Frank Jackson often writes as if his descriptivist account of public language meanings were just plain common sense. How else are we to explain how different speakers manage to communicate using a public language? And how else can we explain how individuals arrive at confident judgments about the reference of their words in hypothetical scenarios? Our aim in this paper is to show just how controversial the psychological assumptions behind in Jackson’s semantic theory really are. First, we explain how Jackson’s (...) theory goes well beyond the commonsense platitudes he cites in its defence. Second, we sketch an alternative explanation of those platitudes, the jazz model of meaning, which we argue is more psychologically realistic. We conclude that the psychological picture presupposed by Jackson’s semantic theory stands in need of a much more substantial defence than he has so far offered. (shrink)

Lengthy critical notice of J. B. Kennedy, The Musical Structure of Plato's Dialogues (Acumen, 2011). -/- We approached the prospect of reviewing Kennedy’s book with excitement and optimism, but we’ve left rather disappointed. The case doesn’t hang together, we think, because it requires us to suppose that Plato composed to a pattern that his readers wouldn’t be looking for. They wouldn’t be looking for it musically, because it is not musically significant. Moreover, if he expected them to be looking for (...) such a pattern in the stichometry, then the evidence available to us suggests that his expectations went wholly unfulfilled. Plato may have been a perverse writer in many ways – for instance, by disparaging philosophical writing in a philosophical text – but we think Kennedy’s hypothesis requires us to attribute a touch too much perversity to one of our favourite authors. (shrink)

Review of J.B. Kennedy The Musical Structure of Plato's Dialogues (Acumen, 2011).