Depiction is the form of representation distinctive of figurative paintings, drawings, and photographs. Accounts of depiction attempt to specify the relation something must bear to an object in order to depict it. Resemblance accounts hold that the notion of resemblance is necessary to the specification of this relation. Several difficulties with such analyses have led many philosophers to reject the possibility of an adequate resemblance account of depiction. This essay outlines these difficulties and argues that current resemblance accounts succumb to (...) them. It then develops an alternative resemblance account, drawing on Grice's account of nonnatural meaning and its role in determining sentence meaning to argue that something depicts an object if it bears intention-based resemblances to the object that jointly capture its overall appearance. In addition to solving the metaphysical problem of what it is for something to depict an object, this account also sheds significant light on the epistemological issue of how we are able to work out that something depicts an object. This essay argues that our ability to work out that something depicts an object results from both our more general ability to identify intentions from the products of communicative behavior and our knowledge of stylistic conventions. This account avoids the difficulties that face rival attempts to analyze depiction in terms of resemblance. It also clarifies and explains the features that distinguish depictive from nondepictive representation. (shrink)

I argue that maps do not feature predication, as analyzed by Frege and Tarski. I take as my foil (Casati and Varzi, Parts and places, 1999), which attributes predication to maps. I argue that the details of Casati and Varzi’s own semantics militate against this attribution. Casati and Varzi emphasize what I call the Absence Intuition: if a marker representing some property (such as mountainous terrain) appears on a map, then absence of that marker from a map coordinate signifies absence (...) of the corresponding property from the corresponding location. Predication elicits nothing like the Absence Intuition. “F(a)” does not, in general, signify that objects other than a lack property F. On the basis of this asymmetry, I argue that attaching a marker to map coordinates is a different mode of semantic composition than attaching a predicate to a singular term. (shrink)

In this paper, we address several puzzles concerning speech acts, particularly indirect speech acts. We show how a formal semantictheory of discourse interpretation can be used to define speech acts and to avoid murky issues concerning the metaphysics of action. We provide a formally precise definition of indirect speech acts, including the subclass of so-called conventionalized indirect speech acts. This analysis draws heavily on parallels between phenomena at the speech act level and the lexical level. First, we argue that, just (...) as co-predication shows that some words can behave linguistically as if they're `simultaneously' of incompatible semantic types, certain speech acts behave this way too. Secondly, as Horn and Bayer (1984) and others have suggested, both the lexicon and speech acts are subject to a principle of blocking or "preemption by synonymy": Conventionalized indirect speech acts can block their `paraphrases' from being interpreted as indirect speech acts, even if this interpretation is calculable from Gricean-style principles. We provide a formal model of this blocking, and compare it with existing accounts of lexical blocking. (shrink)

This paper aims to identify the constitutive rule of assertion, conceived by analogy with the rules of a game. That assertion has such rules is by no means obvious; perhaps it is more like a natural phenomenon than it seems. One way to find out is by supposing that it has such rules, in order to see where the hypothesis leads and what it explains. That will be done here. The hypothesis is not perfectly clear, of course, but we have (...) at least a crude conception of constitutive rules, which we may refine as we elaborate the hypothesis. Although no attempt will be made here to define ‘rule’, some remarks on constitutive rules will focus the discussion. (shrink)

I hear the patter of little feet around the house, I expect Bruce. What I expect is a cat, a particular cat. If I heard such a patter in another house, I might expect a cat but no particular cat. What I expect then seems to be a Meinongian incomplete cat. I expect winter, expect stormy weather, expect to shovel snow, expect fatigue---a season, a phenomenon, an activity, a state. I expect that someday mankind will inhabit at least five planets. (...) This time what I expect is a state of affairs. If we let surface grammar be our guide, the objects of expectation seem quite a miscellany. The same goes for belief, since expectation is one kind of belief. The same goes for desire: I could want Bruce, want a cat but no particular cat, want winter, want stormy weather, want to shovel snow, want fatigue, or want that someday mankind will inhabit at least five planets. The same goes for other attitudes to the extent that they consist partly of beliefs or desires or lacks thereof. But the seeming diversity of objects might be an illusion. Perhaps the objects of attitudes are uniform in category, and it is our ways of speaking elliptically about these uniform objects that are diverse. That indeed is our consensus. We mostly think that the attitudes uniformly have propositions as their objects. That is why we speak habitually of "propositional attitudes.". (shrink)

Deictic (or pointing) gestures are traditionally known to have a simple function: to supply something as the referent of a demonstrative linguistic expression. I argue that deixis can have a more complex function. A deictic gesture can be used to _say something_ in conversation and can thereby become a full discourse move in its own right. To capture this phenomenon, which I call _rich demonstration_, I present an update semantics on which deictic gestures can indicate situations from a conversation’s context (...) and those situations coherently connect to prior discourse to generate information. (shrink)

Recent advances in the Super Linguistics of pictures have laid the Super Semantic foundation for modelling the phenomena of narrative sequencing and co-reference in pictorial and mixed linguistic-pictorial discourses. We take up the question of how one arrives at the pragmatic interpretations of such discourses. In particular, we offer an analysis of: (i) the discourse composition problem: how to represent the joint meaning of a multi-picture discourse, (ii) observed differences in narrative sequencing in prima facie equivalent linguistic vs pictorial discourses, (...) and (iii) the phenomenon of co-referencing across pictures. We extend Segmented Discourse Representation Theory to spell out a formal Super Pragmatics that applies to linguistic, pictorial and mixed discourses, while respecting the particular ‘genius’ of either medium and computing their distinctive pragmatic interpretations. (shrink)

The distinction between lying and mere misleading is commonly tied to the distinction between saying and conversationally implicating. Many definitions of lying are based on the idea that liars say something they believe to be false, while misleaders put forward a believed-false conversational implicature. The aim of this paper is to motivate, spell out, and defend an alternative approach, on which lying and misleading differ in terms of commitment: liars, but not misleaders, commit themselves to something they believe to be (...) false. This approach entails that lying and misleading involve speech-acts of different force. While lying requires the committal speech-act of asserting, misleading involves the non-committal speech-act of suggesting. The approach leads to a broader definition of lying that can account for lies that are told while speaking non-literally or with the help of presuppositions, and it allows for a parallel definition of misleading, which so far is lacking in the debate. (shrink)

This paper aims to show that any account of how artworks lie must acknowledge (I) that artworks can lie at different levels of their content—what I call ‘surface’ and ‘deep’—and (II) that, for an artwork to lie at a given level, a norm of truthful communication such as Grice’s Maxim of Quality must apply to it. A corollary is that it’s harder than you might think for artworks to lie: Quality is not automatically ‘switched on’ during our engagement with art. (...) However, I show how a work’s curation and genre-membership can ‘switch on’ Quality, allowing artworks to lie at different levels. (shrink)

This paper analyses the communicative and epistemic value of retweeting (and more generally of reposting content on social media). Against a naïve view, it argues that retweets are not acts of endorsement, motivating this diagnosis with linguistic data. Retweeting is instead modelled as a peculiar form of quotation, in which the reported content is indicated rather than reproduced. A relevance-theoretic account of the communicative import of retweeting is then developed, to spell out the complex mechanisms by which retweets achieve their (...) communicative goals. The last section outlines the epistemic threats posed by the increasing prevalence of retweeting on social media, linking them to the low reputational, cognitive and practical costs linked to this emerging form of communication. (shrink)

Some speech acts are made indirectly. It is thus natural to think that assertions could also be made indirectly. Grice’s conversational implicatures appear to be just a case of this, in which one indirectly makes an assertion or a related constative act by means of a declarative sentence. Several arguments, however, have been given against indirect assertions, by Davis (1999), Fricker (2012), Green (2007, 2015), Lepore & Stone (2010, 2015) and others. This paper confronts and rejects three considerations that have (...) been made: arguments based on the distinction between lying and misleading; arguments based on the ordinary concept of assertion; and arguments based on the testimonial knowledge that assertions provide. (shrink)

Pictures are notably absent from the current debate about how to define lying. Theorists in this debate tend to focus on linguistic means of communication and do not consider the possibility of lying with photographs, drawings and other kinds of pictures. The aim of this paper is to show that such a narrow focus is misguided: there is a strong case to be made for the possibility of lying with pictures and this possibility allows for insights concerning the question of (...) how lying should be defined. (shrink)

It is widely held that all lies are assertions: the traditional definition of lying entails that, in order to lie, speakers have to assert something they believe to be false. It is also widely held that assertion contrasts with presupposition and, in particular, that one cannot assert something by presupposing it. Together, these views imply that speakers cannot lie with presuppositions—a view that Andreas Stokke has recently explicitly defended. The aim of this paper is to argue that speakers can lie (...) with presuppositions, and to discuss some of the implications this outcome has for current research on lying, assertion and presupposition. (shrink)

This essay argues for a model of pictorial representation which aims to explain the relationship between pictorial content and pictorial accuracy. Focusing on cases where pictures are intended to convey accurate information, the model distinguishes between two fundamental representational relations: on one hand, a picture expresses a content; on the other, it aims at a target scene. Such a picture is accurate when the content it expresses fits the target scene it aims at. In addition, the model follows the traditional (...) division of content into two aspects: singular content specifies the particular individuals which a picture is of, and attributive content specifies the properties and relations which the picture ascribes to those individuals. For a picture to be accurate, both aspects must be matched in the target. I call this the Three-Part Model because it distinguishes between the triad of factors, singular content, attributive content, and target, which together determine pictorial accuracy. Though previous work on depiction has not recognized the distinctive role played by target, I will argue that it is essential in order to make sense of accuracy judgements across a range of central cases. (shrink)

ABSTRACT Gareth Evans and Sven Rosenkranz have respectively formulated two objections to truth relativism that would show that this view does not cohere with our practice of asserting. I argue that the relativist should answer such objections by appealing to the notion of assessment sensitivity. Since the relativist accounts for this notion by means of a technical truth predicate relating propositions to contexts of assessment, the task left to her turns out to be to make sense of assessment sensitivity by (...) making sense of this predicate. RESUMO Gareth Evans e Sven Rosenkranz formularam, respectivamente, duas objeções ao relativismo da verdade que mostrariam que esta visão não é coerente com nossa prática de afirmar. Defendo que o relativista deve responder a tais objeções apelando à noção de sensibilidade da avaliação. Tendo em mente que o relativista considera essa noção por meio de um predicado de verdade técnica, a tarefa deixada para ele calha de ser dar sentido à sensibilidade da avaliação mediante dar sentido a esse predicado. (shrink)

Assertions are praised as true, informative, relevant, sincere, warranted, well-phrased, or polite. They are criticized as false, uninformative, irrelevant, insincere, unwarranted, ill-phrased, or rude. Sometimes they deserve such praise or criticism. If any respect in which performances of an act can deserve praise or criticism is a norm for that act, then the speech act of assertion has many norms. So has almost any act; jumps can deserve praise as long or brave, criticism as short or cowardly. But it is (...) natural to suppose that some norms are more intimately connected to the nature of asserting than any norm is to the nature of jumping. One might suppose, for example, that someone who knowingly asserts a falsehood has thereby broken a rule of assertion, much as if he had broken a rule of a game; he has cheated. On this view, the speech act, like a game and unlike the act of jumping, is constituted by rules. Thus, not all norms for assertion are on a par. Norms such as relevance, good phrasing, and politeness are just applications of more general cognitive or social norms to the specific act of assertion. Perhaps the norm of informativeness results from a more complex interaction between a general norm of cooperativeness and the nature of assertion as a source of information. But on this view, not all norms for assertion derive from more general norms; otherwise nothing would differentiate it from other speech acts. (shrink)

We intuitively make a distinction between _lying_ and _misleading_. On the explanation of this phenomenon favored here—the _adverbial_ account—the distinction tracks whether the content and its truth-committing force are literally conveyed. On an alternative _commitment_ account, the difference between lying and misleading is predicated instead on the strength of assertoric commitment. One lies when one presents with full assertoric commitment what one believes to be false; one merely misleads when one presents it without full assertoric commitment, by merely hinting or (...) otherwise implying it. Now, as predicted by the well-supported assumption that we can also assert with pictures, the lying/misleading distinction appears to intuitively show up there too. Here I’ll explain how the debate confronting the two accounts plays out both in general and in that case, aiming to provide support for the adverbial account. (shrink)

This book is the culmination of almost forty years of writing and thinking about speech acts and the use theory of meaning. Chapter 1 sets out and defends a version of the Austin-Searle trichotomy of a sentential act, i.e., uttering a sentence or surrogate, an illocutionary act, i.e., uttering a sentence with a certain "content" as reported by indirect speech, and a perlocutionary act, i.e., producing an effect on an audience by an utterance. Chapter 2 poses the question: what condition (...) C will turn an SA into an IA: F? Perhaps adding a perlocutionary intention to the effect that "U asserts that p only if U utters p with the intention of getting H to believe that p" will meet condition C. Alston argues, contra Schiffer, that it will not. Chapter 3 objects to Searle's analysis of sincere and non-defective promising, on the one hand, because there are too many ways a promise can be defective and, on the other hand, because some of Searle's conditions are not necessary for promising simpliciter. Alston proposes. (shrink)

Robert Hopkins’s Picture, Image and Experience aims to provide an account of pictorial representation that vindicates the intuitions of the many, namely that pictorial representation is a deeply visual phenomenon, that an explanation of pictorial representation needs to be based on an explanation of our experience of pictures, and that there must be some sense in the idea that pictures resemble their objects. Hopkins proposes that we can show what is correct in these intuitions by explaining pictures as representations that (...) depend on a distinctive sort of perceptual experience: experienced resemblance in outline shape between a picture and its object. Experienced resemblance in outline shape is the experience of sameness of the solid angle subtended by the contours on the pictorial surface and the solid angle subtended by the actual depicted objects. Pictures don’t resemble their objects but they are experienced as such and it is sameness of outline shape or sameness of subtended solid angles that secures this experience. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Kendall L. Walton FICTION, FICTION-MAKING, AND STYLES OF FICTIONALITY Both objectsandactions are said to have styles. Styles eire attributed to works of art, bathing suits, neckties, and automobiles. But we also think of styles as ways of doing things. There are styles of teaching, styles of chess playing, styles of travel. The primary notion of style is the one which attaches to actions. When we speak of die style (...) of a poem or a portrait or em automobile we do so with reference to an action or actions associated with the object, usually the action or actions which appear to have been performed in die making of it. I will not argue now for this claim about style except to note that style attributions eure peculietrly alien to objects which are not products of human action. What is the style of a tulip, or an alpine meadow, or a pristine lake in the high Sierras? Are the Grand Canyon and Yosemite Valley in the same style or different ones? Sunsets in the tropics are very different from sunsets in the arctic, but is die difference a stylistic one? We might allow that in unusual cases natured objects can have styles. A chorus ofchirping birds might, just conceivably, chirp in the style of Haydn. But die notion of style here is obviously parasitic on diat which is applied to man-made eirtifacts. To think of an object as having a style is to mink of it as a product of human action.1 If actions are the primary possessors of style, to understand styles of fictionality we must look at die action of fiction-meddng emd its relation to works of fiction. I will concentrate on the very basic question ofwhat fiction is, what it is for something to be a work of fiction, and on attempts to answer this question in terms of die action offiction-making. It has been especially fashionable to utilize die notion ofspeech acts introduced by John Austin in tackling this problem. The fictional status of a work is, supposedly, to be accounted for by what illocutionary actions were or were not performed by the artist producing it, or by connections between what the artist did and certain illocutionary actions. My assessment of mis program will be mostly negative. Speech-act theory is remarkably unhelpful in explaining what fiction is. We have here something ofa "Have dieory, will travel" syndrome. There is a tendency for theorists, when 78 Kendall L. Walton79 faced with a new problem, to dust off an old theory which they know emd love, one devised with other questions in mind, shove it into die breach, and pray mat it will fit. In this case it does not fit, and the result is confusion radier dian illumination. Lest I step on toes other man the ones I am aiming at, let me empheisize that my present concern is not with the viability of speech-act theory as a dieory of language. Nor do I mean to deny that speech-act theory can be used fruitfully to illuminate important features of literary fictions. I am now addressing only die basic question of what fiction is, how works of fiction are to be differentiated from odier things. Whatever the other merits of speech-act theory, its applications to this question have been distinctly infelicitous. From our discussion of such applications em even stronger conclusion will emerge, the conclusion that the nature of fiction is not to be explicated in terms of acts of fiction-making at all. The notion of fiction is in diis respect contrary to that of style, and certain consequences about styles of fictionality follow. I Speech-act theory has been brought to bear on the problem of the nature of fiction in a number of rather different ways. I will look at four of them. The first is the idea that works of fiction are simply texts (or other representations ) which are not vehicles of illocutionary acts. It is true mat in writing fiction an author typically does not perform the illocutionary acts that a person who uses the setme words in a nonfictional setting is likely to be performing... (shrink)

Many recent definitions of lying are based on the notion of what is said. This paper argues that says-based definitions of lying cannot account for lies involving non-literal speech, such as metaphor, hyperbole, loose use or irony. It proposes that lies should instead be defined in terms of assertion, where what is asserted need not coincide with what is said. And it points to possible implications this outcome might have for the ethics of lying.

The best books in the world are not the ones that give all the answers. These are books you read, agree with right away or are convinced by, and then that is that, and you do not have any use for them any more. The best books in the world are those that are full of provocative points of view and loose ends, rich examples and inconclusive discussions, and maybe even inconsequences and confusions, for to these books you must return (...) again and again, and their very inconclusiveness makes them take on new aspects every time you return to them with your own new background, and they will always be generous in giving stuff for new considerations and new ideas. (shrink)