Philosophers have had an interest in language from the earliest times but the twentieth century, with its so-called 'linguistic turn' in philosophy, has seen a huge expansion of work focused specifically on language and its foundations. No branch of philosophy has been unaffected by this shift of emphasis. It is timely at the end of the century to review and assess the vast range of issues that have been developed and debated in this central area. The distinguished international contributors present (...) a clear, accessible guide to the fundamental questions raised by the philosophers about language. Contributions include Graeme Forbes on necessity, Susan Haack on deviant logics, Paul Horwich on truth, Charles Travis on Wittgenstein, L.J. Cohen on linguistic philosophy, Ruth Kempson on semantics and syntax and Christopher Hookway on ontology, to name but a few. A wide range of topics are covered from the metaphysics and ontology of language, language and mind, truth and meaning, to theories or reference, speech act theory, philosophy of logic and formal semantics. There are also articles on key figures from the twentieth century and earlier. Based on the foundation provided by the award-winning Encyclopedia of Language and Linguistics this single volume provides a collection of articles that will be an invaluable reference tool for all those interested in the area of philosophy of language, and also to those in cognitive science and psychology. All the articles have been thoroughly revised and updated. This volume gives a unique survey of topics that are at the very core of contemporary philosophy. (shrink)

AS THE twentieth century comes to a close and the twenty-first dawns, the British Journal of Aesthetics begins its fortieth volume and enters its fortieth year. This seems an apt moment, or a good excuse, for a special issue, prefaced by a few general reflections, through the lens of the journal, on nearly half a century of aesthetics and on the prospects ahead. Strictly speaking, the fortieth anniversary of the journal does not fall until the autumn of 2000 as it (...) was in the autumn of 1960 that the first issue appeared. But there is a seductiveness in round numbers and the coincidence of the start of volume 40 with the start of the new millen- nium is justification enough for special attention.1 In fact self-reflection has been a rare event in the BJA. There have been few editorials and only two previous Special Issues, one commemorating the eightieth birthday of the founding editor, Harold Osborne, in 1985 (vol. 25, no. 2), the other in 1994 (vol. 34, no. 1), a collection of papers on the theme of repres- entation. The editorial voice is seldom heard in the journal, at least in the form of observations about the journal’s contents. Both Harold Osborne and Terry Diffey, the two previous editors, were modestly reticent about the development of the journal that they did so much to create and consolidate. On occasion they did publish their own essays and reviews so their ideas on specific topics in aesthetics were on display. Indeed the 1977 volume contained no fewer than four essays and five reviews by Osborne while he was editor. But editorial commentary as such has been light. That said, it has been a feature of the BJA from its inception that the editor’s own stamp has been imprinted on the contents, as a consequence of the large degree of autonomy each editor has possessed in selecting material to publish. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Peter Lamarque TRUTH AND ART IN IRIS MURDOCH'S THE BLACK PRINCE "Art," writes Bradley Pearson, protagonist and narrator in The Black Prince, "is concerned not just primarily but absolutely with truth." Bradley Pearson is also concerned with truth. And understandably so, as he has just taken the rap, and been imprisoned, for a murder he claims he never committed. There are two rather different concerns here with truth: (...) there is the high-minded concern of the artist and there is the more pragmatic concern of the despised and falsely convicted man writing his "apologia." The careful juxtaposition of these two appeals to truth is a central theme in The Black Prince. The bulk of the novel purports to be a first-person narration of events in the later life of Bradley Pearson. Bradley is a writer who has been waiting patiently and silently for the inspiration, "the dark blaze," to produce a great work of art. This "dark blaze" eventually shows itself as the "black Eros," in a passionate but short-lived love affair with the youngJulian Baffin. Bradley is reflecting on these events from his prison cell, guided by his mentor and fellow prisoner, the "editor" P. Loxias (a witty reference to Apollo, god of truth). He sees his art and his love as stemming "from the same source" (p. 172) and, although sensitive to his shortcomings as an artist, he believes that through a divine inspiration he has attained a kind of Platonic tranquillity in the presence of truth and self-knowledge. However, through the device of "postscripts," purportedly written by other characters, we are presented with another picture of him rather different from his own. His former friends, more down to earth, though variously self-interested, depict him as a pitiful, even contemptible, charlatan lost in fantasy and delusion and a suitable case for psychoanalysis. What, then, is the real Bradley Pearson? Is he the pathetic, fantasy-ridden creature of the "postscripts"? Or is he, as he thinks, the great artist inspired by the gods and by Eros who has seen the revelation of truth? 209 2 1 0 Philosophy and Literature By forcing us to raise these questions about the novel, Iris Murdoch, I suggest, is inviting us to reflect on, and relate, two concerns we might have with truth in works of fiction. The first is with truth internal to the novel, truth-within-fiction, which informs us about the fictional characters and events. In The Black Prince, our attention is focused on unravelling and assessing the "truth" of Bradley's account. The second is with truth proper, as it might be revealed through fiction. This is truth not about the fictional world but about the non-fictional real world. It is often maintained that novels can instruct us in acquiring knowledge of the world. This, I suggest, is the type of truth that Bradley, so grandly and solemnly, and frequently, identifies with art. The nature of such truth is the main topic of this article. II What sense can we make of Bradley's repeated claims to the effect that "good art speaks truth" (p. xi)? One answer, reflecting an obvious feature of literary works, is that propositions about the world are often expressed, explicitly, within a fictional context; they might be uttered by one of the characters or directly by the author. The Black Prince offers many such propositions, some of which, on the nature of art, I shall be considering in detail. Examples are plentiful. Thus, Bradley remarks on marriage: "People who boast of happy marriages are, I submit, usually self-deceivers, if not actually liars. The human soul is not framed for continued proximity..." (p. 64). He meditates on love: "The foreverness of real love is one of the reasons why even unrequited love is a source of joy" (pp. 173-74) and discusses jealousy (p. 207). He also reflects on human consciousness and responsibility (p. 155) and on selfishness and goodness: "The burden of genuine goodness is instinctively appreciated as intolerable, and a desire for it would put out of focus the other and ordinary wishes by which one lives" (p. 149). Such explicit propositions carry us beyond the... (shrink)

The paper considers what kinds of things are musical, literary, pictorial and sculptural works, how they relate to physical objects or abstract types, and what their identity and survival conditions are. Works are shown to be cultural objects with essential intentional and relational properties. These essential properties are connected to conditions of production and conditions of reception, of both a generic and work-specific kind. It is argued that work-identity is value-laden, whereby essential to the survival of a work is the (...) quality of the experience the work affords. However, the overall stance is realist, defending the view that works are real, perceivable, and objectively characterisable. (shrink)

Reflection Principles are commonly thought to produce only strong axioms of infinity consistent with V = L. It would be desirable to have some notion of strong reflection to remedy this, and we have proposed Global Reflection Principles based on a somewhat Cantorian view of the universe. Such principles justify the kind of cardinals needed for, inter alia , Woodin’s Ω-Logic.

This book examines the complex and varied ways in which fictions relate to the real world, and offers a precise account of how imaginative works of literature can use fictional content to explore matters of universal human interest. While rejecting the traditional view that literature is important for the truths that it imparts, the authors also reject attempts to cut literature off altogether from real human concerns. Their detailed account of fictionality, mimesis, and cognitive value, founded on the methods of (...) analytical philosophy, restores to literature its distinctive status among cultural practices. The authors also explore metaphysical and skeptical views, prevalent in modern thought, according to which the world itself is a kind of fiction, and truth no more than a social construct. They identify different conceptions of fiction in science, logic, epistemology, and make-believe, and thereby challenge the idea that discourse per se is fictional and that different modes of discourse are at root indistinguishable. They offer rigorous analyses of the roles of narrative, imagination, metaphor, and "making" in human thought processes. Both in their methods and in their conclusions, Lamarque and Olsen aim to restore rigor and clarity to debates about the values of literature, and to provide new, philosophically sound foundations for a genuine change of direction in literary theorizing. (shrink)

This paper responds to Saul Fisher’s critical note (in the current volume) on Peter Lamarque and Nigel Walter’s ‘The Application of Narrative to the Conservation of Historic Buildings’ (Estetika 1/2019). Walter restates the argument, underlining the context of ‘living' buildings whose identities are still in formation. He then responds to points raised by Fisher, commenting on persistence and identity, Noël Carroll’s views on narrative connection, the usefulness of Carroll's engagement with spatial relations, and addressing some of Fisher’s specific challenges. (...) Lamarque then comments, framing the central question as whether conservation work to a building preserves its character, integrity, and coherence, noting that these are core aspects of narrative, before concluding with some reflections on the application of metaphor, including the metaphorical personification of buildings. (shrink)

What is narrative? What is distinctive about the great literary narratives? In virtue of what is a narrative fictional or non-fictional? In this important new book Peter Lamarque, one of the leading philosophers of literature at work today, explores these and related questions to bring new clarity and insight to debates about narrative in philosophy, critical theory, and narratology.

Inleidend overzicht van de wijsgerige ethiek.

Various aspects of poetic meaning are discussed, centred on the relation of form and content. A C Bradley's thesis of form-content identity, suitably reformulated, is defended against criticisms by Peter Kivy. It is argued that the unity of form-content is not discovered in poetry so much as demanded of it when poetry is read 'as poetry'. A shift of emphasis from talking about 'meaning' in poetry to talking about 'content' is promoted, as is a more prominent role for 'experience' in (...) characterising responses to poetry and its value. It is argued that the key to poetic meaning lies less in a theory of meaning, more in a theory of poetry, where what matters are modes of reading poetry. Content-identity in poetry is said to be 'interest-relative' such that no absolute answer, independent of the interests of the questioner, can determine when a poem and a paraphrase have the same content. Interpretation of poetry need not focus exclusively on meaning, but on ways in which the experience of a poem can be heightened. (shrink)

The paper offers a mildly deflationary account of narrative, drawing attention to the minimal, thus easily satisfied, conditions of narrativity and showing that many of the more striking claims about narrative are either poorly supported or refer to distinct classes of narrative—usually literary or fictional—which provide a misleading paradigm for narration in general. An enquiry into structural, referential, pragmatic, and valuebased features of narrative helps circumscribe the limits of narration and the test case of the narrative definition of the self (...) is examined and shown to yield rather less that is often claimed. (shrink)

The paper considers what kinds of things are musical, literary, pictorial and sculptural works, how they relate to physical objects or abstract types, and what their identity and survival conditions are. Works are shown to be cultural objects with essential intentional and relational properties. These essential properties are connected to conditions of production and conditions of reception, of both a generic and work-specific kind. It is argued that work-identity is value-laden, whereby essential to the survival of a work is the (...) quality of the experience the work affords. However, the overall stance is realist, defending the view that works are real, perceivable, and objectively characterisable. (shrink)

The familiar idea that literature is embedded in social practices that help explain both its existence and its value took a distinctive form in analytic philosophy, drawing on speech act theory and a conception of ‘rules’. A major influence was John Rawls's seminal paper ‘Two Concepts of Rules’ (1955) in which he introduced the ‘practice conception of rules’ according to which certain practices are defined by rules that in turn make possible certain kinds of action. The idea underlies the notion (...) of ‘constitutive rules’ in speech act theory and draws on a comparison with games. The origin of this idea can clearly be traced to Wittgenstein, with his highly original thoughts on practices, rules, and games. Yet the Wittgensteinian influence is not sufficiently acknowledged in this context (that is, the context of literary aesthetics). As someone who holds the idea of a practice or ‘institution’ to be of crucial importance in philosophy of literature, I therefore thought it would be useful to put the record straight and remind ourselves what Wittgenstein says about practices (and games) to see just what the relation is between the roots of that idea (in Wittgenstein) and its current manifestations in literary aesthetics. The results suggest that there is much to be learned from Wittgenstein and that his model might be more fruitful than that of Rawls. (shrink)

By exploring central issues in the philosophy of literature, illustrated by a wide range of novels, poems, and plays, _Philosophy of Literature_ gets to the heart of why literature matters to us and sheds new light on the nature and interpretation of literary works. Provides a comprehensive study, along with original insights, into the philosophy of literature Develops a unique point of view - from one of the field's leading exponents Offers examples of key issues using excerpts from well-known novels, (...) poems, and plays from different historical periods. (shrink)

This chapter contains sections titled: Background The Way Forward.

The volume focuses on a wide range of thinkers, including Iris Murdoch on truth and art, Stanley Cavell on tragedy, Roland Barthes and Michel Foucault on "the death of the author," and Kendall Walton on fearing fictions. Also included is a consideration of the fifteenth-century Japanese playwright and drama teacher Zeami Motokiyo, the founding father of Noh theather.

The paper argues that there is a proper place for literature within aesthetics but that care must be taken in identifying just what the relation is. In characterising aesthetic pleasure associated with literature it is all too easy to fall into reductive accounts, for example, of literature as merely “fine writing”. Belleslettrist or formalistic accounts of literature are rejected, as are two other kinds of reduction, to pure meaning properties and to a kind of narrative realism. The idea is developed (...) that literature—both poetry and prose fiction—invites its own distinctive kind of aesthetic appreciation which far from being at odds with critical practice, in fact chimes well with it. (shrink)

인간의 이성적 의식과 법의 관계를 밝히고 법의 해석 과 판단에 인간의 의식이 어떻게 작용하는가를 고찰 한 저술. 제1부에서는 법의 형이상학적인 측면에서 법의 실체, 그리스의 법, 데카르트의 법, 로크와 법, 칸트와 법, 헤겔과 법, 아담스미스의 법의 경제, 중국의 도덕과 법사상을 다루었다. 제2부에서는 심리학적 분석으로 헌법의 심리학적 해석, 법의 판결절차, 증거법, 형법과 죄, 청소년과 가족법, 조세법, 플라톤의 법, 칸트의 도덕론의 경험적 확인, 헤겔의 자아와 노동법, 법의 4차원에 대해 다뤘다.

Issues about the creation of works, what is essential and inessential to their identity, their distinct kinds of properties, including aesthetic properties, ...

It is a truth universally acknowledged that great works of literature have an impact on people's lives. Well known literary characters—Oedipus, Hamlet, Faustus, Don Quixote—acquire iconic or mythic status and their stories, in more or less detail, are revered and recalled often in contexts far beyond the strictly literary. At the level of national literatures, familiar characters and plots are assimilated into a wider cultural consciousness and help define national stereotypes and norms of behaviour. In the English speaking world, Shakespeare's (...) plays or the novels of Jane Austen, the Bronte sisters, Dickens, and Trollope, provide imaginative material that reverberates in people's lives every bit as much as do the great historical figures, like Julius Caesar, Elizabeth I, Horatio Nelson, or Winston Churchill. What is striking is how often fictional characters from the literary tradition—like the well-loved Elizabeth Bennett, Jane Eyre, Oliver Twist, Pip, Tess of the d'Ubervilles—enter readers' lives at a highly personal level. They become, as Martha Nussbaum puts it, our ‘friends’, and for many readers the lives of these characters become closely entwined with their own. Happy and unhappy incidents in the fictional worlds are held up against similar incidents in the real lives of readers and such readers take inspiration from the courage, ingenuity, or good fortune of their fictional heroines and heroes. Nowhere is it more true that life imitates art. (shrink)

It is only relatively recently that analytical philosophers have given special focus to poetry as a topic in its own right in aesthetics or as a semi-autonomous branch of the philosophy of literature. A new field is taking shape: the so-called Philosophy of Poetry. But do analytical philosophers have anything new to say on the topic? What kinds of issues or problems attract their attention? Rather than simply surveying the field, the paper looks at some emerging concerns- about form & (...) content, experience, interpretation, expression, and poetic truth-and suggests that poetry poses some quite serious challenges to standard conceptions of meaning and truth. On the current showing it seems likely that studying the practices and norms of poetry will force a reconceiving of the powers or limits of language that could itself promote fresh understanding in core areas of philosophy. So bringing analytical philosophy to poetry can yield benefits in both directions, offering insights as well as challenges. (shrink)

The paper is a dialogue between a conservation architect who works on medieval churches and an analytic aesthetician interested in the principles underlying restoration and conservation. The focus of the debate is the explanatory role of narrative in understanding and justifying elective changes to historic buildings. For the architect this is a fruitful model and offers a basis for a genuinely new approach to a philosophy of conservation. The philosopher, however, has been sceptical about appeals to narrative in other contexts (...) (for example, self-identity), and rehearses some reasons for this scepticism. The dialogue explores the pros and cons of the narrative approach to conservation and seeks to forge a compromise that acknowledges concerns about inflated claims for narrative while pursuing the merits of this particular application. (shrink)

This is a short note on a problem arising from lewis's account of 'truth in fiction'. In the case of the unreliable narrator, A writer, On lewis's view, Must pretend to pretend. An explanation is offered for this in terms of mimicry or impersonation, And some consequences drawn about fictional ontology.

The paper is a dialogue between a conservation architect who works on medieval churches and an analytic aesthetician interested in the principles underlying restoration and conservation. The focus of the debate is the explanatory role of narrative in understanding and justifying elective changes to historic buildings. For the architect this is a fruitful model and offers a basis for a genuinely new approach to a philosophy of conservation. The philosopher, however, has been sceptical about appeals to narrative in other contexts (...) (for example, self-identity), and rehearses some reasons for this scepticism. The dialogue explores the pros and cons of the narrative approach to conservation and seeks to forge a compromise that acknowledges concerns about inflated claims for narrative while pursuing the merits of this particular application. (shrink)