When we are invited to imagine an unacceptable moral proposition to be true in fiction, we feel resistance when we try to imagine it. Despite this, it is nonetheless possible to suppose that the proposition is true. In this paper, I argue that existing accounts of imaginative resistance are unable to explain why only attempts to imagine the truth of moral propositions cause resistance. My suggestion is that imagination, unlike supposition, involves mental imagery and imaginative resistance arises when imagery that (...) one has formed does not match unacceptable propositions. (shrink)

Fictions evoke imagery, and their value consists partly in that achievement. This paper offers analysis of this neglected topic. Section 2 identifies relevant philosophical background. Section 3 offers a working definition of imagery. Section 4 identifies empirical work on visual imagery. Sections 5 and 6 criticize imagery essentialism, through the lens of genuine fictional narratives. This outcome, though, is not wholly critical. The expressed spirit of imagery essentialism is to encourage philosophers to ‘put the image back into the imagination’. The (...) weakened conclusion is that while an image is not essential to imagining, it should be returned to our theories of imagination. (shrink)

One of the most promising trends both in the neuroscience of pain and in psychiatric treatments of chronic pain is the focus on mental imagery. My aim is to argue that if we take these findings seriously, we can draw very important and radical philosophical conclusions. I argue that what we pretheoretically take to be pain is partly constituted by sensory stimulation-driven pain processing and partly constituted by mental imagery. This general picture can explain some problematic cases of pain perception, (...) for example, phantom-limb pain, and it also has important consequences for some recent philosophical debates about the nature and content of pain. (shrink)

The aim of this paper is to argue that the phenomenal similarity between perceiving and visualizing can be explained by the similarity between the structure of the content of these two different mental states. And this puts important constraints on how we should think about perceptual content and the content of mental imagery.

What is the mental representation that is responsible for implicit bias? What is this representation that mediates between the trigger and the biased behavior? My claim is that this representation is neither a propositional attitude nor a mere association. Rather, it is mental imagery: perceptual processing that is not directly triggered by sensory input. I argue that this view captures the advantages of the two standard accounts without inheriting their disadvantages. Further, this view also explains why manipulating mental imagery is (...) among the most efficient ways of counteracting implicit bias. (shrink)

A common objection to sense-datum theories of perception is that they cannot give an adequate account of the fact that introspection indicates that our sensory experiences are directed on, or are about, the mind-independent entities in the world around us, that our sense experience is transparent to the world. In this paper I point out that the main force of this claim is to point out an explanatory challenge to sense-datum theories.

Now I may not be an educated man . . . But it seems to me to go against common sense to ask what the poet is ‘trying to say’. The poem isn’t a code for something easily understood. The poem is what he is trying to say.

Various aspects of poetic meaning are discussed, centred on the relation of form and content. A C Bradley's thesis of form-content identity, suitably reformulated, is defended against criticisms by Peter Kivy. It is argued that the unity of form-content is not discovered in poetry so much as demanded of it when poetry is read 'as poetry'. A shift of emphasis from talking about 'meaning' in poetry to talking about 'content' is promoted, as is a more prominent role for 'experience' in (...) characterising responses to poetry and its value. It is argued that the key to poetic meaning lies less in a theory of meaning, more in a theory of poetry, where what matters are modes of reading poetry. Content-identity in poetry is said to be 'interest-relative' such that no absolute answer, independent of the interests of the questioner, can determine when a poem and a paraphrase have the same content. Interpretation of poetry need not focus exclusively on meaning, but on ways in which the experience of a poem can be heightened. (shrink)

Metaphorical utterances are construed as falling into two broad categories, in one of which are cases amenable to analysis in terms of semantic content, speaker meaning, and satisfaction conditions, and where image-construction is permissible but not mandatory. I call these image-permitting metaphors, and contrast them with image-demanding metaphors comprising a second category and whose understanding mandates the construction of a mental image. This construction, I suggest, is spontaneous, is not restricted to visual imagery, and its result is typically somatically marked (...) sensu Damasio. IDM’s are characteristically used in service of self-expression, and thereby in the elicitation of empathy. Even so, IDM’s may reasonably provoke banter over the aptness of the imagery they evoke. (shrink)

The concept of metaphor as primarily a vehicle for conveying ideas, even if unusual ones, seems to me as wrong as the parent idea that a metaphor has a special meaning. I agree with the view that metaphors cannot be paraphrased, but I think this is not because metaphors say something too novel for literal expression but because there is nothing there to paraphrase. Paraphrase, whether possible or not, inappropriate to what is said: we try, in paraphrase, to say it (...) another way. But if I am right, a metaphor doesn't say anything beyond its literal meaning . This is not, of course, to deny that a metaphor has a point, nor that that point can be brought out by using further words. . . . My disagreement is with the explanation of how metaphor works its wonders. To anticipate: I depend on the distinction between what words mean and what they are used to do. I think metaphor belongs exclusively to the domain of use. It is something brought off by the imaginative employment of words and sentences and depends entirely on the ordinary meanings of those words and hence on the ordinary meanings of the sentences they comprise. Donald Davidson is University Professor of philosophy at the University of Chicago. He is the author of many important essays, including "Actions, Reasons and Causes," "Causal Relations," and "Truth and Meaning," coauthor of Decision-Making: An Experimental Approach, and coeditor of Words and Objections, Semantics of Natural Language, and The Logic of Grammar. (shrink)

The concept of metaphor as primarily a vehicle for conveying ideas, even if unusual ones, seems to me as wrong as the parent idea that a metaphor has a special meaning. I agree with the view that metaphors cannot be paraphrased, but I think this is not because metaphors say something too novel for literal expression but because there is nothing there to paraphrase. Paraphrase, whether possible or not, inappropriate to what is said: we try, in paraphrase, to say it (...) another way. But if I am right, a metaphor doesn't say anything beyond its literal meaning. This is not, of course, to deny that a metaphor has a point, nor that that point can be brought out by using further words.... My disagreement is with the explanation of how metaphor works its wonders. To anticipate: I depend on the distinction between what words mean and what they are used to do. I think metaphor belongs exclusively to the domain of use. It is something brought off by the imaginative employment of words and sentences and depends entirely on the ordinary meanings of those words and hence on the ordinary meanings of the sentences they comprise. Donald Davidson is University Professor of philosophy at the University of Chicago. He is the author of many important essays, including "Actions, Reasons and Causes," "Causal Relations," and "Truth and Meaning," coauthor of Decision-Making: An Experimental Approach, and coeditor of Words and Objections, Semantics of Natural Language, and The Logic of Grammar. (shrink)

Martin Davies; V*—Idiom and Metaphor, Proceedings of the Aristotelian Society, Volume 83, Issue 1, 1 June 1983, Pages 67–86, https://doi.org/10.1093/aristotelia.

Why is there a long-standing debate about paraphrase in poetry? Everyone agrees that paraphrase can be useful; everyone agrees that paraphrase is no substitute for the poem itself. What is there to disagree about? Perhaps this: whether paraphrase can specify everything that counts as a contribution to the meaning of a poem. There are, we say, two ways to take the question; on one way of taking it, the answer is that paraphrase cannot. Does this entail that there is meaning (...) mysteriously locked in a poem, meaning that cannot be represented in any way other than via the poem itself? If that were so it would have profound implications for poetry’s capacity to convey insight. We suggest reasons for thinking that the entailment does not hold. Throughout, we connect the traditional debate over paraphrase, which has largely been conducted within the fields of philosophy and literary theory, with recent empirically oriented thinking about the communicability of meaning, represented by work in pragmatics. We end with a suggestion about what is to count as belonging to meaning, and what as merely among the things that determine meaning. (shrink)

What is the relationship between perception and mental imagery? I aim to eliminate an answer that I call perceptualism about mental imagery. Strong perceptualism, defended by Bence Nanay, predictive processing theorists, and several others, claims that imagery is a kind of perceptual state. Weak perceptualism, defended by M. G. F. Martin and Matthew Soteriou, claims that mental imagery is a representation of a perceptual state, a view sometimes called The Dependency Thesis. Strong perceptualism is to be rejected since it misclassifies (...) imagery disorders and abnormalities as perceptual disorders and abnormalities. Weak Perceptualism is to be rejected since it gets wrong the aim and accuracy conditions of a whole class of mental imagery–projected mental imagery–and relies on an impoverished concept of perceptual states, ignoring certain of their structural features. Whatever the relationship between perception and imagery, the perceptualist has it wrong. (shrink)

I propose that an account of metaphor understanding which covers the full range of cases has to allow for two routes or modes of processing. One is a process of rapid, local, on-line concept construction that applies quite generally to the recovery of word meaning in utterance comprehension. The other requires a greater focus on the literal meaning of sentences or texts, which is metarepresented as a whole and subjected to more global, reflective pragmatic inference. The questions whether metaphors convey (...) a propositional content and what role imagistic representation plays receive somewhat different answers depending on the processing route. (shrink)

Recent research in psycholinguistics suggests that language processing frequently involves mental imagery. This paper focuses on visual imagery and discusses two issues regarding the processing of polysemous words (i.e. words with multiple related meanings or senses) – co-predication and sense-relatedness. It aims to show how mental imagery can illuminate these two issues.

When I am looking at my coffee machine that makes funny noises, this is an instance of multisensory perception – I perceive this event by means of both vision and audition. But very often we only receive sensory stimulation from a multisensory event by means of one sense modality, for example, when I hear the noisy coffee machine in the next room, that is, without seeing it. The aim of this paper is to bring together empirical findings about multimodal perception (...) and empirical findings about (visual, auditory, tactile) mental imagery and argue that on occasions like this, we have multimodal mental imagery: perceptual processing in one sense modality (here: vision) that is triggered by sensory stimulation in another sense modality (here: audition). Multimodal mental imagery is not a rare and obscure phenomenon. The vast majority of what we perceive are multisensory events: events that can be perceived in more than one sense modality – like the noisy coffee machine. And most of the time we are only acquainted with these multisensory events via a subset of the sense modalities involved – all the other aspects of these multisensory events are represented by means of multisensory mental imagery. This means that multisensory mental imagery is a crucial element of almost all instances of everyday perception. (shrink)