In this richly argued and provocative book, David Davies elaborates and defends a broad conceptual framework for thinking about the arts that reveals important continuities and discontinuities between traditional and modern art, and between different artistic disciplines. Elaborates and defends a broad conceptual framework for thinking about the arts. Offers a provocative view about the kinds of things that artworks are and how they are to be understood. Reveals important continuities and discontinuities between traditional and modern art. Highlights core topics (...) in aesthetics and art theory, including traditional theories about the nature of art, aesthetic appreciation, artistic intentions, performance, and artistic meaning. (shrink)

This article examines a popular complaint against the fictionalist account of possible objects bruited by Gideon Rosen. This is the complaint that modal fictionalism is, in some sense or other, hopelessly artificial. I shall separate two different strands to this worry and examine each in turn. As we shall see, neither strand to the objection is intractable.

The modal fictionalist faces a problem due to the fact that her chosen story seems to be incomplete—certain things are neither fictionally true nor fictionally false. The significance of this problem is not localized to modal fictionalism, however, since many fictionalists will face it too. By examining how the fictionalist should analyze the notion of truth according to her story, and, in particular, the role that conditionals play for the fictionalist, I develop a novel and elegant solution to the incompleteness (...) problem. (shrink)

This paper surveys recent "new actualist" approaches to modality that do without possible worlds and locate modality squarely in the actual world. New actualist theories include essentialism and dispositionalism about modality, each of which can come in different varieties. The commonalities and differences between these views, as well as their shared motivations, are layed out.

The epistemology of modality is gradually coming to play a central role in general discussions about modality. This paper is a contribution in this direction, in particular I draw a comparison between Lewis’s Modal realism and Timothy Williamson’s recent account of modality in terms of counterfactual thinking. In order to have criteria of evaluation, I also formulate four requirements which are supposed to be met by any theory of modality to be epistemologically adequate.

Being Known is a response to a philosophical challenge which arises for every area of thought: to reconcile a plausible account of what is involved in the truth of statements in a given area with a credible account of how we can know those statements. Christopher Peacocke presents a framework for addressing the challenge, a framework which links both the theory of knowledge and the theory of truth with the theory of concept-possession.

In this new book, the author of the classic Truth presents an original theory of meaning, demonstrates its richness, and defends it against all contenders. He surveys the diversity of twentieth-century philosophical insights into meaning and shows that his theory can reconcile these with a common-sense view of meaning as derived from use. Meaning and its companion volume Truth (now published in a revised edition) together demystify two central issues in philosophy and offer a controversial but compelling view of the (...) relations between language, thought, and reality. (shrink)

Questions about necessity (or what has to be, or what cannot be otherwise) and possibility (or what can be, or what could be otherwise) are questions about modality. Fictionalism is an approach to theoretical matters in a given area which treats the claims in that area as being in some sense analogous to fictional claims: claims we do not literally accept at face value, but which we nevertheless think serve some useful function. However, despite its name, “Modal Fictionalism” in its (...) usual manifestations is not primarily fictionalism about claims of necessity and possibility, but rather a fictionalist approach to claims about possible worlds. (For instance, modal fictionalism is not normally fictionalist about the claim that “it is possible that there be a species of tail-less kangaroo”, but rather about the claim that “there is a possible world in which there is a species of tail-less kangaroo”.) The practice of taking possible worlds to be merely convenient fictions, or of treating talk about possible worlds as being useful without being literally correct, is quite common in philosophical circles. It is only recently, however, that philosophers have seriously examined the implications of taking possible worlds to be merely fictional objects, like Sherlock Holmes or a frictionless surface. (shrink)

According to the ancient sorites paradox, zero grains of sand is not enough to make a heap, and adding one single grain can never transform a non-heap into a heap, so there can be no heaps of sand! Similar reasoning applies to all vague terms. In view of this problem, some philosophers have suggested that we must modify classical logic. This chapter argues that there is no need for this, for we should allow that one grain of sand can make (...) the crucial difference, and more generally, that even vague terms have sharp boundaries. This idea is defended by reference to three considerations: the conclusion of Chapter 3, which implies that one should not expect to be able to explain the extension of a predicate in terms of its use; an identification of what sort of meaning-constituting use-practice would engender the distinctive symptoms of vagueness, namely the existence of ‘borderline cases’ to which it is impossible to know whether the predicate applies; and a characterization and invocation of the difference between truth and determinate truth. (shrink)

This important book provides a theory about the nature of fiction, and about the relation between the author, the reader and the fictional text. The approach is philosophical: that is to say, the author offers an account of key concepts such as fictional truth, fictional characters, and fiction itself. The book argues that the concept of fiction can be explained partly in terms of communicative intentions, partly in terms of a condition which excludes relations of counterfactual dependence between the world (...) and the text. This communicative model is then applied to the following problems: how can something be 'true in the story' without being explicitly stated in the text? In what ways does interpreting a fictional story depend upon grasping its author's intentions? Is there always a unique best interpretation of a fictional text? What is the correct semantics for fictional names? What is the nature of our emotional response to a fictional work? In answering these questions the author explores the complex interaction between author, reader, and text. This interaction requires the reader to construct a 'fictional author' - a character in the story whose personality, beliefs and emotional states must be interpreted if the reader is to grasp the meaning of the work. (shrink)

This challenging study places fiction squarely at the centre of the discussion of metaphysics. Philosophers have traditionally treated fiction as involving a set of narrow problems in logic or the philosophy of language. By contrast Amie Thomasson argues that fiction has far-reaching implications for central problems of metaphysics. The book develops an 'artifactual' theory of fiction, whereby fictional characters are abstract artifacts as ordinary as laws or symphonies or works of literature. By understanding fictional characters we come to understand how (...) other cultural and social objects are established on the basis of the independent physical world and the mental states of human beings. (shrink)

Are fictional characters such as Sherlock Holmes real? What can fiction tell us about the nature of truth and reality? In this excellent introduction to the problem of fictionalism R. M. Sainsbury covers the following key topics: what is fiction? realism about fictional objects, including the arguments that fictional objects are real but non-existent; real but non-factual; real but non-concrete the relationship between fictional characters and non-actual worlds fictional entities as abstract artefacts fiction and intentionality and the problem of irrealism (...) fictionalism about possible worlds moral fictionalism. R. M. Sainsbury makes extensive use of examples from fiction, such as Sherlock Holmes, Anna Karenina and Madame Bovary and examines the work of philosophers who have made significant contributions to the topic, including Meinong, David Lewis, and Bas Van Fraassen. Additional features include chapter summaries, annotated further reading and a glossary of technical terms, making _Fiction and Fictionalism_ ideal for those coming to the issue for the first time. (shrink)

A theory of understanding -- Truth's role in understanding -- Critique of justificationist and evidential accounts -- Do pragmatist views avoid this critique? -- A realistic account -- How evidence and truth are related -- Three grades of involvement of truth in theories of understanding -- Anchoring -- Next steps -- Reference and reasons -- The main thesis and its location -- Exposition and four argument-types -- Significance and consequences of the main thesis -- The first person as a case (...) study -- Fully self-conscious thought -- Immunity to error through misidentification relative to the first person -- Can a use of the first-person concept fail to refer? -- Some conceptual roles are distinctive but not fundamental -- Implicit conceptions -- Implicit conceptions : motivation and examples -- Deflationary readings rejected -- The phenomenon of new principles -- Explanation by implicit conceptions -- Rationalist aspects -- Consequences : rationality, justification, understanding -- Transitional -- Applications to mental concepts -- Conceiving of conscious states -- Understanding and identity in other cases -- Constraints on legitimate explanations in terms of identity -- Why is the subjective case different? -- Attractions of the interlocking account -- Tacit knowledge, and externalism about the internal -- Is this the myth of the given? -- Knowledge of others' conscious states -- Communicability : between Frege and Wittgenstein -- Conclusions and significance -- 'Another I' : representing perception and action -- The core rule -- Modal status and its significance -- Comparisons -- The possession-condition and some empirical phenomena -- The model generalized -- Wider issues -- Mental action -- The distinctive features of action-awareness -- The nature and range of mental actions -- The principal hypothesis and its grounds -- The principal hypothesis : distinctions and consequences -- How do we know about our own mental actions? -- Concepts of mental actions and their epistemological significance -- Is this account open to the same objections as perceptual models of introspection? -- Characterizing and unifying schizophrenic experience -- The first person in the self-ascription of action -- Rational agency and action-awareness -- Representing thoughts -- The puzzle -- A proposal -- How the solution treats the constraints that generate the puzzle -- Relation to single-level treatments -- An application : reconciling externalism with distinctive self-knowledge. (shrink)

Modal Fictionalism, the theory that possible worlds do not literally exist but that our talk about them should be understood in the same way that we understand talk about fictional entities, is an increasingly popular approach to possible worlds. This paper will distinguish three versions of Modal Fictionalism, and will show that the third, a version endorsed by some of the most prominent Modal Fictionalists, faces at least three serious objections: that it makes modality too artificial, the modal fiction does (...) not have the representative resources it needs, and the approach has trouble accounting for propositions. (shrink)

The paper considers what kinds of things are musical, literary, pictorial and sculptural works, how they relate to physical objects or abstract types, and what their identity and survival conditions are. Works are shown to be cultural objects with essential intentional and relational properties. These essential properties are connected to conditions of production and conditions of reception, of both a generic and work-specific kind. It is argued that work-identity is value-laden, whereby essential to the survival of a work is the (...) quality of the experience the work affords. However, the overall stance is realist, defending the view that works are real, perceivable, and objectively characterisable. (shrink)

In this paper, I will defend modalfictionalism. The paper has two parts. In thefirst part, I will suggest a revised version ofmodal fictionalism which can avoid certaintechnical problems. In the second part, I willpropose a nominalized version of modalfictionalism and a general scheme offictionalism for the nominalist.

_Possible Worlds_ presents the first up-to-date and comprehensive examination of one of the most important topics in metaphysics. John Divers considers the prevalent philosophical positions, including realism, antirealism and the work of important writers on possible worlds such as David Lewis, evaluating them in detail.

Paul Horwich's main aim in Reflections on Meaning is to explain how mere noises, marks, gestures, and mental symbols are able to capture the world--that is, how words and sentences (in whatever medium) come to mean what they do, to stand for certain things, to be true or false of reality. His answer is a groundbreaking development of Wittgenstein's idea that the meaning of a term is nothing more than its use. While the chapters here have appeared as individual essays, (...) Horwich has edited them to make a continuous argument, focused on articulating and developing an important new conception of language. (shrink)

Arguments are advanced that a theory of possible worlds cannot be a theory of meaning for modal statements, And lewis's version of the theory in his "counterfactuals" is used as a particular stalking-Horse. (a) 'possible world', Though used referentially, Is defined in a way that makes it non-Referential, And moreover, The theory does not supply or validate proposals for criteria that individuate worlds; hence the theory seems incomprehensible. (b) the theory yields no useable account of truth-Conditions for modal statements. (c) (...) a conceptualist version of the theory cannot overcome these problems. (d) lewis's similarity theory of possible worlds as a semantics for counterfactuals sustains in many cases (including one he cites) intuitively untrue counterfactuals and rejects many intuitively correct ones. (shrink)

The paper considers what kinds of things are musical, literary, pictorial and sculptural works, how they relate to physical objects or abstract types, and what their identity and survival conditions are. Works are shown to be cultural objects with essential intentional and relational properties. These essential properties are connected to conditions of production and conditions of reception, of both a generic and work-specific kind. It is argued that work-identity is value-laden, whereby essential to the survival of a work is the (...) quality of the experience the work affords. However, the overall stance is realist, defending the view that works are real, perceivable, and objectively characterisable. (shrink)

This chapter contains section titled: The Structure of the Focus of Appreciation Performance and Appreciation Ontology After Empiricism.

The epistemology of modality is gradually coming to play a central role in general discussions about modality. This paper is a contribution in this direction, in particular I draw a comparison between Lewis’s Modal realism and Timothy Williamson’s recent account of modality in terms of counterfactual thinking. In order to have criteria of evaluation, I also formulate four requirements which are supposed to be met by any theory of modality to be epistemologically adequate.