What is it for a picture to depict a scene? The most orthodox philosophical theory of pictorial representation holds that depiction is grounded in resemblance. A picture represents a scene in virtue of being similar to that scene in certain ways. This essay presents evidence against this claim: curvilinear perspective is one common style of depiction in which successful pictorial representation depends as much on a picture's systematic differences with the scene depicted as on the similarities; it cannot be analyzed (...) in terms of similarity alone. The same problem arises for many other kinds of depiction. The essay concludes that depiction in general is not grounded in resemblance but geometrical transformation. (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.

It is advisable to treat some sorts of discourse about fiction with the aid of an intensional operator "in such-And-Such fiction...." the operator may appear either explicitly or tacitly. It may be analyzed in terms of similarity of worlds, As follows: "in the fiction f, A" means that a is true in those of the worlds where f is told as known fact rather than fiction that differ least from our world, Or from the belief worlds of the community in (...) which the fiction originated. (shrink)

Aims to improve an understanding of the theoretical issues in response to the influence of fiction. Four things in narrative unreliability; Relation between narration in literary fictions and film; Comprehension of narrative essentially a matter of intentional inference; Fictions misdescribed; Asymmetry between literature and film; Ambiguity and unreliability; Implied author and narrator.

This paper examines a little studied type of perspective shift that I call protagonist projection, following Holton :625–628, 1997). PP is a way of describing the mental state of a protagonist that conveys, to some extent, her perspective. Similarly to its better known cousin free indirect discourse, the shift in perspective is achieved without an overt operator. Unlike FID, PP is not based on a presumed speech-act of a protagonist. Rather, it gives a linguistic form to pre-verbal perceptual content, sensations, (...) feelings or implicit beliefs. I propose to analyse PP in a bi-contextual framework, extending Eckardt’s approach to FID. Under the resulting analysis, FID and PP are two instances of a more general category of perspective shift. (shrink)

We argue that a formal semantics for music can be developed, although it will be based on very different principles from linguistic semantics and will yield less precise inferences. Our framework has the following tenets: Music cognition is continuous with normal auditory cognition. In both cases, the semantic content derived from an auditory percept can be identified with the set of inferences it licenses on its causal sources, analyzed in appropriately abstract ways. What is special about music semantics is that (...) it aggregates inferences based on normal auditory cognition with further inferences drawn on the basis of the behavior of voices in tonal pitch space. This makes it possible to define an inferential semantics but also a truth-conditional semantics for music. In particular, a voice undergoing a musical movement m is true of an object undergoing a series of events e just in case there is a certain structure-preserving map between m and e. Aspects of musical syntax might be derivable on semantic grounds from an event mereology, which also explains some cases in which tree structures are inadequate for music. Intentions and emotions may be attributed at several levels, and we speculate on possible explanations of the special relation between music and emotions. (shrink)

This paper examines the interplay of semantics and pragmatics within the domain of film. Films are made up of individual shots strung together in sequences over time. Though each shot is disconnected from the next, combinations of shots still convey coherent stories that take place in continuous space and time. How is this possible? The semantic view of film holds that film coherence is achieved in part through a kind of film language, a set of conventions which govern the relationships (...) between shots. In this paper, we develop and defend a new version of the semantic view. We articulate it for a pair of conventions that govern spatial relations between viewpoints. One such rule is already well-known; sometimes called the "180° Rule," we term it the X-Constraint; to this we add a previously unrecorded rule, the T-Constraint. As we show, both have the effect, in different ways, of limiting the way that viewpoint can shift through space from shot to shot over the course of a film sequence. Such constraints, we contend, are analogous to relations of discourse coherence that are widely recognized in the linguistic domain. If film is to have a language, it is a language made up of rules like these. (shrink)

Based on the analysis of narrations in Free Indirect Discourse and the Historical Present, we argue that the grammatical notion of context of speech should be ramified into a Context of Thought and a Context of Utterance. Tense and person depend on the Context of Utterance, while all other indexicals are evaluated with respect to the Context of Thought. Free Indirect Discourse and the Historical Present are analyzed as special combinatorial possibilities that arise when the two contexts are distinct, and (...) exactly one of them is presented as identical to the physical point at which the sentence is articulated. (shrink)

An assertion is a speech act in which something is claimed to hold, e.g. that there are infinitely many prime numbers, or, with respect to some time t, that there is a traffic congestion on Brooklyn Bridge at t, or, of some person x with respect to some time t, that x has a tooth ache at t. The concept of assertion has often occupied a central place in the philosophy of language, since it is often thought that making assertions (...) is the use of language most crucial to linguistic meaning, and since assertions are the natural expressions of cognitive attitudes, and hence of importance for theories of knowledge and belief. (shrink)

We propose an extension of Discourse Respresentation Theory (DRT) for analyzing pictorial narratives. We test drive our PicDRT framework by analyzing the way authors represent characters’ mental states and perception in comics. Our investigation goes beyond Abusch and Rooth (2017) in handling not just free perception sequences, but also a form of apparent perspective blending somewhat reminiscent of free indirect discourse.