This book is a defense of modal realism; the thesis that our world is but one of a plurality of worlds, and that the individuals that inhabit our world are only a few out of all the inhabitants of all the worlds. Lewis argues that the philosophical utility of modal realism is a good reason for believing that it is true.

Analyzes the meaning expressed in music, the social and psychological sources of meaning, and the methods of musical communication This is a book meant for ...

We argue that some sign language loci (i.e. positions in signing space that realize discourse referents) are both formal variables and simplified representations of what they denote; in other words, they are simultaneously logical symbols and pictorial representations. We develop a 'formal semantics with iconicity' that accounts for their dual life; the key idea ('formal iconicity') is that some geometric properties of signs must be preserved by the interpretation function. We analyze in these terms three kinds of iconic effects in (...) American and French Sign Language (ASL and LSF): (i) structural iconicity, where relations of inclusion and complementation among loci are directly reflected in their denotations; (ii) locus-external iconicity, where the high or low position of a locus in signing space has a direct semantic reflex, akin to the semantic contribution of gender features of pronouns; and (iii) locus-internal iconicity, where different parts of a structured locus are targeted by different directional verbs, as was argued by Liddell and Kegl. The resulting semantics combines insights of two traditions that have been sharply divided by recent debates. In line with the 'formalist camp' (e.g. Lillo-Martin and Klima, Neidle, and Sandler and Lillo-Martin), our theory treats loci as variables, and develops an explicit formal analysis of their behavior. But we also incorporate insights of the 'iconic camp', which emphasized the role of iconic constraints in sign language in general and in pronominals in particular (e.g. Cuxac, Taub, Liddell). However, this synthesis is only possible if formal semantics makes provisions for iconic requirements at the very core of its interpretive procedure. (An Appendix discusses relevant data from Italian Sign Language [LIS].). (shrink)

This paper strives to characterize the relation between accent placement and discourse in terms of independent constraints operating at the interface between syntax and interpretation. The Givenness Constraint requires un-F-marked constituents to be given. Key here is our definition of givenness, which synthesizes insights from the literature on the semantics of focus with older views on information structure. AvoidF requires speakers to economize on F-marking. A third constraint requires a subset of F-markers to dominate accents.The characteristic prominence patterns of "novelty (...) focus" and "contrastive focus" both arise from a combination of the Givenness Constraint and AvoidF. Patterns of prominence in questions as well as in answers to questions are explained in terms of the constraints, thanks in part to the way in which the Givenness relation is defined. Head/argument asymmetries noted in the literature on Focus Projection are placed in the phonology-syntax interface, independent of discourse conditions. Deaccenting follows when AvoidF is ranked higher than constraint(s) governing head/argument asymmetries. (shrink)

I hear the patter of little feet around the house, I expect Bruce. What I expect is a cat, a particular cat. If I heard such a patter in another house, I might expect a cat but no particular cat. What I expect then seems to be a Meinongian incomplete cat. I expect winter, expect stormy weather, expect to shovel snow, expect fatigue---a season, a phenomenon, an activity, a state. I expect that someday mankind will inhabit at least five planets. (...) This time what I expect is a state of affairs. If we let surface grammar be our guide, the objects of expectation seem quite a miscellany. The same goes for belief, since expectation is one kind of belief. The same goes for desire: I could want Bruce, want a cat but no particular cat, want winter, want stormy weather, want to shovel snow, want fatigue, or want that someday mankind will inhabit at least five planets. The same goes for other attitudes to the extent that they consist partly of beliefs or desires or lacks thereof. But the seeming diversity of objects might be an illusion. Perhaps the objects of attitudes are uniform in category, and it is our ways of speaking elliptically about these uniform objects that are diverse. That indeed is our consensus. We mostly think that the attitudes uniformly have propositions as their objects. That is why we speak habitually of "propositional attitudes.". (shrink)

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)

Written by two of the leading figures in the field, this is a lucid and systematic introduction to semantics as applied to transformational grammars of the ...

An overview of contemporary part-whole theories, with reference to both their axiomatic developments and their philosophical underpinnings.

Peirce's Sign Theory, or Semiotic, is an account of signification, representation, reference and meaning. Although sign theories have a long history, Peirce's accounts are distinctive and innovative for their breadth and complexity, and for capturing the importance of interpretation to signification. For Peirce, developing a thoroughgoing theory of signs was a central philosophical and intellectual preoccupation. The importance of semiotic for Peirce is wide ranging. As he himself said, “[…] it has never been in my power to study anything,—mathematics, ethics, (...) metaphysics, gravitation, thermodynamics, optics, chemistry, comparative anatomy, astronomy, psychology, phonetics, economics, the history of science, whist, men and women, wine, metrology, except as a study of semiotic”. (SS 1977, 85–6). Peirce also treated sign theory as central to his work on logic, as the medium for inquiry and the process of scientific discovery, and even as one possible means for 'proving' his pragmatism. Its importance in Peirce's philosophy, then, cannot be underestimated. -/- Across the course of his intellectual life, Peirce continually returned to and developed his ideas about signs and semiotic and there are three broadly delineable accounts: a concise Early Account from the 1860s; a complete and relatively neat Interim Account developed through the 1880s and 1890s and presented in 1903; and his speculative, rambling, and incomplete Final Account developed between 1906 and 1910. The following entry examines these three accounts, and traces the changes that led Peirce to develop earlier accounts and generate new, more complex, sign theories. However, despite these changes, Peirce's ideas on the basic structure of signs and signification remain largely uniform throughout his developments. Consequently, it is useful to begin with an account of the basic structure of signs according to Peirce. (shrink)

It is a commonly held view that auditory perception functions to tell us about sounds and their properties. In this paper I argue that this common view is mistaken and that auditory perception functions to tell us about the objects that are the sources of sounds. In doing so, I provide a general theory of auditory perception and use it to give an account of the content of auditory experience and of the nature of sounds.