers to them. We conclude by raising doubts that our strategy can be applied to speech acts generally. (shrink)

This chapter contains sections titled: Introduction Three Forms of Showing Showing How and Knowing How Perceiving Aspects and Affects Expressiveness and Showing How Congruence of Sensation and Affect Empathy and Epistemology Art and Skill.

Cognitivism in respect to the arts refers to a constellation of positions that share in common the idea that artworks often bear, in addition to aesthetic value, a significant kind of cognitive value. In this paper I concentrate on three things: (i) the challenge of understanding exactly what one must do if one wishes to defend a cognitivist view of the arts; (ii) common anti-cognitivist arguments; and (iii) promising recent attempts to defend cognitivism.

The author of this paper contrasts the account he favors for how fictions can convey knowledge with Green’s views on the topic. On the author’s account, fictions can convey knowledge because fictional works make assertions and other acts such as conjectures, suppositions, or acts of putting forward contents for our consideration; and the mechanism through which they do it is that of speech act indirection, of which conversational implicatures are a particular case. There are two potential points of disagreement with (...) Green in this proposal. First, it requires that assertions can be made indirectly. Second, it requires that verbal fiction-making doesn’t consist merely in “acts of speech”, but in sui generis speech acts. (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)

Jonathan Bennett (1974) maintains that Huckleberry Finn’s deliberations about whether to return Jim to slavery afford insight into the tension between sympathy and moral judgment; Miranda Fricker (2007) argues that the trial scene in To Kill a Mockingbird affords insight into the nature of testimonial injustice. Neither claims merely that the works prompt an attentive reader to think something new or to change her mind. Rather, they consider the reader cognitively better off for her encounters with the novels. Nor is (...) her cognitive improvement restricted to acquiring new justified true beliefs about the works themselves. What the reader gleans is supposed to enhance her knowledge or understanding of the .. (shrink)

Like works of literature, thought experiments present fictional narratives that prompt reflection in their readers. Because of these and other similarities, a number of philosophers have argued for a strong analogy between works of literary fiction and thought experiments, some going so far as to say that works of literary fiction are a species of thought experiment. These arguments are often used in defending a cognitivist position with regard to literature: thought experiments produce knowledge, so works of literary fiction can (...) too. This article concedes that works of literary fiction can be put to use in thought experiments, but not in a way that is helpful to the cognitivist. In particular, it draws three disanalogies in the ways we engage critically with thought experiments and with literary fictions. First, we use thought experiments to make arguments; second, we read thought experiments in strongly allegorical terms; and third, the terms of criticism we apply to thought experiments and to works of literature differ. Although these disanalogies present problems for the cognitivist position, they also give us a sharper picture of the distinctive educative potential of works of literary fiction. (shrink)

Mitchell S. Green presents a systematic philosophical study of self-expression - a pervasive phenomenon of the everyday life of humans and other species, which has received scant attention in its own right. He explores the ways in which self-expression reveals our states of thought, feeling, and experience, and he defends striking new theses concerning a wide range of fascinating topics: our ability to perceive emotion in others, artistic expression, empathy, expressive language, meaning, facial expression, and speech acts. He draws on (...) insights from evolutionary game theory, ethology, the philosophy of language, social psychology, pragmatics, aesthetics, and neuroscience to present a stimulating and accessible interdisciplinary work. (shrink)

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

Speech acts are a staple of everyday communicative life, but only became a topic of sustained investigation, at least in the English-speaking world, in the middle of the Twentieth Century.[1] Since that time “speech act theory” has been influential not only within philosophy, but also in linguistics, psychology, legal theory, artificial intelligence, literary theory and many other scholarly disciplines.[2] Recognition of the importance of speech acts has illuminated the ability of language to do other things than describe reality. In the (...) process the boundaries among the philosophy of language, the philosophy of action, the philosophy of mind and even ethics have become less sharp. In addition, an appreciation of speech acts has helped lay bare an implicit normative structure within linguistic practice, including even that part of this practice concerned with describing reality. Much recent research aims at an accurate characterization of this normative structure underlying linguistic practice. (shrink)