Arguably the biggest challenge in analyzing English tense is to account for the double access interpretation, which arises when a present tensed verb is embedded under a past attitude—e.g., "John said that Mary is pregnant". Present-under-past does not always result in a felicitous utterance, however—cf. "John believed that Mary is pregnant". While such oddity has been noted, the contrast has never been explained. In fact, English grammars and manuals generally prohibit present-under-past. Work on double access, on the other hand, has (...) either disregarded the oddity (e.g., Abusch 1997: 39) or treated it as a reflex of a particular dialect (e.g., Kratzer 1998: 14). The goal of the paper is to argue—based on a corpus study—that a present-under-past sentence is grammatical, but modulated by two, interacting pragmatic phenomena: cessation and parentheticality. (shrink)

A speaker's use of a declarative sentence in a context has two effects: it expresses a proposition and represents the speaker as knowing that proposition. This essay is about how to explain the second effect. The standard explanation is act-based. A speaker is represented as knowing because their use of the declarative in a context tokens the act-type of assertion and assertions represent knowledge in what's asserted. I propose a semantic explanation on which declaratives covertly host a "know"-parenthetical. A speaker (...) is thereby represented as knowing the proposition expressed because that is the semantic contribution of the parenthetical. I call this view parentheticalism and defend that it better explains knowledge representation than alternatives. As a consequence of outperforming assertoric explanations, parentheticalism opens the door to eliminating the act-type of assertion from linguistic theorizing. (shrink)

The Knowledge Norm or Knowledge Account of Assertion (KAA) has received added support recently from data on prompting assertion (Turri 2010) and from a refinement suggesting that assertions ought to express knowledge (Turri 2011). This paper adds another argument from parenthetical positioning, and then argues that KAA’s unified explanation of some of the earliest data (from Moorean conjunctions) adduced in its favor recommends KAA over its rivals.

Arguments have always played a central role within logic and philosophy. But little attention has been paid to arguments as a distinctive kind of discourse, with its own semantics and pragmatics. The goal of this essay is to study the mechanisms by means of which we make arguments in discourse, starting from the semantics of argument connectives such as `therefore'. While some proposals have been made in the literature, they fail to account for the distinctive anaphoric behavior of `therefore', as (...) well as uses of argument connectives in complex arguments, suppositional arguments, arguments with non-declarative conclusions, as well as arguments with parenthetical remarks. A comprehensive account of arguments requires imposing a distinctive tree-like structure on contexts. We show how to extend our account to accommodate modal subordination and and di fferent flavors of `therefore'. (shrink)

Moorean constructions are famously odd: it is infelicitous to deny that you believe what you claim to be true. But what about claiming that p, only to immediately put into question your evidence in support of p? In this paper, we identify and analyse a class of quasi-Moorean constructions, which we label counterevidentials. Although odd, counterevidentials can be accommodated as felicitous attempts to mitigate one’s claim right after making it. We explore how counterevidentials differ from lexicalised mitigation operators, parentheticals, (...) and anaphoric mitigation devices, and consider some cognate non-assertoric constructions. We conclude by exploring the implications of our analysis for theorising about linguistic responsibility, assertion, and lying. (shrink)

Karl Pfeifer revisits Wittgenstein’s parenthetical allusion in the _Tractatus Logico-Philosophicus_ to the Grimms’ fairytale “The Golden Lads”, confirming that it does not work well as an illustration of the notion of “internal identity” that figures in Wittgenstein’s picture theory. He then proposes alternative ways of understanding the relationship of identity apparent in “The Golden Lads”.

Surprisingly little has been written about hedged assertion. Linguists often focus on semantic or syntactic theorizing about, for example, grammatical evidentials or epistemic modals, but pay far less attention to what hedging does at the level of action. By contrast, philosophers have focused extensively on normative issues regarding what epistemic position is required for proper assertion, yet they have almost exclusively considered unqualified declaratives. This essay considers the linguistic and normative issues side-by-side. We aim to bring some order and clarity (...) to thinking about hedging, so as to illuminate aspects of interest to both linguists and philosophers. In particular, we consider three broad questions. 1) The structural question: when one hedges, what is the speaker’s commitment weakened from? 2) The functional question: what is the best way to understand how a hedge weakens? And 3) the taxonomic question: are hedged assertions genuine assertions, another speech act, or what? (shrink)

According to a widely held view of assertion and belief, they are each governed by a tacitly acknowledged epistemic norm, and the norm on assertion and norm on belief are so related that believing p is epistemically permissible only if asserting it is. I call it the Same Norm View. A very common type of utterance raises a puzzle for this view, viz. utterances in which we say ‘I believe p' to convey somehow guarded affirmation of the proposition that p. (...) For example, one might respond to a query for directions to the station by saying ‘I believe it is down the first street on your left.' Often, when we reply in this way, it would have been pragmatically preferable simply to assert that p, had we been epistemically warranted in doing so. One's guarded reply thus suggests one is not so warranted. Nevertheless, if one believes what one, at face value, says one believes, one believes p. Contrary to what might seem to be suggested by the Same Norm View, one does not seem to portray oneself as irrational or epistemically beyond the pale in replying in this way. The paper develops this puzzle in detail, and examines a variety of options for a resolving it consistently with the Same Norm view. The most promising of these options, I argue, is to see ‘I believe' guarded affirmations as a form merely approximately correct speech. They would, though, be a form of such speech that interestingly differs from paradigm cases of loose use or conventional hyperbole in that speakers would be comparatively unaware of engaging in approximation. I conclude ‘I believe’—guarded affirmations either show the Same Norm View to be false or must be recognised as such an interestingly distinctive form of merely approximately correct speech. (shrink)

at seek to identify the necessary and sufficient conditions for a work to count as fiction. She argues that this goal cannot really be achieved; instead, she appeals to the notion of genre to distinguish between fiction and nonfiction. This notion is significantly more flex- ible, since it invites us to identify standard—but not necessary—and counter-standard features of works of fiction in light of our classificatory practices. More specifically, Friend argues that the genre of fiction has the genre of nonfiction—and (...) only that genre—as its con- trast class. I will refer to the particular way in which Friend elaborates this claim as the contrast view. I have, nevertheless, the impression that this view unnecessarily narrows down the array of perspectives and attitudes from which we can approach works of fiction. I will thus develop a line of reasoning to the effect that the contrast view should rather be construed as picking out a particular way of relating to works of fiction that lies at the end of a continuum defined by different degrees of reflectivity and estrangement. This implies that the contrast view is false as a general claim about how we experience works of fiction, even though this view may appropriately de- pict a specific way of approaching such works. (shrink)