The paradox of fiction presents an inconsistent triad of propositions, all of which are purported to be plausible or difficult to abandon. Here is an instance of the paradox: (1) Sally pities Anna (where Anna is the character Anna Karenina). (2) To pity someone, one must believe that they exist and are suffering. (3) Sally does not believe that Anna exists. Here is the problem. The paradox was formulated during the heyday of the cognitive theory of the emotions when there (...) was a lot of theoretical commitment to (2) or a variant of it. But now virtually no one accepts (2). To solve the paradox, we just have to find a way to reject one of the inconsistent statements. It appears easy to reject (2). So why do even some of those who do reject (2) not leave matters there? I argue that there is still good reason to consider other solutions to the paradox. It is only by doing so that we fully understand the affective states with which we respond to fiction, in particular, the distinctive functional role that they have in this context. (shrink)

With this challenging work, Joseph Margolis continues the project begun in _The Flux of History and the Flux of Science_. Tackling one of philosophy's master themes, he develops the controversial thesis that the world is a flux. Here he applies this doctrine to Western theories of history and the interpretation of cultural phenomena—offering the first sustained analysis of the logic, methodology, and metaphysics of interpretation committed to a thoroughgoing relativism and the historicized structure of cultural phenomena. Versed in Anglo-American and (...) Continental philosophy, Margolis draws on the best views of Western philosophy to investigate a topic regularly ignored in that tradition. The result is the surprising synthesis of two historically antipathetic approaches to philosophy. (shrink)

Aesthetics and the Philosophy of Art is an essential introduction to some of the central topics and approaches being debated in contemporary aesthetics and philosophy of art. By taking a stand on each of the issues addressed and arguing for certain resolutions and against others, the text does not simply present a controversy in its current state of play, but instead helps to advance it toward a solution.

Praised in its original edition for its up-to-date, rigorous presentation of current debates and for the clarity of its presentation, Robert Stecker's new edition of Aesthetics and the Philosophy of Art preserves the major themes and conclusions of the original, while expanding its content, providing new features, and enhancing accessibility. Described as a "remarkably unified introduction to many contemporary debates in aesthetics and the philosophy of art," Stecker specializes in sympathetically laying bear the play of argument that emerges (...) as competing views on a topic engage each other. (shrink)

Reason and Value collects 15 new papers by leading contemporary philosophers on themes from the work of Joseph Raz. Raz has made major contributions in a wide range of areas, including jurisprudence, political philosophy, and the theory of practical reason; but all of his work displays a deep engagement with central themes in moral philosophy. The subtlety and power of Raz's reflections on ethical topics make his writings a fertile source for anyone working in this area. Especially significant are his (...) explorations of the connections between practical reason and the theory of value, which constitute a sustained and penetrating treatment of a set of issues at the very center of moral philosophy as it is practiced today. The contributors to the volume acknowledge the importance of Raz's contributions by engaging critically with his positions and offering independent perspectives on the topics that he has addressed. The volume aims both to honour Raz's accomplishments in the area of ethical theorizing, and to contribute to an enhanced appreciation of the significance of his work for the subject. (shrink)

Robert Stecker investigates the universal human need for aesthetic experience of the world around us. He examines three contexts where aesthetic value plays a central role: art, nature, and the everyday. He explores how the aesthetic interacts with moral, cognitive, and functional values, and considers the place of the aesthetic in a good life.

What possesses aesthetic value? According to a broad view, it can be found almost anywhere. According to a narrower view, it is found primarily in art and is applied to other items by courtesy of sharing some of the properties that make artworks aesthetically valuable. In this paper I will defend the broad view in answering the question: how should we characterize aesthetic value and other aesthetic concepts? I will also criticize some alternative answers.

Provides a wide-ranging introduction to aesthetic theory and philosophy of art for readers, particularly university students who seek an overview of major controversies, theories, and writers. The 44 readings are chosen for their capacity to provide a representative set of competing perspectives within the contemporary debate and are edited to be accessible to undergraduates. With 40 readings by contemporary authors and 4 classic texts that provide a solid foundation, Aesthetics: A Reader is both accessible and current.

This chapter contains section titled: Conceptual Issues of Art Interpretation Ontology of Interpretation Notes.

This chapter contains section titled: Arguing for the Theory Objections Notes.

In this paper we defend a direct reference theory of names. We maintain that the meaning of a name is its bearer. In the case of vacuous names, there is no bearer and they have no meaning. We develop a unified theory of names such that one theory applies to names whether they occur within or outside fiction. Hence, we apply our theory to sentences containing names within fiction, sentences about fiction or sentences making comparisons across fictions. We then defend (...) our theory against objections and compare our view to the views of Currie, Walton, and others. (shrink)

_Interpretation and Construction_ examines the interpretation and products of intentional human behavior, focusing primarily on issues in art, law, and everyday speech. Focuses on artistic interpretation, but also includes extended discussion of interpretation of the law and everyday speech and communication. Written by one of the leading theorists of interpretation. Theoretical discussions are consistently centered around examples for ease of comprehension.

In many artworks, both aesthetic and ethical values are present, and both can contribute to the overall artistic value of a work. The question explored in this paper is: does the presence of one kind of value affect the degree of the other? For example, does a work that expresses a morally reprehensible attitude diminish the aesthetic value of a work? Let ‘interaction’ name the view that the presence of one kind of value affects the degree of the other. We (...) will argue in favour of the existence of interaction. However, we will argue further that such interaction is a contingent feature of artworks and that the most common argument that has been offered for interaction—the affective -response -argument—fails to identify the main reason why it holds, when it in fact does. (shrink)