An elaboration and defense of the “interaction view of metaphor” introduced in the author's earlier study, “Metaphor” . Special attention is paid to the explication of the metaphors used in the earlier account.The topics discussed include: selection of the “targets” of the theory; classification of metaphors; how metaphorical statements work; relations between metaphors and similes; metaphorical thought; criteria of recognition; the “creative” aspects of metaphors; the ontological status of metaphors.Metaphors are found to be more closely connected with background models than (...) has previously been recognized. (shrink)

What Is Aesthetic Pleasure? When is pleasure in an object properly denominated aesthetic? The characterization of aesthetic pleasure is something that ...

Now in a new edition, this volume updates Davidson's exceptional Inquiries into Truth and Interpretation (1984), which set out his enormously influential philosophy of language. The original volume remains a central point of reference, and a focus of controversy, with its impact extending into linguistic theory, philosophy of mind, and epistemology. Addressing a central question--what it is for words to mean what they do--and featuring a previously uncollected, additional essay, this work will appeal to a wide audience of philosophers, linguists, (...) and psychologists. (shrink)

This book examines the complex and varied ways in which fictions relate to the real world, and offers a precise account of how imaginative works of literature can use fictional content to explore matters of universal human interest. While rejecting the traditional view that literature is important for the truths that it imparts, the authors also reject attempts to cut literature off altogether from real human concerns. Their detailed account of fictionality, mimesis, and cognitive value, founded on the methods of (...) analytical philosophy, restores to literature its distinctive status among cultural practices. The authors also explore metaphysical and skeptical views, prevalent in modern thought, according to which the world itself is a kind of fiction, and truth no more than a social construct. They identify different conceptions of fiction in science, logic, epistemology, and make-believe, and thereby challenge the idea that discourse per se is fictional and that different modes of discourse are at root indistinguishable. They offer rigorous analyses of the roles of narrative, imagination, metaphor, and "making" in human thought processes. Both in their methods and in their conclusions, Lamarque and Olsen aim to restore rigor and clarity to debates about the values of literature, and to provide new, philosophically sound foundations for a genuine change of direction in literary theorizing. (shrink)

Merrie Bergmann Philosophical Review 100 :112-115Taking into account pragmatic considerations and recent linguistic and psychological studies, the author forges a new understanding of the relation between metaphoric and literal meaning. The argument is illustrated with analysis of metaphors from literature, philosophy, science, and everyday language.

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)

Aesthetics: Music and ideas. Formalism. Perception, meaning, and the subject matter of art. The technical factor in art. The aesthetic function of language. The problem of belief. On defining metaphor.--Criticism: Cordelia absent. A poem by Frost and some principles of criticism. Critical communication. "Pretentious" as an aesthetic predicate. Superlatives. Some problems of interpretation.--Ethics and moral psychology: Natural pride and natural shame. Deontology and the ethics of lying. Ethical and aesthetic criticism.--Appendices.--A. Analytical philosophy and the study of art.--B. Notebooks and letters.

Berys Gaut; XI*—Metaphor and the Understanding of Art, Proceedings of the Aristotelian Society, Volume 97, Issue 1, 1 June 1997, Pages 223–242, https://doi.org/.