In this book, Balaguer demonstrates that there are no good arguments for or against mathematical platonism. He does this by establishing that both platonism and anti-platonism are defensible views. Introducing a form of platonism ("full-blooded platonism") that solves all problems traditionally associated with the view, he proceeds to defend anti-platonism (in particular, mathematical fictionalism) against various attacks, most notably the Quine-Putnam indispensability attack. He concludes by arguing that it is not simply that we do not currently have any good argument (...) for or against platonism, but that we could never have such an argument and, indeed, that there is no fact of the matter as to whether platonism is correct. (shrink)

This book expounds a system of ideas about the nature of mathematics which Michael Resnik has been elaborating for a number of years. In calling mathematics a science he implies that it has a factual subject-matter and that mathematical knowledge is on a par with other scientific knowledge; in calling it a science of patterns he expresses his commitment to a structuralist philosophy of mathematics. He links this to a defense of realism about the metaphysics of mathematics--the view that mathematics (...) is about things that really exist. (shrink)

Mimesis as Make-Believe is important reading for everyone interested in the workings of representational art.

Ever since David Hume, empiricists have barred powers and capacities from nature. In this book Cartwright argues that capacities are essential in our scientific world, and, contrary to empiricist orthodoxy, that they can meet sufficiently strict demands for testability. Econometrics is one discipline where probabilities are used to measure causal capacities, and the technology of modern physics provides several examples of testing capacities (such as lasers). Cartwright concludes by applying the lessons of the book about capacities and probabilities to the (...) explanation of the role of causality in quantum mechanics. (shrink)

The modern discussion on the concept of truthlikeness was started in 1960. In his influential Word and Object, W. V. O. Quine argued that Charles Peirce's definition of truth as the limit of inquiry is faulty for the reason that the notion 'nearer than' is only "defined for numbers and not for theories". In his contribution to the 1960 International Congress for Logic, Methodology, and Philosophy of Science at Stan­ ford, Karl Popper defended the opposite view by defining a compara­tive (...) notion of verisimilitude for theories. The concept of verisimilitude was originally introduced by the Ancient sceptics to moderate their radical thesis of the inaccessibility of truth. But soon verisimilitudo, indicating likeness to the truth, was confused with probabilitas, which expresses an opiniotative attitude weaker than full certainty. The idea of truthlikeness fell in disrepute also as a result of the careless, often confused and metaphysically loaded way in which many philosophers used - and still use - such concepts as 'degree of truth', 'approximate truth', 'partial truth', and 'approach to the truth'. Popper's great achievement was his insight that the criticism against truthlikeness - by those who urge that it is meaningless to speak about 'closeness to truth' - is more based on prejudice than argument. (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)

This book argues against the view that mathematical knowledge is a priori,contending that mathematics is an empirical science and develops historically,just as ...

This book does three main things. First, it defends mathematical platonism against the main objections to that view (most notably, the epistemological objection and the multiple-reductions objection). Second, it defends anti-platonism (in particular, fictionalism) against the main objections to that view (most notably, the Quine-Putnam indispensability objection and the objection from objectivity). Third, it argues that there is no fact of the matter whether abstract mathematical objects exist and, hence, no fact of the matter whether platonism or anti-platonism is true.

Mark Balaguer has written a provocative and original book. The book is as ambitious as a work of philosophy of mathematics could be. It defends both of the dominant views concerning the ontology of mathematics, Platonism and Anti-Platonism, and then closes with an argument that there is no fact of the matter which is right.

John Woods' The Logic of Fiction, now thirty-five years old, is a ground-breaking event in the establishment of the semantics of fiction as a stand-alone research programme in the philosophies of language and logic. There is now a large literature about these matters, but Woods' book retains a striking freshness, and still serves as a convincing template of the treatment options for the field's key problems. The book now appears in a second edition with a new Foreword by Nicholas Griffin (...) and an extended bibliography covering the period 1969-2009. As Griffin notes in his Foreword, it is "surprising on looking back to discover how little was written on the semantics of fiction before John Woods' The Logic of Fiction was published in 1974. The surprise is the greater because Woods' book appeared after almost a quarter century of fierce philosophical debate about reference Fictional discourse, one would have thought, would be an important testing ground for philosophical theories of referential expressions and one, moreover, in which the standard theories would likely be tested to destruction. " " One of the great merits of Woods' book is that it takes seriously the wide-ranging demands that fiction imposes on logic and semantics, and does not try to force fiction into some pre-conceived logical mould. but thanks to Woods' pioneering efforts, we are much closer to one now than we were when he set out to write his book. His book was not the last word on the logic of fiction; it was much more important: it was nearly the first." NICHOLAS GRIFFIN is Canada Research Chair in Philosophy at McMaster University. Recent publications include Russell vs Meinong: The Legacy of "On Denoting," edited with Dale Jacquette. JOHN WOODS is Director of the Abductive Systems Group at the University of British Columbia and Charles S. Peirce Visiting Professor of Logic in the Group on Logic and Computational Science, King's College London. He has two forthcoming books on fiction - an edited volume, Fictions and Models: New Essays, and a research monograph, Sherlock's Member: New Perspectives on the Semantics of Fiction, both to appear in 2010. (shrink)