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.

I address two related questions: first, what is the best theory of how objects have de re modal properties? Second, what is the best defence of essentialism given the variability of our modal intuitions? I critically discuss several theories of how objects have their de re modal properties and address the most threatening antiessentialist objection to essentialism: the variability of our modal intuitions. Drawing on linguistic treatments of vagueness and ambiguity, I show how essentialists can accommodate the variability of modal (...) intuitions while holding that objects have their modal properties independently of contexts. (shrink)

This is a long-awaited reissue of Jerrold Levinson's 1990 book which gathers together the writings that made him a leading figure in contemporary aesthetics. These highly influential essays are essential reading for debates on the definition of art, the ontology of art, emotional response to art, expression in art, and the nature of art forms.

A review of David Davies, _Art as Performance_ (Blackwell, 2004).

It is my aim in this paper to show that the contemporary assimilation of essence to modality is fundamentally misguided and that, as a consequence, the corresponding conception of metaphysics should be given up. It is not my view that the modal account fails to capture anything which might reasonably be called a concept of essence. My point, rather, is that the notion of essence which is of central importance to the metaphysics of identity is not to be understood in (...) modal terms or even to be regarded as extensionally equivalent to a modal notion. The one notion is, if I am right, a highly refined version of the other; it is like a sieve which performs a similar function but with a much finer mesh. (shrink)

This paper considers the view, recently put forward by David Davies in Art and Performance , that works of art should be identified with the generative performances that result in the object, rather than with the object. It attempts to disarm two of Davies arguments by, first, providing a criterion by which the contextualist can accommodate all and only the relevant generative properties as properties of the work, and, second, providing an alternative explanation for his modal intuitions. Finally, it draws (...) attention to Davies’ difficulties in providing a clear criterion for the identity of the work of art. (shrink)

This is a long-awaited reissue of Jerrold Levinson's 1990 book which gathers together the writings that made him a leading figure in contemporary aesthetics. These highly influential essays are essential reading for debates on the definition of art, the ontology of art, emotional response to art, expression in art, and the nature of art forms.

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)