Vagueness provides the first comprehensive examination of a topic of increasing importance in metaphysics and the philosophy of logic and language. Timothy Williamson traces the history of this philosophical problem from discussions of the heap paradox in classical Greece to modern formal approaches such as fuzzy logic. He illustrates the problems with views which have taken the position that standard logic and formal semantics do not apply to vague language, and defends the controversial realistic view that vagueness is a kind (...) of ignorance--that there really is a grain of sand whose removal turns a heap into a non-heap, but we cannot know which one it is. (shrink)

This essay contains a partial exploration of some key concepts associated with the epistemology of realist philosophies of science. It shows that neither reference nor approximate truth will do the explanatory jobs that realists expect of them. Equally, several widely-held realist theses about the nature of inter-theoretic relations and scientific progress are scrutinized and found wanting. Finally, it is argued that the history of science, far from confirming scientific realism, decisively confutes several extant versions of avowedly 'naturalistic' forms of scientific (...) realism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Literature as Fable, Fable as ArgumentLester H. HuntIIn an ancient Chinese text we find the following exchange between the Confucian sage Mencius and one of his adversaries:Kao Tzu said, "Human nature is like whirling water. Give it an outlet in the east and it will flow east; give an outlet in the west and it will flow west. Human nature does not show any preference for either good or (...) bad, just as water does not show any preference for either east or west.""It certainly is the case," said Mencius, "that water does not show any preference for either east or west, but does it show the same indifference to high and low? Human nature is good just as water seeks low ground. There is no man who is not good; there is no water that does not flow downwards."1The subject of this colloquy is a familiar one in philosophy as we know it in the West. Its form and style are also vaguely familiar: it is a clashing exchange of theories, in which the speakers do not seem to be speaking merely to express themselves, but in order to persuade others that they are right. Yet at the same time it seems quite alien to us. It would be hard to find anything in it that a Western philosopher since the time of Plato would recognize as an argument. The participants seem to be speaking entirely in illustrative analogies and clever aphorisms, not in arguments at all. The style seems to be literary rather than philosophical. Yet what they are doing does look curiously like arguing. There is a rhythm of statement and counter-statement, in which each speaker seems to be answering the claims of the other.A related, though different, sort of ambiguity, in which the author [End Page 369] really does seem to be both arguing and not arguing, can be found in the following text, traditionally attributed to a Westerner of the sixth century B.C.:Between the North Wind and the Sun, they say, a contest of this sort arose, to wit, which of the two would strip the goatskin from a farmer plodding on his way. The North Wind first began to blow as he does when he blows from Thrace, thinking by sheer force to rob the wearer of his cloak. And yet no more on that account did he, the man, relax his hold; instead he shivered, drew the borders of his garment tight about him every way, and rested with his back against a spur of rock. Then the Sun peeped forth, welcome at first, bringing the man relief from the cold, raw wind. Next, changing, he turned the heat on more, and suddenly the farmer felt too hot and of his own accord threw off the cloak, and so was stripped.Thus was the North Wind beaten in the contest. And the story means: "Cultivate gentleness, my son; you will get results oftener by persuasion than by the use of force."2Here Aesop, to use the traditional name for the author of this ancient fable, is plainly doing something "literary": he is telling a story. But narration in the Aesopian mode is never simply telling a story, and in this case what is present in addition to the story seems to have something logical about it. Personally, I read this fable with a certain sense, however faint, that I am being enlightened by it. That of course is Aesop's aim. He is not merely expressing his opinion, but in some way showing us the truth of it. This is the sort of thing that, in philosophy, is done through argument. However, as in the text from the Mencius, it seems there may be no argument here.Clearly, we are dealing with forms of persuasion that are common at certain times in the development of a culture: namely, those periods when the philosophical muse is a mere suckling babe. We are looking, one might think, at a level of development so rudimentary that the distinction between argument as we think of it today and other forms of persuasion has not been made... (shrink)

If novels can be arguments, that fact should shape logic or argumentation studies as well as literary studies. Two senses the term ‘narrative argument’ might have are (a) a story that offers an argument, or (b) a distinctive argument form. I consider whether there is a principled way of extracting a novel’s argument in sense (a). Regarding the possibility of (b), Hunt’s view is evaluated that many fables and much fabulist literature inherently, and as wholes, have an analogical argument structure. (...) I argue that a better account is that some novels inherently exhibit a transcendental argument structure. (shrink)

In the same way that it is possible - by a loosely specified class of more or less well accepted statements - to know the referent of an ordinary proper name, we can understand a name like "the Renaissance." But names of events and periods have an indeterminacy not shared by names of men; with holistic names, the criteria of identity for the kind of thing are fluid, while the analogous criteria for being a man are not. Despite this indeterminacy, (...) the conceptualization of events and periods is useful in historical inquiry, where general statements about events, periods, and institutions can be reconciled with statements about particular facts, and with the evidence. Holistic terms cannot reasonably be prohibited on philosophical grounds; their legitimate use is a problem historians must judge case by case. (shrink)

We explore the relationship between argument and narrative with reference to parables. Parables are typically thought to convey a message. In examining a parable, we can ask what that message is, whether the story told provides reasons for the message, and whether those reasons are good reasons. In exploring these questions, we employ as an inves-tigative technique the strategy of reconstructing parables as argu-ments. We then proceed to con-sider the cogency of those argu-ments. One can offer arguments through narratives and, (...) in particu-lar, through parables, but that do-ing so likely brings more risks than benefits, from an epistemic point of view. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Literature as Fable, Fable as ArgumentLester H. HuntIIn an ancient Chinese text we find the following exchange between the Confucian sage Mencius and one of his adversaries:Kao Tzu said, "Human nature is like whirling water. Give it an outlet in the east and it will flow east; give an outlet in the west and it will flow west. Human nature does not show any preference for either good or (...) bad, just as water does not show any preference for either east or west.""It certainly is the case," said Mencius, "that water does not show any preference for either east or west, but does it show the same indifference to high and low? Human nature is good just as water seeks low ground. There is no man who is not good; there is no water that does not flow downwards."1The subject of this colloquy is a familiar one in philosophy as we know it in the West. Its form and style are also vaguely familiar: it is a clashing exchange of theories, in which the speakers do not seem to be speaking merely to express themselves, but in order to persuade others that they are right. Yet at the same time it seems quite alien to us. It would be hard to find anything in it that a Western philosopher since the time of Plato would recognize as an argument. The participants seem to be speaking entirely in illustrative analogies and clever aphorisms, not in arguments at all. The style seems to be literary rather than philosophical. Yet what they are doing does look curiously like arguing. There is a rhythm of statement and counter-statement, in which each speaker seems to be answering the claims of the other.A related, though different, sort of ambiguity, in which the author [End Page 369] really does seem to be both arguing and not arguing, can be found in the following text, traditionally attributed to a Westerner of the sixth century B.C.:Between the North Wind and the Sun, they say, a contest of this sort arose, to wit, which of the two would strip the goatskin from a farmer plodding on his way. The North Wind first began to blow as he does when he blows from Thrace, thinking by sheer force to rob the wearer of his cloak. And yet no more on that account did he, the man, relax his hold; instead he shivered, drew the borders of his garment tight about him every way, and rested with his back against a spur of rock. Then the Sun peeped forth, welcome at first, bringing the man relief from the cold, raw wind. Next, changing, he turned the heat on more, and suddenly the farmer felt too hot and of his own accord threw off the cloak, and so was stripped.Thus was the North Wind beaten in the contest. And the story means: "Cultivate gentleness, my son; you will get results oftener by persuasion than by the use of force."2Here Aesop, to use the traditional name for the author of this ancient fable, is plainly doing something "literary": he is telling a story. But narration in the Aesopian mode is never simply telling a story, and in this case what is present in addition to the story seems to have something logical about it. Personally, I read this fable with a certain sense, however faint, that I am being enlightened by it. That of course is Aesop's aim. He is not merely expressing his opinion, but in some way showing us the truth of it. This is the sort of thing that, in philosophy, is done through argument. However, as in the text from the Mencius, it seems there may be no argument here.Clearly, we are dealing with forms of persuasion that are common at certain times in the development of a culture: namely, those periods when the philosophical muse is a mere suckling babe. We are looking, one might think, at a level of development so rudimentary that the distinction between argument as we think of it today and other forms of persuasion has not been made... (shrink)

The dialogical games introduced in Jaakko Hintikka, Information-Seeking Dialogues: A Model, (Erkenntnis, vol. 14, 1979) are studied here to answer the question as to what the natural logic or the logic of natural language is. In a natural language certain epistemic elements are not explicitly indicated, but they determine which inference rules are valid. By means of dialogical games, the question is answered: all classical first-order rules have to be modified in the same way in which some of them are (...) modified in the transition to intuitionistic logic. (Furthermore, in some cases quantificational rules have to be modified further.) The rules that are left unmodified by intuitionists are applicable only to the output of certain game rules, but not to others. In. this sense, neither classical nor yet intuitionistic logic is the logic of natural language. We need a new type of nonclassical logic, justified by our information-seeking dialogues. (shrink)

This essay surveys the present position of postmodernism with respect to the effect of its ideas upon historiography. For this purpose it looks at a number of writings by historians that have been a response to postmodernism including the recently published collection of articles, The Postmodern History Reader. The essay argues that, in contrast to scholars in the field of literary studies, the American historical profession has been much more resistant to postmodernist doctrines and that the latters' influence upon the (...) thinking and practice of historians is not only fading but increasingly destined to fade. The essay also presents a critical discussion of the current philosophy of postmodernism in its bearing upon historiography, directed chiefly against its claim that the world has undergone an epochal transition from the modern to a postmodern age; its theory of language and linguistic idealism; its opposition to historical realism and denial of the actuality of the past as a possible object of reference; and its theory of historical narrative as unconstrained fictional construction. This discussion includes a consideration of the work of postmodernist thinkers such as J.-F. Lyotard, of the recent books by David Roberts and Robert F. Berkhofer, Jr. which espouse a postmodernist theory of history, and of the narrativist theory of Hayden White. The essay also notes some of the reasons for postmodernism's appeal; and while it does not deny that postmodernist philosophy may have served a useful purpose in provoking historians to be more self-critical and aware of their presuppositions and procedures, it maintains that its skeptical and politicized view of historical inquiry is deeply mistaken, out of accord with the way historians themselves think about their work, and incapable of providing an understanding of historiography as a form of thought engaged in the attainment of knowledge and understanding of the human past. (shrink)

relative to the actual world) of a propositional theory are defined. A theory is ‘closer to the truth’ the logically stronger its positive content and the logically weaker its negative content. This proposal delivers the same verisimilar preordering of theories that has been defined by Brink and Heidema as a ‘power ordering’. The preordering may be collapsed to a partial ordering and then embedded into a complete distributive lattice. The preordering may also be refined to a partial ordering by employing (...) the ‘convex content’ and the ‘non-convex content’ of each theory. Philosophical implications and historical relations are discussed. (shrink)

Popper’s original definition of verisimilitude in terms of comparisons of truth content and falsity content has known counter-examples. More complicated approaches have met with mixed success. This paper uses a new account of logical content to develop a definition of verisimilitude that is close to Popper’s original account. It is claimed that Popper’s mistake was to couch his account of truth and falsity content in terms of true and false consequences. Comparison to a similar approach by Schurz and Wiengartner show (...) certain advantages of this new approach. (shrink)

This article engages with the arguments forwarded by Perez Zagorin against the possible consequences of postmodernism for history as it is currently conceived of particularly in its "proper" professional/academic form . In an overtly positioned response which issues from a close reading of Zagorin's text, I argue that his all-too-typical misunderstandings of postmodernism need to be "corrected"-not, however, to make postmodernism less of a threat to "history as we have known it," or to facilitate the assimilation of its useful elements (...) while exorcising its "extremes." My "corrections" instead forward the claim that, understood positively and integrated into those conditions of postmodernity which postmodernism variously articulates at the level of theory, such theory signals the possible "end of history," not only in its metanarrative styles but also in that particular and peculiar professional genre Zagorin takes as equivalent to history per se. And I want to argue that if this theory is understood in ways which choose not to give up the "discourse of emancipation" after the failure of its first attempt in the "experiment of modernity," then this ending can be considered "a good thing.". (shrink)