In his comments, Richard Fumerton carefully develops two fundamental concerns with my views, which he interprets sympathetically, and almost entirely correctly. Before turning to these concerns, though, I must make one point about his concise opening statement of my principal claims. As I hope is clear from my précis, perceptual experiences provide reasons for empirical beliefs not simply in virtue of sharing demonstrative content with them. The key idea is that a person cannot properly grasp the objective content of these (...) experiences—that is, he cannot actually have experiences of particular things in the mind-independent world around him—without understanding that his apprehension that things are thus and so out there is in part due to the fact that they are. He therefore recognizes the relevant content as his epistemic openness to the way things objectively are. This is clearly central to my overall position. (shrink)

Since its publication in 1959, Individuals has become a modern philosophical classic. Bold in scope and ambition, it continues to influence debates in metaphysics, philosophy of logic and language, and epistemology. Peter Strawson's most famous work, it sets out to describe nothing less than the basic subject matter of our thought. It contains Strawson's now famous argument for descriptive metaphysics and his repudiation of revisionary metaphysics, in which reality is something beyond the world of appearances. Throughout, Individuals advances some highly (...) influential and controversial ideas, such as 'non-solipsistic consciousness' and the concept of a person a 'primitive concept'. (shrink)

Recent accounts of pretense have been underdescribed in a number of ways. In this paper, we present a much more explicit cognitive account of pretense. We begin by describing a number of real examples of pretense in children and adults. These examples bring out several features of pretense that any adequate theory of pretense must accommodate, and we use these features to develop our theory of pretense. On our theory, pretense representations are contained in a separate mental workspace, a Possible (...) World Box which is part of the basic architecture of the human mind. The representations in the Possible World Box can have the same content as beliefs. Indeed, we suggest that pretense representations are in the same representational ``code'' as beliefs and that the representations in the Possible World Box are processed by the same inference and UpDating mechanisms that operate over real beliefs. Our model also posits a Script Elaborator which is implicated in the embellishment that occurs in pretense. Finally, we claim that the behavior that is seen in pretend play is motivated not from a ``pretend desire'', but from a real desire to act in a way that ®ts the description being constructed in the Possible World Box. We maintain that this account can accommodate the central features of pretense exhibited in the examples of pretense, and we argue that the alternative accounts either can't accommodate or fail to address entirely some of the central features of pretense. q 2000 Elsevier Science B.V. All rights reserved. (shrink)

Carl Plantinga; What a Documentary Is, After All, The Journal of Aesthetics and Art Criticism, Volume 63, Issue 2, 15 April 2005, Pages 105–117, https://doi.org.

Many films are made by a two-tier process: the photographing of events which themselves represent the story the film tells. The latter representation is often illusionistic. I explore two consequences. The first concerns what we see in film. I argue that we sometimes see in such films, not events representing the story told, but simply the events composing that story. The way is thereby opened to a unified aesthetic of film, whether made the two-tier way or not. The second consequence (...) is that, since we see these films as photographic, we sometimes experience them as photographic recordings of the events, possibly fictional, that compose the story told. (shrink)

Indexicality is a feature of predicates and predicate components (verbs, adjectives, adverbs and the like) as well as of referring expressions. With classic referring indexicals such as 'I' or 'that' a distinctive rule takes us from token and context to some item present in the content which is the semantic correlate of the token. Predicates and predicate components may function in an analogous fashion. For example 'thus' is an indexical adverb which latches onto some manner of performance present in its (...) context. 'John sang thus', said while indicating someone singing discordantly, claims that John sang discordantly. The phenomenon of predicatival indexicality is widespread in English and is expressed in a variety of idioms. Indexical predication plays important epistemological and psychological roles and the notion may have other interesting philosophical applications. (shrink)

In recent work, Walton has abandoned his very influential account of the fictionality of p in a fictional work in terms of prescriptions to imagine emanating from it. He offers examples allegedly showing that a prescription to imagine p in a given work of fiction is not sufficient for the fictionality of p in that work. In this paper, both in support and further elaboration of a constitutive-norms speech-act variation on Walton’s account that I have defended previously, I critically discuss (...) his objections. In addition to answering his concerns and developing the account further, I provide additional abductive support for its explanatory virtues vis-à- institutional accounts like Walton’s, and Gricean speech-act proposals. (shrink)

Two assumptions are common in discussions of the paradox of tragedy: (1) that tragic pleasure requires that the work be fictional or, if non-fiction, then non-transparently represented; and (2) that tragic pleasure may be provoked by a wide variety of art forms. In opposition to (1) I argue that certain documentaries could produce tragic pleasure. This is not to say that any sad or painful documentary could do so. In considering which documentaries might be plausible candidates, I further argue, against (...) (2), that the scope of tragic pleasure is limited to works that possess certain thematic and narrative features. (shrink)