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)

Many philosophers and psychologists argue that out everyday ability to predict and explain the actions and mental states of others is grounded in out possession of a primitive 'folk' psychological theory. Recently however, this theory has come under challenge from the simulation alternative. This alternative view says that human beings are able to predict and explain each other's actions by using the resources of their own minds to simulate the psychological aetiology of the actions of the others. This book and (...) the companion volume Folk Psychology: The Theory of Mind Debate together offer a richly woven fabric of philosophical and psychological theory, which promises to yield real insights into the nature of our mental lives. (shrink)

Beyond Aesthetics brings together philosophical essays addressing art and related issues by one of the foremost philosophers of art at work today. Countering conventional aesthetic theories - those maintaining that authorial intention, art history, morality and emotional responses are irrelevant to the experience of art - Noël Carroll argues for a more pluralistic and commonsensical view in which all of these factors can play a legitimate role in our encounter with art works. Throughout, the book combines philosophical theorizing with illustrative (...) examples including works of high culture and the avant-garde, as well as works of popular culture, jokes, horror novels, and suspense films. (shrink)

This classic and controversial book examines the roots of the idea of virtue, diagnoses the reasons for its absence in modern life, and proposes a path for its recovery.

In contrast to earlier accounts of the epistemic significance of narrative, it is argued that narrative is important in natural scientific knowledge. To recognize this, we must understand narrative not as a literary form in which knowledge is written, but as the temporal organization of the understanding of practical activity. Scientific research is a social practice, whereby researchers structure the narrative context in which past work is interpreted and significant possibilities for further work are projected. This narrative field displays a (...) constant tension between a need for a coherent, shared understanding of the field and the incoherence threatened by divergent projects and interpretations. The account has three parts. First, a summary of the general account of the narrative intelligibility of action which underlies the proffered view of narrative in science. This account is then applied to understanding how scientific work acquires significance, and how the scientific literature is constructed and read. Finally, it is shown how this account should transform our understanding of the unity of science, and it is suggested how it can help undercut various realist and anti?realist interpretations of scientific knowledge, while also challenging the ironic stance which many recent sociologists adopt toward the global legitimation of science attempted by many philosophers. (shrink)

Hailed by Lingua Franca as a "breakthrough book in aesthetics," this lucid and persuasive work explores unnoticed relations between art and everyday life. In a revised and expanded edition, David Novitz proposes a new and refreshingly different direction for the study of the philosophy of art.

This book examines the complex and varied ways in which fictions relate to the real world, and offers a precise account of how imaginative works of literature can use fictional content to explore matters of universal human interest. While rejecting the traditional view that literature is important for the truths that it imparts, the authors also reject attempts to cut literature off altogether from real human concerns. Their detailed account of fictionality, mimesis, and cognitive value, founded on the methods of (...) analytical philosophy, restores to literature its distinctive status among cultural practices. The authors also explore metaphysical and skeptical views, prevalent in modern thought, according to which the world itself is a kind of fiction, and truth no more than a social construct. They identify different conceptions of fiction in science, logic, epistemology, and make-believe, and thereby challenge the idea that discourse per se is fictional and that different modes of discourse are at root indistinguishable. They offer rigorous analyses of the roles of narrative, imagination, metaphor, and "making" in human thought processes. Both in their methods and in their conclusions, Lamarque and Olsen aim to restore rigor and clarity to debates about the values of literature, and to provide new, philosophically sound foundations for a genuine change of direction in literary theorizing. (shrink)

The volume focuses on a wide range of thinkers, including Iris Murdoch on truth and art, Stanley Cavell on tragedy, Roland Barthes and Michel Foucault on "the death of the author," and Kendall Walton on fearing fictions. Also included is a consideration of the fifteenth-century Japanese playwright and drama teacher Zeami Motokiyo, the founding father of Noh theather.

This is a book about literature—about the pleasures and benefits of reading it, the philosophical puzzles it throws up, the nature of literary criticism, and the confusions, as Peter Lamarque sees matters, of much contemporary theorizing about the literary. It is, in essence, a collection of essays on these various topics, twelve in all, of which all but three have been published elsewhere, over a period of some twenty years. Such collections can suffer from being fragmentary or insufficiently explicit about (...) the broader philosophical position lying behind the discussions of particular issues. Those faults are a little in evidence here, but Lamarque has worked hard to cure them. There is very little repetition, despite the frequent reappearance of some themes; there is also copious cross-referencing, and a first and a last chapter that aim, in different ways, to integrate the rest. (shrink)

Required reading at more than 100 colleges and universities throughout North America.

This book expands the concept of the nature of science and provides a practical research alternative for those who work with people and organizations.