Neither art nor philosophy was kind to beauty during the twentieth century. Much modern art disdains beauty, and many philosophers deeply suspect that beauty merely paints over or distracts us from horrors. Intellectuals consigned the passions of beauty to the margins, replacing them with the anemic and rarefied alternative, "aesthetic pleasure." In Only a Promise of Happiness, Alexander Nehamas reclaims beauty from its critics. He seeks to restore its place in art, to reestablish the connections among art, beauty, and desire, (...) and to show that the values of art, independently of their moral worth, are equally crucial to the rest of life.Nehamas makes his case with characteristic grace, sensitivity, and philosophical depth, supporting his arguments with searching studies of art and literature, high and low, from Thomas Mann's Death in Venice and Manet's Olympia to television. Throughout, the discussion of artworks is generously illustrated.Beauty, Nehamas concludes, may depend on appearance, but this does not make it superficial. The perception of beauty manifests a hope that life would be better if the object of beauty were part of it. This hope can shape and direct our lives for better or worse. We may discover misery in pursuit of beauty, or find that beauty offers no more than a tantalizing promise of happiness. But if beauty is always dangerous, it is also a pressing human concern that we must seek to understand, and not suppress. (shrink)

How do hearers manage to understand speakers? And how do speakers manage to shape hearers' understanding? Lepore and Stone show that standard views about the workings of semantics and pragmatics are unsatisfactory. They advance an alternative view which better captures what is going on in linguistic communication.

In the pair of articles of which this is the first, I shall present a set of problems and philosophical proposals that have in recent years been associated with the term “relativism”. All these problems and proposals concern the question of how we should represent thought and speech about certain topics. The main issue here is whether we should model such mental states or linguistic acts as involving representational contents that are absolutely correct or incorrect, or whether, alternatively, their correctness (...) should be thought of as varying with some (more or less surprising) factor. In this, first, article, I shall discuss the general issue of relativism about representational content. I shall claim that there are legitimate ways of attributing contents that are absolute truth-bearers, and there are also equally legitimate ways of attributing relativistic representational contents. In the companion piece “Relativism 2: Semantic Content”, I look in more detail at the more specific question whether semantic contents (i.e. the contents assigned to linguistic utterances in the semantics of natural language) should be construed in an absolutist or a relativist way. (shrink)

In the pair of articles of which this is the second, I present a set of problems and philosophical proposals that have in recent years been associated with the term “relativism”. These problems are related to the question of how we should represent thought and speech about certain topics. The main issue is whether we should model such mental states or linguistic acts as involving representational contents that are absolutely correct or incorrect, or whether, alternatively, their correctness should be thought (...) of as varying with some (more or less surprising) factor. In the first article, “Relativism 1: Representational Content”, I discussed the general issue of relativism about representational content. I argued for the conciliatory view that both relativist and absoutist conceptions of representational content can be legitimate. In the present continuation, I look in more detail at a special case of the general issue, namely the question of whether semantic contents, i.e. the contents assigned to linguistic utterances in the semantics of natural language, should be construed in an absolutist or in a relativist way. (shrink)

This article surveys a range of current views on the semantics of imperatives, presenting them as more or less conservative with respect to the Truth-Conditional Paradigm in semantics. It describes and critiques views at either extreme of this spectrum: accounts on which the meaning of an imperative is a modal truth-condition, as well as various accounts that attempt to explain imperative meaning without making use of truth-conditions. It briefly describes and encourages further work on a family of views lying somewhere (...) in the middle. On such views, an imperative will semantically determine, without having as its meaning, a modal truth-condition, which figures centrally in accounting for various aspects of its meaning. (shrink)

I want to suggest a point in metaphor which is independent of the question of its cognitivity and which has nothing to do with its aesthetical character. I think of this point as the achievement of intimacy. There is a unique way in which the maker and the appreciator of a metaphor are drawn closer to one another. Three aspects are involved: the speaker issues a kind of concealed invitation; the hearer expends a special effort to accept the invitation; and (...) this transaction constitutes the acknowledgement of a community. All three are involved in any communication, but in ordinary literal discourse their involvement is so persuasive and routine that they go unremarked. The use of metaphor throws them into relief, and there is a point in that. An appreciator of a metaphor must do two things: he must realize that the expression is a metaphor, and he must figure out the point of the expression. His former accomplishment induces him to undertake the latter. Realizing the metaphorical character of an expression is often easy enough; it requires only the assumption that the speaker is not simply speaking absurdly or uttering a patent falsehood. But it can be a more formidable task: not every figurative expression which can survive a literal reading is a mere play on words. Ted Cohen is chairman of the department of philosophy at the University of Chicago. He has written on language, aesthetics, and taste and has coedited a collection entitled Essays on Kant's Aesthetics. His contribution to Critical Inquiry, "Reflexions on Las Meninas: Paradox Lost", was written with Joel Snyder in the Winter 1980 issue. (shrink)

A discussion of Kant's aesthetics and their place in the philosopher's theory offers a new interpretation of Kant's writings on the nature of the beautiful.

John MacFarlane explores how we might make sense of the idea that truth is relative. He provides new, satisfying accounts of parts of our thought and talk that have resisted traditional methods of analysis, including what we mean when we talk about what is tasty, what we know, what will happen, what might be the case, and what we ought to do.

The Critique of the Power of Judgment (a more accurate rendition of what has hitherto been translated as the Critique of Judgment) is the third of Kant's great critiques following the Critique of Pure Reason and the Critique of Practical Reason. This entirely new translation of Kant's masterpiece follows the principles and high standards of all other volumes in The Cambridge Edition of the Works of Immanuel Kant. This volume includes: for the first time the indispensable first draft of Kant's (...) introduction to the work; the only English edition notes to the many differences between the first (1790) and second (1793) editions of the work; and relevant passages in Kant's anthropology lectures where he elaborated on his aesthetic views. All in all this new edition offers the serious student of Kant a dramatically richer, more complete and more accurate translation. (shrink)

Aesthetic judgements are autonomous, as many other judgements are not: for the latter, but not the former, it is sometimes justifiable to change one's mind simply because several others share a different opinion. Why is this? One answer is that claims about beauty are not assertions at all, but expressions of aesthetic response. However, to cover more than just some of the explananda, this expressivism needs combining with some analogue of cognitive command, i.e. the idea that disagreements over beuaty can (...) occur, and when they do it is a priori that one side has infringed the norms governing aesthetic discourse. This combination can be achieved by reading Kant’s aesthetic theory in expressivist terms. The resulting view is a form of quasi-realism about beauty. The position has its merits, but cannot ultimately explain the phenomena which motivate it. This conclusion generalises to quasi-realism about other matters. (shrink)

The relativist's central objection to contextualism is that it fails to account for the disagreement we perceive in discourse about "subjective" matters, such as whether stewed prunes are delicious. If we are to adjudicate between contextualism and relativism, then, we must first get clear about what it is for two people to disagree. This question turns out to be surprisingly difficult to answer. A partial answer is given here; although it is incomplete, it does help shape what the relativist must (...) say if she is to do better than the contextualist in securing genuine disagreement. (shrink)

This paper argues that truth values of sentences containing predicates of “personal taste” such as fun or tasty must be relativized to individuals. This relativization is of truth value only, and does not involve a relativization of semantic content: If you say roller coasters are fun, and I say they are not, I am negating the same content which you assert, and directly contradicting you. Nonetheless, both our utterances can be true (relative to their separate contexts). A formal semantic theory (...) is presented which gives this result by introducing an individual index, analogous to the world and time indices commonly used, and by treating the pragmatic context as supplying a particular value for this index. The context supplies this value in the derivation of truth values from content, not in the derivation of content from character. Predicates of personal taste therefore display a kind of contextual variation in interpretation which is unlike the familiar variation exhibited by pronouns and other indexicals. (shrink)

This paper argues against relativism, focusing on relativism based on the semantics of predicates of personal taste. It presents and defends a contextualist semantics for these predicates, derived from current work on gradable adjectives. It then considers metasemantic questions about the kinds of contextual parameters this semantics requires. It argues they are not metasemantically different from those in other gradable adjectives, and that contextual parameters of this sort are widespread in natural language. Furthermore, this paper shows that if such parameters (...) are rejected, it leads to an unacceptably rampant form of relativism, that relativizes truth to an open-ended list of parameters. (shrink)

A theory of aesthetic value should explain what makes aesthetic value good. Current views about what makes aesthetic value good privilege the individual’s encounter with aesthetic value—listening to music, reading a novel, writing a poem, or viewing a painting. What makes aesthetic value good is its benefit to the individual appreciator. But engagement with aesthetic value is often a social, participatory matter: sharing and discussing aesthetic goods, imitating aesthetic agents, dancing, cooking, dining, or making music together. This article argues that (...) we should understand aesthetic value in a way that centers these social forms of aesthetic engagement. To this end, the article argues that there is a social practice of aesthetic valuing, characterized as a participatory practice governed by the value of aesthetic community, which engages us in the social development of our capacities for discretionary valuing and volitional openness. Current theories of aesthetic value have trouble capturing the character of the practice of aesthetic valuing, and this motivates a novel communitarian theory of aesthetic value: aesthetic value is what is worthy of engagement in the social practice of aesthetic valuing. (shrink)

Simple sentences containing predicates like "tasty" and "beautiful" typically suggest that the speaker has first-hand knowledge of the item being evaluated. I consider two explanations of this acquaintance inference: a presuppositional approach and a pragmatic-epistemic approach. The presuppositional approach has a number of virtues, but runs into trouble because the acquaintance inference has a very different projection pattern from that of standard presuppositions. The pragmatic-epistemic approach accounts for the main data discussed in the paper, but faces challenges of its own.

Our paradigms of aesthetic value condition the philosophical questions we pose and hope to answer about it. Theories of aesthetic value are typically individualistic, in the sense that the paradigms they are designed to capture, and the questions to which they are offered as answers, center the individual’s engagement with aesthetic value. Here I offer some considerations that suggest that such individualism is a mistake and sketch a communitarian way of posing and answering questions about the nature of aesthetic value.

Our life with art is suffused with trust. We don’t just trust one another’s aesthetic testimony; we trust one another’s aesthetic actions. Audiences trust artists to have made it worth their while; artists trust audiences to put in the effort. Without trust, audiences would have little reason to put in the effort to understand difficult and unfamiliar art. I offer a theory of aesthetic trust, which highlights the importance of trust in aesthetic sincerity. We trust in another’s aesthetic sincerity when (...) we rely on them to fulfill their commitments to act for aesthetic reasons — rather than for, say, financial, social, or political reasons. We feel most thoroughly betrayed by an artist, not when they make bad art, but when they sell out. This teaches us something about the nature of trust in general. According to many standard theories, trust involves thinking the trusted to be cooperative or good-natured. But trust in aesthetic sincerity is different. We trust artists to be true to their own aesthetic sensibility, which might involve selfishly ignoring their audience’s needs. Why do we care so much about an artist’s sincerity, rather than merely trusting them to make good art? We emphasize sincerity when wish to encourage originality, rather than to demand success along predictable lines. And we ask for sincerity when our goal is to discover a shared sensibility. In moral life, we often try to force convergence through coordinated effort. But in aesthetic life, we often hope for the lovely discovery that our sensibilities were similar all along. And for that we need to ask for sincerity, rather than overt coordination. (shrink)

There seems to be a deep tension between two aspects of aesthetic appreciation. On the one hand, we care about getting things right. On the other hand, we demand autonomy. We want appreciators to arrive at their aesthetic judgments through their own cognitive efforts, rather than deferring to experts. These two demands seem to be in tension; after all, if we want to get the right judgments, we should defer to the judgments of experts. The best explanation, I suggest, is (...) that aesthetic appreciation is something like a game. When we play a game, we try to win. But often, winning isn’t the point; playing is. Aesthetic appreciation involves the same flipped motivational structure: we aim at the goal of correctness, but having correct judgments isn’t the point. The point is the engaged process of interpreting, investigating, and exploring the aesthetic object. Deferring to aesthetic testimony, then, makes the same mistake as looking up the answer to a puzzle, rather than solving it for oneself. The shortcut defeats the whole point. This suggests a new account of aesthetic value: the engagement account. The primary value of the activity of aesthetic appreciation lies in the process of trying to generate correct judgments, and not in having correct judgments. -/- *There is an audio version available: look for the Soundcloud link, below.*. (shrink)

I explore how we negotiate sexual encounters with one another in language and consider the pragmatic structure of such negotiations. I defend three theses: Discussions of consent have dominated the philosophical and legal discourse around sexual negotiation, and this has distorted our understanding of sexual agency and ethics. Of central importance to good-quality sexual negotiation are sexual invitations and gift offers, as well as speech designed to set up safe frameworks and exit conditions. Sexual communication that goes well does not (...) just prevent harm; it enables forms of agency, pleasure, and fulfillment that would not otherwise be possible. (shrink)

Being able to ask others to do things, and thereby giving them reasons to do those things, is a prominent feature of our interpersonal lives. In this paper, I discuss the distinctive normative status of requests – what makes them different from commands and demands. I argue for a theory of this normative phenomenon which explains the sense in which the reasons presented in requests are a matter of discretion. This discretionary quality, I argue, is something that other theories cannot (...) accommodate, though it is a significant aspect of the relations that people stand in to one another, and the kinds of practical reasons that flow from those relations. (shrink)

ABSTRACTEvaluative aesthetic discourse communicates that the speaker has had first-hand experience of what is talked about. If you call a book bewitching, it will be assumed that you have read the book. If you say that a building is beautiful, it will be assumed that you have had some visual experience with it. According to an influential view, this is because knowledge is a norm for assertion, and aesthetic knowledge requires first-hand experience. This paper criticizes this view and argues for (...) an alternative view, according to which aesthetic discourse expresses affective states of mind, analogously to how assertions express beliefs. It is because these affective states require first-hand experience that aesthetic discourse communicates that such acquaintance is at hand. The paper furthermore argues that the lack of an experience requirement for aesthetic belief ascriptions constitutes a problem for the kind of expressivist who claims that evaluative belief states are covert non-cognitive states. (shrink)

We argue that the aesthetic domain falls inside the scope of rationality, but does so in its own way. Aesthetic judgment is a stance neither on whether a proposition is to be believed nor on whether an action is to be done, but on whether an object is to be appreciated. Aesthetic judgment is simply appreciation. Correlatively, reasons supporting theoretical, practical and aesthetic judgments operate in fundamentally different ways. The irreducibility of the aesthetic domain is due to the fact that (...) aesthetic judgment is a sensory-affective disclosure of, and responsiveness to, merit: it is a feeling that presents an object, and is responsive to it, as worthy of being liked. Aesthetic judgment is thus shown to be, on the hand, first personal and non-transferable; and, on the other hand, a presentation of reality. We thereby capture what is right in both subjectivist and objectivist conceptions of aesthetic judgment. (shrink)

Most recent discussions of reasons in art criticism focus on reasons that justify beliefs about the value of artworks. Reviving a long-neglected suggestion from Paul Ziff, I argue that we should focus instead on art-critical reasons that justify actions—namely, particular ways of engaging with artworks. I argue that a focus on practical rather than theoretical reasons yields an understanding of criticism that better fits with our intuitions about the value of reading art criticism, and which makes room for a nuanced (...) distinction between criticism that aims at universality and criticism that is resolutely personal. (shrink)

How can expressivists make sense of the practice of communication? If communication is not a joint enterprise aimed at sharing information about the world, why do we engage in communication the way we do? Call this *the problem of communication*. Starting from basic assumptions about the rationality of speakers and the nature of assertion, we argue that speakers engaging in conversation about normative matters must presuppose that there is a unique normative standard on which the attitudes of conversational participants ought (...) to converge. This gives the beginning of a solution to the problem of communication on behalf of expressivists. (shrink)

Beauty is a contested concept insofar as it seeks to mark a categorical distinction among the sources of pleasure, typically in terms of oppositions such as objective/subjective, universal/particular, necessity/contingency. Kant represents a culmination of this tradition in defining the judgment of beauty in terms of the requirement for universal agreement, modeling the judgment of beauty as closely as possible to ordinary factual judgments. A different tradition of thinking about beauty, however, while still seeking to mark a categorical distinction by reference (...) to the idea of necessity, finds the relevant sense of necessity not in conditions of agreement but necessities of erotic love and the sense of requirement felt toward its objects. This paper explores the consequences of taking this other tradition seriously, using Proust as a representative exemplar, as a way both of making sense of some of the features Kant ascribes to the concept of the beautiful, while avoiding the paradoxes stemming from his focus on the conditions for universal agreement. (shrink)

What is it for marks or sounds to have meaning, and what is it for someone to mean something in producing them? Answering these and related questions, Schiffer explores communication, speech acts, convention, and the meaning of linguistic items in this reissue of a seminal work on the foundations of meaning. A new introduction takes account of recent developments and places his theory in a broader context.

“There’s no disputing about taste.” That’s got a nice ring to it, but it’s not quite the ring of truth. While there’s definitely something right about the aphorism – there’s a reason why it is, after all, an aphorism, and why its utterance tends to produce so much nodding of heads and muttering of “just so” and “yes, quite” – it’s surprisingly difficult to put one’s finger on just what the truth in the neighborhood is, exactly. One thing that’s pretty (...) clear is that what’s right about the aphorism, that there’s no disputing about taste, isn’t that there’s no disputing about taste. There’s heaps of disputing about taste. People engage in disputes about which movies, music, paintings, literature, meals, furniture, architectural styles, etc. are good, beautiful, tasty, fun, elegant, ugly, disgusting, etc. all the time. This is obvious to anyone who has watched dueling-movie-critics shows, read theater reviews, or negotiated with a group or partner about which movie or restaurant to go to, or which sofa or painting to put in the living room. It takes great care and good aim to fling a brick without hitting somebody who’s engaged in a dispute about taste. (shrink)

For centuries, philosophers have identified beauty with what brings pleasure. Dominic McIver Lopes challenges this interpretation by offering an entirely new theory of beauty - that beauty engages us in action, in concert with others, in the context of social networks - and sheds light on why aesthetic engagement is crucial for quality of life.

I defend the view that linguistic meaning is a relation borne by an expression to a type of speech act, and that this relation holds in virtue of our overlapping communicative dispositions, and not in virtue of linguistic conventions. I argue that this theory gives the right account of the semantics–pragmatics interface and the best-available semantics for non-declarative clauses, and show that it allows for the construction of a rigorous compositional semantic theory with greater explanatory power than both truth-conditional and (...) dynamic semantics. (shrink)

How can you give your interlocutor a reason to act? One way is by manipulating his deliberative context through threats, flattery, or other incentives. Another is by addressing him in the way distinctive of reasoning with him. I aim to account for the possibility of this non-manipulative form of address by showing how it is realized through the performance of a specific illocutionary act, that of advising as inviting to trust. I argue that exercise of a capacity for reasonable trust (...) can give us reasons that are not grounded in our motivational susceptibilities. Here I echo Kant on moral motivation. But this rational faculty assesses not principles but persons. Here I echo Hume on the moral virtues. We can thus agree with Kant about the motivational efficacy of practical reasons dispensed through advice but agree with Hume about the form of intelligence needed to put ourselves in touch with them. (shrink)

How can I give you a reason to believe what I tell you? I can influence the evidence available to you. Or I can simply invite your trust. These two ways of giving reasons work very differently. When a speaker tells her hearer that p, I argue, she intends that he gain access to a prima facie reason to believe that p that derives not from evidence but from his mere understanding of her act. Unlike mere assertions, acts of telling (...) give reasons directly. They give reasons by inviting the hearer’s trust. This yields a novel form of anti-reductionism in the epistemology of testimony. The status of testimony as a sui generis source of epistemic warrant is entailed by the nature of the act of telling. We can discover the nature of this illocution, and its epistemic role, by examining how it functions in the real world of human relations. (shrink)

Imagine that Ann, asked to name her favorite treat, answers: 1. Licorice is tasty Imagine that Ben, having hidden some licorice in the cupboard, whispers to Ann: 2. There might be licorice in the cupboard. What if any role is played by perspective—whom the licorice is tasty to, whose evidence allows for licorice in the cupboard—in the semantics of such sentences?

The paper offers a semantic and pragmatic analysis of statements of the form ‘x is beautiful’ as involving a double speech act: first, a report that x is beautiful relative to the speaker’s aesthetic standard, along the lines of naive contextualism; second, the speaker’s recommendation that her audience comes to share her appraisal of x as beautiful. We suggest that attributions of beauty tend to convey such a recommendation due to the role that aesthetic practices play in fostering and enhancing (...) interpersonal coordination. Aesthetic practices are driven by a disposition towards the attunement of attitudes and aesthetic recommendations contribute to forwarding such attunement. Our view is motivated by an attempt to satisfy the following set of desiderata: to account for the experiential nature of aesthetic judgments, disagreements in aesthetic debates, and the normative aspirations of aesthetic discourse, as well as to avoid appealing to error theory and realist ontological commitments. (shrink)