This paper attempts to revive interest in the speech act theory of literature by looking into Monroe C. Beardsley's account in particular. Beardsley's view in this respect has received, surprisingly, less attention than deserved. I first offer a reconstruction of Beardsley's account and then use it to correct some notable misconceptions. Next, I show that the reformulation reveals a hitherto unnoticed discrepancy in Beardsley's position and that this can be explained away by a weak version (...) of intentionalism that Beardsley himself actually tolerates. Finally, I assess the real difficulty of Beardsley's theory and its relevance today. (shrink)

One version of moral error theory maintains that the central problem with morality is an ontological commitment to irreducible normativity. This paper argues that this version of error theory ultimately depends on an appeal to Ockham’s Razor, and that Ockham’s Razor should not be applied to irreducible normativity. This is because the appeal to Ockham’s Razor always contains an intractable element of epistemic circularity; and if this circularity is not vicious, we can construct a sound argument for the existence of (...) irreducibly normative truths that contains a similar kind of epistemic circularity. This argument is a version of Pascal’s Wager which I call “Parfit’s Wager,” because it is based on a passage from Derek Parfit’s On What Matters. It states that, if we believe that there are some irreducibly normative truths, we are more likely to be believing what we ought to believe compared to not believing that there are such truths, and that this indicates that we ought rationally to believe that there are such truths, justifying the ontological commitment to irreducible normativity in the process. (shrink)

The emergence of the COVID-19 pandemic initiated major disruptions to higher education systems. Physical spaces that previously supported interpersonal interaction and community were abruptly inactivated, and faculty largely took on the responsibility of accommodating classroom structures in rapidly changing situations. This study employed interviews to examine how undergraduate Science, Technology, Engineering, and Mathematics (STEM) instructors adapted instruction to accommodate the mandated transition to virtual learning and how these accommodations supported or hindered community and belonging during the onset of the pandemic. (...) Interviews with 25 STEM faculty at an undergraduate Hispanic Serving Institution revealed a wide range of accommodations they made to their courses and how they managed communication with students. Faculty strived to support student belonging with responses ranging from caring to crisis management, though some faculty expressed feelings of powerlessness when unable to accommodate certain challenges. The case of a responsive and flexible instructor is presented to highlight a productive response to a crisis. These retrospective findings point to strategies to support faculty teaching in virtual learning environments in the future; increasing opportunities for student–student and student–faculty interaction, supporting faculty in learning technologies that support these interactions and addressing faculty’s feelings of powerlessness. (shrink)

The COVID-19 outbreak spurred unplanned closures and transitions to online classes. Physical environments that once fostered social interaction and community were rendered inactive. We conducted interviews and administered surveys to examine undergraduate STEM students’ feelings of belonging and engagement while in physical isolation, and identified online teaching modes associated with these feelings. Surveys from a racially diverse group of 43 undergraduate students at a Hispanic Serving Institution (HSI) revealed that interactive synchronous instruction was positively associated with feelings of interest and (...) belonging, particularly for students of color, while noninteractive instruction reduced social belonging, but was related to more cognitive engagement. Small group and one-on-one interviews with 23 of these students suggest that students derived feelings of connectedness from their instructors, peers, and prior experiences and relied on their sense of competency to motivate themselves in the course and feel a sense of belonging. Two embedded cases of students in physics classrooms are compared to highlight the range of student feelings of connectedness and competency during the lockdown. Findings reaffirm that social interaction tends to support belonging and engagement, particularly for under-represented (Black or African American and Hispanic) racial groups in STEM. STEM instructors who aim to support feelings of belonging and engagement in virtual learning environments should consider increasing opportunities for student–student and student–teacher interactions, as well as taking a flexible approach that validates and integrates student voice into instruction. Future research is needed to further explore the themes of relatedness and competency that emerged as aspects of course belonging. (shrink)

The relationship of the author’s intention to the meaning of a literary work has been a persistently controversial topic in aesthetics. Anti-intentionalists Wimsatt and Beardsley, in the 1946 paper that launched the debate, accused critics who fueled their interpretative activity by poring over the author’s private diaries and life story of committing the ‘fallacy’ of equating the work’s meaning, properly determined by context and linguistic convention, with the meaning intended by the author. Hirsch responded that context and convention are (...) not sufficient to determine a unique meaning for a text; to avoid radical ambiguity we must appeal to the author’s intention, which actualizes one of the candidate meanings. Subsequent writers have defended refined versions of these views, and a variety of positions on the spectrum between them, in a debate that remains central to philosophical aesthetics. This Teaching and Learning Guide lists key readings and suggests how they might be incorporated within a syllabus. It also offers focus questions related to the readings. See also the companion article, Sherri Irvin, “Authors, Intentions and Literary Meaning.” Philosophy Compass 1 (2006), 114-128. (shrink)

This article discusses the relationship (or lack thereof) between authors’ intentions and the meaning of literary works. It considers the advantages and disadvantages of Extreme and Modest Actual Intentionalism, Conventionalism, and two versions of Hypothetical Intentionalism, and discusses the role that one’s theoretical commitments about the robustness of linguistic conventions and the publicity of literary works should play in determining which view one accepts.

This paper explores the role of 1980s to early 1990s feminist theory of art within the analytic philosophical tradition of aesthetics starting with a critique of the noncontextual criticism of aesthetics of Jerome Stolnitz and Monroe Beardsley contrasted with contextual feminist theory, informed by contextual theories of Arthur Danto, George Dickie and Marcia Eaton, and concluding that knowledge of external, contextual data is necessarily required to assess a work of art that has been deemed a work of art (...) by means of external, contextual data. Feminist theory is one type of contextual theory available. (shrink)

The question of whether or not beauty exists in nature is a philosophical problem. In particular, there is the question of whether artworks, persons, or nature has aesthetic qualities. Most people say that they care about their own beauty. Moreover, they judge another person's appearance from an aesthetic point of view using aesthetic concepts. However, aesthetic judgements are not objective in the sense that the experience justifies their objectivity. By analysing Monroe C. Beardsley's theory of the objectivity of (...) aesthetic qualities, I examine whether there are really beautiful and ugly persons in the world. I will criticize the way analytic philosophers judge people and art from an aesthetic perspective. If there are no aesthetic qualities in the world, nobody can judge someone beautiful or ugly without oppression. Aesthetic judgement is exercise of power. (shrink)

The argument diagramming method developed by Monroe C. Beardsley in his (1950) book Practical Logic, which has since become the gold standard for diagramming arguments in informal logic, makes it possible to map the relation between premises and conclusions of a chain of reasoning in relatively complex ways. The method has since been adapted and developed in a number of directions by many contemporary informal logicians and argumentation theorists. It has proved useful in practical applications and especially pedagogically (...) in teaching basic logic and critical reasoning skills at all levels of scientific education. I propose in this essay to build on Beardsley diagramming techniques to refine and supplement their structural tools for visualizing logical relationships in a number of categories not originally accommodated by Beardsley diagramming, including circular reasoning, reductio ad absurdum arguments, and efforts to dispute and contradict arguments, with applications and analysis. (shrink)

Classic expression theory identified the emotional content of works of art with the feelings of the artists and the recipients. This content thus appeared to be external to the work itself. Consequently, formalism declared it to be irrelevant to a work’s value. A way out of this predicament – one which the Polish aesthetician Henryk Elzenberg (1887–1967) was among the first to propose – was suggested by the idea that physical, sensory objects can themselves possess emotional qualities. Thanks to Bouwsma (...) and Beardsley, this concept – of expressiveness as a quality – became common in Anglo-American aesthetics from the 1950s onwards. At the same time, these authors demanded that the term ‘expression’ be expunged from the language of aesthetics. But the widespread tendency to conceptualize the emotional content of art in terms of the expression of a certain subject (most often the artist) still requires some explanation – interpretation, rather than negation. One interpretation construes the expressiveness of works of art in terms of the expression of a fictitious subject, the ‘work’s persona’, conceived by Elzenberg in the 1950s and 1960s. This article discusses his concept and explains some of its more complex aspects, before addressing the emergence of a very similar concept within Anglo-American aesthetics. This concept was gradually elaborated in the 1970s and 1980s, but only in the 1990s did it become more fully developed and widely discussed. (shrink)

This thesis contends that the possession of a sense of humour would contribute considerably to the quality of human life. It is an exploration and discussion of some of the difficulties involved in justifying the development of humour in terms of a philosophy of education. In light of developments in the digital age with consequent changes in science, technology and society, the educated person of the future will have to be less concerned with the accumulated knowledge of the past than (...) with the development and interplay of social and natural environments. Such a person will need to have, more than ever, a sense of what is truly real and what is truly valuable in human life. If the primary purpose of education is the preparation of students for their future lives, educators are now faced with some challenging problems. Apart from the high social value of laughter, there is a recognized relationship between humour and intelligence. Knowing that the two are related proves to be a key factor in understanding the learning process and assuring that the development of a sense of humour in education is worthy of consideration. (shrink)