I argue, in this thesis, that proper name reference is a wholly pragmatic phenomenon. The reference of a proper name is neither constitutive of, nor determined by, the semantic content of that name, but is determined, on an occasion of use, by pragmatic factors. The majority of views in the literature on proper name reference claim that reference is in some way determined by the semantics of the name, either because their reference simply constitutes their semantics (which generally requires a (...) very fine-grained individuation of names), or because names have an indexical-like semantics that returns a referent given certain specific contextual parameters. I discuss and criticize these views in detail, arguing, essentially, in both cases, that there can be no determinate criteria for reference determination—a claim required by both types of semantic view. I also consider a less common view on proper name reference: that it is determined wholly by speakers’ intentions. I argue that the most plausible version of this view—a strong neo-Gricean position whereby all utterance content is determined by the communicative intentions of the speaker—is implausible in light of psychological data. In the positive part of my thesis, I develop a pragmatic view of proper name reference that is influenced primarily by the work of Charles Travis. I argue that the reference of proper names can only be satisfactorily accounted for by claiming that reference occurs not at the level of word meaning, but at the pragmatic level, on an occasion of utterance. I claim that the contextual mechanisms that determine the reference of a name on an occasion are the same kinds of thing that determine the truth-values of utterances according to Travis. Thus, names are, effectively, occasion sensitive in the way that Travis claims predicates and sentences (amongst other expressions) are. Finally, I discuss how further research might address how my pragmatic view of reference affects traditional issues in the literature on names, and the consequences of the view for the semantics of names. (shrink)

Ridley’s overall strategy, in bare outline form, seems to be this. Collingwood's points about the close connections between artistic expression and physical involvement with a medium are so good that anything else he says must be reinterpreted so as to be consistent with these Expression insights. In particular his overall theory of art, usually interpreted as an "Ideal theory" (according to which a work of art is somehow "in the head", perhaps as the content of a mental imaginative act (...) of expression) must be charitably reinterpreted to remove any apparent references to such mental entities. I spell out two related puzzlements with this strategy. (shrink)

In this essay I argue that Ridley Scott's first feature film, The Duelists, which is an adaptation of a Joseph Conrad novella, contains his deepest meditation on honor in his entire career. The film may be said to answer the following question about honor: is being bound to do something by honor, when it is contrary to one's self-interest, a good thing, or a bad thing? It may be said to give the answer that it may be either good (...) or bad. It is bad that D'Hubert is bound by honor to duel with Feraud; it is good that, in the end, Feraud is bound by honor to cease dueling with D'Hubert. In this way, Kant was correct that "the inclination to honor" may light "upon that which is in fact in the common interest and in conformity with duty," or it may light upon what is contrary to duty. (shrink)

Aaron Ridley posed the question of whether results in the ontology of musical works would have implications for judgements about the interpretation, meaning or aesthetic value of musical works and performances. His arguments for the conclusion that the ontology of musical works have no aesthetic consequences are unsuccessful, but he is right in thinking (in opposition to Andrew Kania and others) that ontological judgements have no aesthetic consequences. The key to demonstrating this conclusion is the recognition that ontological judgments (...) are a priori and aesthetic judgments are empirical. A priori judgements have no empirical consequences. Neither fundamental ontology of music nor higher- order ontological reflections have any aesthetic consequences. (shrink)

A review of the following for books, plus some reflections on Nietzsche's moral psychology and ethics: Alfano: Nietzsche’s Moral Psychology (Cambridge University Press 2019). Leiter: Moral Psychology with Nietzsche (Oxford University Press 2019) Ridley: The Deed is Everything: Nietzsche on Will and Action (Oxford University Press 2018) Stern: Nietzsche’s Ethics (Cambridge University Press 2020) These four books are broadly on Nietzsche’s moral psychology and ethics. The books differ widely in their aspirations: Ridley’s is focused solely on Nietzsche’s notion (...) of action, whereas Leiter’s is more synoptic. And they also differ widely in their conclusions: Leiter presents Nietzsche as a nearly infallible figure who has not only solved longstanding philosophical problems but has even managed to anticipate recent results in empirical psychology. Stern, on the other hand, presents Nietzsche as a rather amateurish philosopher, who picks up dribs and drabs from his cultural context and amalgamates them into interesting and provocative, but indefensible, positions. Between these extremes, we have readers like Ridley and Alfano, who are not averse to pointing out lacunae in Nietzsche’s arguments but who nonetheless see him as deeply insightful. Although each of these books is worth reading, I will argue that they have various degrees of success. Alfano’s book is, to my mind, the most successful at achieving its stated aims; while I point out some potential oversights and some areas that could benefit from further development, Alfano’s book is both novel and important. Leiter’s book is clearly written and presents the arguments in an admirably forthright manner, but some of its conclusions are vitiated by lapses and mischaracterizations. Stern gets Nietzsche’s basic view right, but does not probe it very deeply and is too quick to present Nietzsche as confused; I see the confusions as emanating less from Nietzsche’s texts and more from Stern’s reading of them. Ridley’s book is original and provocative, but I find the central claim—that Nietzsche endorses an expressive account of action—ultimately unconvincing. Nonetheless, even the books I regard as flawed are valuable, for reasons I will point out along the way. (shrink)

This is the introductory essay to the Italian translation of Matt Ridley's "The origins of virtue", surveying the game-theoretic and evolutionary approaches to the emergence and evolution of cooperation and altruism.

Whether Nietzsche’s genealogical critique of morality is best understood as an internal or as an external critique remains a matter of controversy. On the internalist interpretation (Ridley, Owen, Merrick ), the genealogical enterprise takes as its starting point the perspective being criticized, gradually revealing it to be untenable ‘from within.’ On the externalist interpretation (Leiter, and arguably Geuss, Williams, and Janaway ), this constraint is lifted; the starting point of the critique need not be the perspective being criticized, but (...) may be that of someone who already suspects the latter to be untenable. According to a common objection to ‘external critique’ interpretations, the limited-scope objection, since an external critique to a value-system could only work on an audience whose members were predisposed to abandon that system of values, ‘external critique’ interpretations impose a severe limitation on the transformative potential of Nietzsche’s project. ‘Internal critique’ interpretations, by contrast, can seem hard to reconcile with the polemical character of On the Genealogy of Morality (which lends the book its subtitle, Eine Streitschrift) and with Nietzsche’s frequent remarks to the effect his works were addressing a particular, ‘higher,’ kind of individual. -/- The overarching goal in this paper is to call into question the usefulness of the ‘internal-external’ or ‘immanent-transcendent’ dichotomy for understanding Nietzsche’s genealogical critique. I argue that the apparent usefulness of the distinction between external and internal critiques when approaching Nietzsche’s works rests on the assumption that any critique of values must itself be grounded on values that function as evaluative-critical standards. If the assumption is right, then one of two things, either the values that are deployed as standards coincide with those that are the target of critique, in which case the critique is internal, or they are not (etc.). Thus the assumption is liable to render us forgetful of a third possibility, that of a critical strategy that does not work by deploying (internal or external) values as standards of critical assessment, but by revealing something about the nature of value, and more precisely about the origin of any individual’s commitments to their values. -/- On the view that I defend, one of the crucial steps of Nietzsche’s genealogical method is to bring his reader to realize that any individual’s commitment to their values is expressive of and rooted in their commitment to preserve their way of life. Realizing this does not require that the reader abandon their own values. But it does require that they acknowledge that were they committed to a relevantly different way of life, they would subscribe to different values. And this, in turn, suffices to bring about a transformation in their understanding of and relationship to those commitments through the further realization that it is ultimately always up to them to undertake the project of taking distance from and ‘re-evaluating’ those values. (shrink)

The dilemma referred to in the title occurs in many contexts concerned with expressive meaning in art, and especially music, which suggests that the issue it raises will be central to any complete theory of musical expressiveness. One notable attempt to resolve the paradox of simultaneous generality and particularity in music is in Aaron Ridley’s book Music, Value and the Passions. I show why I consider his account unsatisfactory and then propose my own resolution of the paradox. It takes (...) the form of distinguishing between two distinct notions of generality (which I term ‘generality’ and ‘abstractness’) and of particularity (‘specificity’ and ‘concreteness’), and of constructing two relatively independent oppositions: the concrete versus the abstract and the specifi c versus the general. Finally, I show that a description of music’s expressive meaning as abstract, but specific, rightly captures what is usually thought about music, and does not entail any contradictions. (shrink)

R. G. Collingwood is best known within the philosophy of art for his development of the so-called expressionist theory. Briefly stated, this theory regards expression as a necessary condition for the production of any artwork, where expression is conceived as a process whereby the artist transforms inchoate thoughts and feelings into some clarified form within a given artistic medium. My intention is not to examine the conception of expression itself, but instead, turn to Collingwood’s earlier distinction between art and craft. (...) Here I am particularly interested in Aaron Ridley’s analysis which maintains that, despite a strong distinction between art and craft, Collingwood’s account is flexible enough to accommodate a notion of technique relevant to artistic production, where such technique is itself craft-like in character. (shrink)

In a recent article in this journal, Alex Neill and Aaron Ridley argue that relational theories of art are rooted in a misunderstanding of what it would take to falsify the family resemblance theories they are meant to supplant, and are incapable of meeting all the requirements a successful theory of art must meet. Hence, they are doomed to failure. We show that the arguments Neill and Ridley offer are rooted in misunderstandings about relational theories and the requirements (...) for a successful theory of art. If relational theories must fail, it will not be for the reasons identified by Neill and Ridley. (shrink)