This article is about the special, subjective concepts we apply to experience, called “phenomenal concepts”. They are of special interest in a number of ways. First, they refer to phenomenal experiences, and the qualitative character of those experiences whose metaphysical status is hotly debated. Conscious experience strike many philosophers as philosophically problematic and difficult to accommodate within a physicalistic metaphysics. Second, PCs are widely thought to be special and unique among concepts. The sense that there is something special about PCs (...) is very closely tied up with features of the epistemic access they afford to qualia. When we deploy phenomenal concepts introspectively to some phenomenally conscious experience as it occurs, we are said to be acquainted with our own conscious experiences. Accounts of PCs either have to explain the acquaintance relation, or acquaintance with our phenomenal experiences has to be denied. PCs have received much attention in recent philosophy of mind mainly because they figure in arguments for dualism and in physicalist responses to these arguments. The main topic of this paper is to explore different accounts of phenomenal concepts and their role in recent debates over the metaphysical status of phenomenal consciousness. (shrink)

Noel Carroll, film scholar and philosopher, offers the first serious look at the aesthetics of horror. In this book he discusses the nature and narrative structures of the genre, dealing with horror as a "transmedia" phenomenon. A fan and serious student of the horror genre, Carroll brings to bear his comprehensive knowledge of obscure and forgotten works, as well as of the horror masterpieces. Working from a philosophical perspective, he tries to account for how people can find pleasure in having (...) their wits scared out of them. What, after all, are those "paradoxes of the heart" that make us want to be horrified? (shrink)

But is not the word "metaphor" itself a metaphor, the metaphor of a displacement and therefore of a transfer in a kind of space? What is at stake is precisely the necessity of these spatial metaphors about metaphor included in our talk about "figures" of speech. . . . But in order to understand correctly the work of resemblance in metaphor and to introduce the pictorial or ironic moment at the right place, it is necessary briefly to recall the mutation (...) undergone by the theory of metaphor at the level of semantics by contrast with the tradition of classical rhetoric. In this tradition, metaphor was correctly described in terms of deviance, but this deviance was mistakenly ascribed to denomination only. Instead of giving a thing its usual common name, one designates it by means of a borrowed name, a "foreign" name in Aristotle's terminology. The rationale of this transfer of name was understood as the objective similarity between the things themselves or the subjective similarity between the attitudes linked to the grasping of these things. As concerns the goal of this transfer, it was supposed either to fill up a lexical lacuna, and therefore to serve the principle of economy which rules the endeavor of giving appropriate names to new things, new ideas, or new experiences, or to decorate discourse, and therefore to serve the main purpose of rhetorical discourse, which is to persuade and to please. Paul Ricoeur is professor of philosophy at the Université de Paris and John Nuveen Professor at the University of Chicago. He is editor of Revue de métaphysique et de morale and the author of many influential works on phenomenology, hermeneutics, and the philosophy of language. His most recent work to appear in English is The Rule of Metaphor: Multi-disciplinary Studies of the Creation of Meaning in Language. He has also contributed "Narrative Time" to Critical Inquiry. (shrink)

One of the most important issues concerning the foundations ofconscious perception centerson thequestion of whether perceptual consciousness is rich or sparse. The overflow argument uses a form of ‘iconic memory’ toarguethatperceptual consciousnessisricher (i.e.,has a higher capacity) than cognitive access: when observing a complex scene we are conscious of more than we can report or think about. Recently, the overflow argumenthas been challenged both empirically and conceptually. This paper reviews the controversy, arguing that proponents of sparse perception are committed to the (...) postulation of (i) a peculiar kind of generic conscious representation that has no independent rationale and (ii) an unmotivated form of unconscious representation that in some cases conflicts with what we know about unconscious representation. (shrink)

Imagination has been assigned an important explanatory role in a multitude of philosophical contexts. This paper examines four such contexts: mindreading, pretense, our engagement with fiction, and modal epistemology. Close attention to each of these contexts suggests that the mental activity of imagining is considerably more heterogeneous than previously realized. In short, no single mental activity can do all the explanatory work that has been assigned to imagining.

Involuntary memory was identified by the pioneering memory researcher Hermann Ebbinghaus more than a century ago, but it was not until very recently that cognitive psychologists began to study this memory phenomenon. This book is the first to examine key topics and cutting-edge research in involuntary memory. Discusses topics such as involuntary memories in everyday life, across the life-span, and in the laboratory; the special ways in which involuntary memories sometimes manifest themselves and a number of theoretical treatments of the (...) topic. Presents innovative research that not only represents the starting point of the study of involuntary memory, but also places it in such broader topics as autobiographical memory, consciousness and memory, aging and memory, implicit and explicit memory, depression, and psychosis. (shrink)

This treatise on aesthetics criticizes various psychological theories of art, offers new theories and interpretations, and draws important inferences concerning ...

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)

Perceptual attention is essential to both thought and agency, for there is arguably no demonstrative thought or bodily action without it. Psychologists and philosophers since William James have taken attention to be a ubiquitous and distinctive form of consciousness, one that leaves a characteristic mark on perceptual experience. As a process of selecting specific perceptual inputs, attention influences the way things perceptually appear. It may then seem that it is a specific feature of perceptual representation that constitutes what it is (...) like to consciously attend to an object. In fact conscious attention is more complicated. In what follows, I argue that the phenomenology of conscious attention to what is perceived involves not just a way of perceptually locking on to a specific object. It necessarily involves a way of cognitively locking on to it as well. (shrink)

This article is about the special, subjective concepts we apply to experience, called “phenomenal concepts”. They are of special interest in a number of ways. First, they refer to phenomenal experiences, and the qualitative character of those experiences whose metaphysical status is hotly debated. Conscious experience strike many philosophers as philosophically problematic and difficult to accommodate within a physicalistic metaphysics. Second, PCs are widely thought to be special and unique among concepts. The sense that there is something special about PCs (...) is very closely tied up with features of the epistemic access they afford to qualia. When we deploy phenomenal concepts introspectively to some phenomenally conscious experience as it occurs, we are said to be acquainted with our own conscious experiences. Accounts of PCs either have to explain the acquaintance relation, or acquaintance with our phenomenal experiences has to be denied. PCs have received much attention in recent philosophy of mind mainly because they figure in arguments for dualism and in physicalist responses to these arguments. The main topic of this article is to explore different accounts of phenomenal concepts and their role in recent debates over the metaphysical status of phenomenal consciousness. (shrink)

From Plato's Ion to works by contemporary philosophers, this anthology showcases classic texts to illuminate the development of philosophical thought about art and the aesthetic. This volume is the most comprehensive collection of readings on aesthetics and the philosophy of art currently available.

House. From cellar to garret. Significance of the hut -- House and universe -- Drawers, chests and wardrobes -- Nests -- Shells -- Corners -- Miniature -- Intimate immensity -- Dialectics of outside and inside -- Phenomenology of roundness.

What can we learn from fiction? I argue that we can learn about the consequences of a certain course of action by projecting ourselves, in imagination, into the situation of the fiction's characters.

Philosophers have traditionally inclined toward one of two opposite extremes when it comes to metaphor. On the one hand, partisans of metaphor have tended to believe that metaphors do something different in kind from literal utterances; it is a ‘heresy’, they think, either to deny that what metaphors do is genuinely cognitive, or to assume that it can be translated into literal terms. On the other hand, analytic philosophers have typically denied just this: they tend to assume that if metaphors (...) express any genuine content at all, then that content can in principle be paraphrased into literal terms. They often conclude on this basis that metaphor is theoretically dispensable, and so that it poses no special challenges and affords no distinctive insights for the philosophy of language and mind. (shrink)

In his novel Remembrance of Things Past, Marcel Proust argues that conventional descriptions of the phenomenology of consciousness are incomplete because they focus too much on the highly-salient sensory information that dominates each moment of awareness and ignore the network of associations that lies in the background. In this paper, I explicate Proust’s theory of conscious experience and show how it leads him directly to a theory of aesthetic perception. Proust’s division of awareness into two components roughly corresponds to William (...) James’ division of the stream of thought into a “nucleus” and “fringe.” Proust argues that the function of art is to evoke the underlying associative network indirectly in the mind of the observer by using carefully chosen sensory surfaces to control the stream of thought. I propose a possible neural basis for this Proustian/Jamesian phenomenology, and argue that the general principles of Proustian aesthetics can be applied to all forms of art. I conclude that a scientific theory of art should follow in a straightforward manner from a scientific theory of consciousness. (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.

1 Introduction 2 Perceptual Concepts 2.1 Perceptual Concepts are not Demonstrative 2.2 Perceptual Concepts as Stored Templates 2.3 Perceptual Semantics 2.4 Perceptually Derived Concepts 3 Phenomenal Concepts.

Experiences and beliefs are different sorts of mental states, and are often taken to belong to very different domains. Experiences are paradigmatically phenomenal, characterized by what it is like to have them. Beliefs are paradigmatically intentional, characterized by their propositional content. But there are a number of crucial points where these domains intersect. One central locus of intersection arises from the existence of phenomenal beliefs: beliefs that are about experiences.

considered an objection that he says he thought was first put to him by Max Black. He says.

What is attention? How does attention shape consciousness? In an approach that engages with foundational topics in the philosophy of mind, the theory of action, psychology, and the neurosciences this book provides a unified and comprehensive answer to both questions. Sebastian Watzl shows that attention is a central structural feature of the mind. The first half of the book provides an account of the nature of attention. Attention is prioritizing, it consists in regulating priority structures. Attention is not another element (...) of the mind, but constituted by structures that organize, integrate, and coordinate the parts of our mind. Attention thus integrates the perceptual and intellectual, the cognitive and motivational, and the epistemic and practical. The second half of the book concerns the relationship between attention and consciousness. Watzl argues that attentional structure shapes consciousness into what is central and what is peripheral. The center-periphery structure of consciousness cannot be reduced to the structure of how the world appears to the subject. What it is like for us thus goes beyond the way the world appears to us. On this basis, a new view of consciousness is offered. In each conscious experience we actively take a stance on the world we appear to encounter. It is in this sense that our conscious experience is our subjective perspective. (shrink)

Following the precedent set by Dorthe Berntsen’s 2009 book, Involuntary Autobiographical Memory, this paper asks whether the mechanisms responsible for involuntarily recollected memories are distinct from those that are responsible for voluntarily recollected ones. Berntsen conjectures that these mechanisms are largely the same. Recent work has been thought to show that this is mistaken, but the argument from the recent results to the rejection of Berntsen’s position is problematic, partly because it depends on a philosophically contentious view of voluntariness. Berntsen (...) herself shares this contentious view, but the defenders of her position can easily give it up. This paper explains how and why they should. (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)

Despite the initial strangeness of grouping Iris Murdoch (a Platonist), Martha Nussbaum (an Aristotelian), and Richard Rorty (a pragmatist) together, this paper will argue that these thinkers share a strong commitment to the moral purport of literature. I will also show that their shared idea of moral engagement through literature interlocks the individual’s sense of self and the world of others. After considering their accounts, I will conclude by raising the question of literature’s moral limits.

Noel Carroll, film scholar and philosopher, offers the first serious look at the aesthetics of horror. In this book he discusses the nature and narrative structures of the genre, dealing with horror as a "transmedia" phenomenon. A fan and serious student of the horror genre, Carroll brings to bear his comprehensive knowledge of obscure and forgotten works, as well as of the horror masterpieces. Working from a philosophical perspective, he tries to account for how people can find pleasure in having (...) their wits scared out of them. What, after all, are those "paradoxes of the heart" that make us want to be horrified? (shrink)

"--Robert Fagles, translator of Homer's "Iliad" "I finished "Dreaming by the Book" feeling that fundamental aspects of the nature of consciousness had been peeled open and exposed to view."--Stephen M. Kosslyn, author of "Image and Brain".

Matthew Soteriou provides an original philosophical account of sensory and cognitive aspects of consciousness. He explores distinctions of temporal character in our mental lives--especially in relation to the exercise of agency--and illuminates the more general issue of the place and role of mental action in the metaphysics of mind.

One way in which the characteristic gestures of philosophy and criticism differ from each other lies in their involvements with disillusionment, with the undoing of our naivete, especially regarding what we take ourselves to know about the meaning of what we say. Philosophy will often find less than we thought was there, perhaps nothing at all, in what we say about the “external” world, or in our judgments of value, or in our ordinary psychological talk. The work of criticism, on (...) the other hand, frequently disillusions by finding disturbingly more in what is said than we precritically thought was there. In our relation to the meaningfulness of what we say, there is a disillusionment of plentitude as well as of emptiness. And no doubt what is “less” for one discipline may be “more” of what someone else is looking for.In recent years, metaphor has attracted more than its share of both philosophical and critical attention, including philosophical denials of the obvious, as well as critical challenges to the obviousness of the ways we talk about metaphor. In this paper I discuss a problem of each sort and suggest a complex of relations between them. The particular denial of the obvious that I’m interested in is the claim recently made by Donald Davidson that “a metaphor doesn’t say anything beyond its literal meaning ,” nor is it even correct to speak of metaphor as a form of communication.1 There’s disillusionment with a vengeance; and even if not strictly believable, it is still not without its therapeutic value, as we shall see. 1. Donald Davidson, “What Metaphors Mean,” in On Metaphor, ed. Sheldon Sacks , p. 30; hereafter abbreviated “WMM.” Davidson’s view has found supporters among both philosophers and literary theorists. It is, for example, important to the early argument of Richard Rorty’s recent book. See his Contingency, Irony, and Solidarity , p. 18. Richard Moran is an assistant professor of philosophy at Princeton University. He is currently working on a book on subjectivity and contemporary concepts of personhood. (shrink)