Russian translation of Gettier E. L. Is Justified True Belief Knowledge? // Analysis, vol. 23, 1963. Translated by Lev Lamberov with kind permission of the author.

Richard Wollheim's classic reflection on art considers central questions regarding expression, representation, style, the significance of the artist's intention and the essentially historical nature of art. Presented in a fresh series livery for the twenty-first century, with a specially commissioned preface written by Richard Eldridge, illuminating its continuing importance and relevance to philosophical enquiry, Art and its Objects continues to be a perceptive and engaging introduction to the questions and philosophical issues raised by works of art and the part they (...) play in our culture and society. Wollheim's insights into theories of art, criticism, perception and the nature of aesthetic value make this one of the most influential works on aesthetics of the twentieth century. (shrink)

The second volume in the _Blackwell Brown Lectures in Philosophy_, this volume offers an original and provocative take on the nature and methodology of philosophy. Based on public lectures at Brown University, given by the pre-eminent philosopher, Timothy Williamson Rejects the ideology of the 'linguistic turn', the most distinctive trend of 20th century philosophy Explains the method of philosophy as a development from non-philosophical ways of thinking Suggests new ways of understanding what contemporary and past philosophers are doing.

Ancients and moderns alike have constructed arguments and assessed theories on the basis of common sense and intuitive judgments. Yet, despite the important role intuitions play in philosophy, there has been little reflection on fundamental questions concerning the sort of data intuitions provide, how they are supposed to lead us to the truth, and why we should treat them as important. In addition, recent psychological research seems to pose serious challenges to traditional intuition-driven philosophical inquiry. Rethinking Intuition brings together a (...) distinguished group of philosophers and psychologists to discuss these important issues. Students and scholars in both fields will find this book to be of great value. (shrink)

Philosophy and science employ abstract hypothetical scenarios- thought experiments - to illustrate, defend, and dispute theoretical claims. Since thought experiments furnish no new empirical observations, the method prompts two epistemological questions: whether anything may be learnt from the merely hypothetical, and, if so, how. Various sceptical arguments against the use of thought experiments in philosophy are discussed and criticized. The thesis that thought experiments in science provide a priori knowledge through non-sensory grasping of abstract entities is discussed and rejected. The (...) thesis that thought experimentation consists in manipulations of mental models is examined and found to be of limited epistemological relevance. It is argued that thought experiments are associated with characteristic arguments in a manner similar to ordinary experiments. It is further argued that thought experiments function in the same way as experiments in general: by providing premises for their associated arguments. Like other experiments, a thought experiment is successful when the premises it provides are true. This holds both for philosophical and scientific thought experiments. An argument schema is proposed and shown to be a formal analogue to that associated with ordinary experiments; similar in being subject to epistemological holism; but differing in being modal: in employing statements about possibility and necessity. The evaluation of thought experiments thus depends on how modal statements may be justified. Intuition and conceivability are discussed as sources of modal justification and found problematic. Instead it is suggested that evaluation proceed by accommodation of the statements describing the experiment's hypothetical scenario. The method of accommodation is developed and applied to five influential thought experiments in philosophy: the brain in a vat; Putnam's Twin Earth; Burge's arthritis example; Searle's Chinese Room; and Newcomb's problem. Its application shows some of these to be failed, others to be successful only relative to controversial philosophical doctrines. (shrink)

Edmund Gettier is Professor Emeritus at the University of Massachusetts, Amherst. This short piece, published in 1963, seemed to many decisively to refute an otherwise attractive analysis of knowledge. It stimulated a renewed effort, still ongoing, to clarify exactly what knowledge comprises.

The phenomenology of a priori intuition is explored at length (where a priori intuition is taken to be not a form of belief but rather a form of seeming, specifically intellectual as opposed to sensory seeming). Various reductive accounts of intuition are criticized, and Humean empiricism (which, unlike radical empiricism, does admit analyticity intuitions as evidence) is shown to be epistemically self-defeating. This paper also recapitulates the defense of the thesis of the Autonomy and Authority of Philosophy given in the (...) author’s “A Priori Knowledge and the Scope of Philosophy” (Philosophical Studies, 1996). (shrink)

The topic of a priori knowledge is approached through the theory of evidence. A shortcoming in traditional formulations of moderate rationalism and moderate empiricism is that they fail to explain why rational intuition and phenomenal experience count as basic sources of evidence. This explanatory gap is filled by modal reliabilism -- the theory that there is a qualified modal tie between basic sources of evidence and the truth. This tie to the truth is then explained by the theory of concept (...) possession: this tie is a consequence of what, by definition, it is to possess (i.e., to understand) one’s concepts. A corollary of the overall account is that the a priori disciplines (logic, mathematics, philosophy) can be largely autonomous from the empirical sciences. (shrink)

. . . Unlike Dewey, he has provided detailed incisive argumentation, and has shown just where the dogmas and dualisms break down." -- Richard Rorty, The Yale Review.

Philosophy of music has flourished in the last thirty years, with great advances made in the understanding of the nature of music and its aesthetics. Peter Kivy has been at the center of this flourishing, and now offers his personal introduction to philosophy of music, a clear and lively explanation of how he sees the most important and interesting philosophical issues relating to music. Anyone interested in music will find this a stimulating introduction to some fascinating questions and ideas.

Peter Kivy presents a selection of his new and recent writings on the philosophy of music--an area to which he has been one of the most eminent contributors. In his distinctively elegant and informal style, Kivy explores such topics as musicology and its history, the nature of musical works, and the role of emotion in music, and does so in a way that will attract the interest of philosophical and musical readers alike. Most works are published here for the first (...) time, each one unique and accessible, making this collection a delight both to followers of Kivy's work and to first-time readers. (shrink)

Brings together essays on the philosophy of art in which a philosophical theory of aesthetic judgment is tested and developed through its application to particular examples. Each essay approaches, from its own field of study, what Roger Scruton argues to be the central problems of aesthetics -- what is aesthetic experience, and what is its importance for human conduct? The book is divided into four parts. The first contains a resume of modern analytical aesthetics, which also serves as an introduction (...) to subsequent chapters. It also includes an essay that reviews current theories of literary criticism. The second part is devoted to musical aesthetics and contains the theoretical core of the work. Here Scruton describes the contours of aesthetic understanding, and defends the view that the object of aesthetic experience is inherently significant, even when it has no "content" that can be described in propositional terms. He rebuts the view that music is representational, and in the third part goes on to propose a theory of representation whereby to refute the suggestion that photography is a representational art. This third section also contains a study of film. The final part comprises essays relating aesthetic judgment to the understanding of culture, humor, and design. It covers many subjects, including the prose works of Samuel Beckett and the architecture of Leninism. The essays in this book form parts of a single intellectual enterprise, which is to give analytical foundations to the criticism of literature, visual art, music, and culture. (shrink)

We talk not only of enjoying music, but of understanding it. Music is often taken to have expressive import--and in that sense to have meaning. But what does music mean, and how does it mean? Stephen Davies addresses these questions in this sophisticated and knowledgeable overview of current theories in the philosophy of music. Reviewing and criticizing the aesthetic positions of recent years, he offers a spirited explanation of his own position. Davies considers and rejects in turn the positions that (...) music describes (like language), or depicts (like pictures), or symbolizes (in a distinctive fashion) emotions. Similarly, he resists the idea that music's expressiveness is to be explained solely as the composer's self-expression, or in terms of its power to evoke a response from the audience. Music's ability to describe emotions, he believes, is located within the music itself; it presents the aural appearance of what he calls emotion characteristics. The expressive power of music awakens emotions in the listener, and music is valued for this power although the responses are sometimes ones of sadness. Davies shows that appreciation and understanding may require more than recognition of and reaction to music's expressive character, but need not depend on formal musicological training. (shrink)

Sorensen presents a general theory of thought experiments: what they are, how they work, what are their virtues and vices. On Sorensen's view, philosophy differs from science in degree, but not in kind. For this reason, he claims, it is possible to understand philosophical thought experiments by concentrating on their resemblance to scientific relatives. Lessons learned about scientific experimentation carry over to thought experiment, and vice versa. Sorensen also assesses the hazards and pseudo-hazards of thought experiments. Although he grants that (...) there are interesting ways in which the method leads us astray, he attacks most scepticism about thought experiments as arbitrary. They should be used, he says, as they generally are used--as part of a diversified portfolio of techniques. All of these devices are individually susceptible to abuse, fallacy, and error. Collectively, however, they provide a network of cross-checks that make for impressive reliability. (shrink)

In the Essai sur Vorigine des langues (), Jean-Jacques Rousseau reports on an eighteenth-century curiosity that has, from time to time, fascinated musicians ...

In this paper we propose to argue for two claims. The first is that a sizeable group of epistemological projects – a group which includes much of what has been done in epistemology in the analytic tradition – would be seriously undermined if one or more of a cluster of empirical hypotheses about epistemic intuitions turns out to be true. The basis for this claim will be set out in Section 2. The second claim is that, while the jury is (...) still out, there is now a substantial body of evidence suggesting that some of those empirical hypotheses are true. Much of this evidence derives from an ongoing series of experimental studies of epistemic intuitions that we have been conducting. A preliminary report on these studies will be presented in Section 3. In light of these studies, we think it is incumbent on those who pursue the epistemological projects in question to either explain why the truth of the hypotheses does not undermine their projects, or to say why, in light of the evidence we will present, they nonetheless assume that the hypotheses are false. In Section 4, which is devoted to Objections and Replies, we’ll consider some of the ways in which defenders of the projects we are criticizing might reply to our challenge. Our goal, in all of this, is not to offer a conclusive argument demonstrating that the epistemological projects we will be criticizing are untenable. Rather, our aim is to shift the burden of argument. (shrink)

What exactly is a philosophical intuition? And what makes such an intuition reliable, when it is reliable? This paper provides a terminological framework that is able answer to the first question, and then puts the framework to work developing an answer to the second question. More specifically, the paper argues that we can distinguish between two different "evidential roles" which intuitions can occupy: under certain conditions they can provide information about the representational structure of an intuitor's concept, and under different (...) conditions, they can provide information about whether or not a property is instantiated. The paper describes two principles intended to capture the difference between the two sets of conditions---that is, the paper offers a principle that explains when an intuition will be a reliable source of evidence about the representation structure of an intuitor's concept, and another principle that explains when an intuition will be a reliable source of evidence about whether or not a property is instantiated. The paper concludes by briefly arguing that, insofar as philosophers are interested using intuitions to determine whether or not some philosophically interesting property is instantiated by some scenario (for instance, whether knowledge is instantiated in a Gettier-case), the reliability of the intuition in question does not depend on whether or not the intuition is widely shared. (shrink)

The topic of a priori knowledge is approached through the theory of evidence. A shortcoming in traditional formulations of moderate rationalism and moderate empiricism is that they fail to explain why rational intuition and phenomenal experience count as basic sources of evidence. This explanatory gap is filled by modal reliabilism -- the theory that there is a qualified modal tie between basic sources of evidence and the truth. This tie to the truth is then explained by the theory of concept (...) possession: this tie is a consequence of what, by definition, it is to possess (i.e., to understand) one’s concepts. A corollary of the overall account is that the a priori disciplines (logic, mathematics, philosophy) can be largely autonomous from the empirical sciences. (shrink)

Contemplating Art is a compendium of writings from the last ten years by one of the leading figures in aesthetics, Jerrold Levinson. The twenty-four essays range over issues in general aesthetics and those relating to specific arts--in particular music, film, and literature. It will appeal not only to philosophers but also to musicologists, literary theorists, art critics, and reflective lovers of the arts.

This book is concerned with the role of intuitions in the justification of philosophical theory. The author begins by demonstrating how contemporary philosophers, whether engaged in case-driven analysis or seeking reflective equilibrium, rely on intuitions as evidence for their theories. The author then provides an account of the nature of philosophical intuitions and distinguishes them from other psychological states. Finally, the author defends the use of intuitions as evidence by demonstrating that arguments for skepticism about their evidential value are either (...) self-defeating or guilty of arbitrary and unjustified partiality towards non-intuitive modes of knowledge. (shrink)

This is a long-awaited reissue of Jerrold Levinson's 1990 book which gathers together the writings that made him a leading figure in contemporary aesthetics. These highly influential essays are essential reading for debates on the definition of art, the ontology of art, emotional response to art, expression in art, and the nature of art forms.

The topic is experimental philosophy as a naturalistic movement, and its bearing on the value of intuitions in philosophy. This paper explores first how the movement might bear on philosophy more generally, and how it might amount to something novel and promising. Then it turns to one accomplishment repeatedly claimed for it already: namely, the discrediting of armchair intuitions as used in philosophy.

In this book, Sorensen presents the first general theory of the thought experiment. He analyses a wide variety of thought experiments, ranging from aesthetics to zoology, and explores what thought experiments are, how they work, and what their positive and negative aspects are. Sorensen also sets his theory within an evolutionary framework and integrates recent advances in experimental psychology and the history of science.

It is a commonplace that contemplation of an imaginary particular may have cognitive and motivational effects that differ from those evoked by an abstract description of an otherwise similar state of affairs. In his Treatise on Human Nature, Hume ([1739] 1978) writes forcefully of this.

What Is Aesthetic Pleasure? When is pleasure in an object properly denominated aesthetic? The characterization of aesthetic pleasure is something that ...

The grand and sweeping claims of many relativists might seem to amount to the argument that everything is relative--except the thesis of relativism. In this book, Steven Hales defends relativism, but in a more circumscribed form that applies specifically to philosophical propositions. His claim is that philosophical propositions are relatively true--true in some perspectives and false in others. Hales defends this argument first by examining rational intuition as the method by which philosophers come to have the beliefs they do. Analytic (...) rationalism, he claims, has a foundational reliance on rational intuition as a method of acquiring basic beliefs. He then argues that there are other methods that people use to gain beliefs about philosophical topics that are strikingly analogous to rational intuition and examines two of these: Christian revelation and the ritual use of hallucinogens. Hales argues that rational intuition is not epistemically superior to either of these alternative methods. There are only three possible outcomes: we have no philosophical knowledge ; there are no philosophical propositions ; or there are knowable philosophical propositions, but our knowledge of them is relative to doxastic perspective. Hales defends relativism against the charge that it is self-refuting and answers a variety of objections to this account of relativism. Finally, he examines the most sweeping objection to relativism: that philosophical propositions are not merely relatively true, because there are no philosophical propositions--all propositions are ultimately empirical, as the naturalists contend. Hales's somewhat disturbing conclusion--that intuition-driven philosophy does produce knowledge, but not absolute knowledge--is sure to inspire debate among philosophers. (shrink)

Matravers examines how emotions form the bridge between our experience of art and of life. We often find that a particular poem, painting, or piece of music carries an emotional charge; and we may experience emotions toward, or on behalf of, a particular fictional character. Matravers shows that what these experiences have in common, and what links them to the expression of emotion in non-artistic cases, is the role played by feeling. He carries out a critical survey of various accounts (...) of the nature of fiction, attacks contemporary cognitivist accounts of expression, and offers an uncompromising defense of a controversial view about musical expression: that music works by expressing the emotions it causes its listeners to feel. (shrink)