George Lakoff (in his book Women, Fire, and Dangerous Things(1987) and the paper "Cognitive semantics" (1988)) champions some radical foundational views. Strikingly, Lakoff opposes realism as a metaphysical position, favoring instead some supposedly mild form of idealism such as that recently espoused by Hilary Putnam, going under the name "internal realism." For what he takes to be connected reasons, Lakoff also rejects truth conditional model-theoretic semantics for natural language. This paper examines an argument, given by Lakoff, against realism and MTS. (...) We claim that Lakoff's argument has very little, if any, impact for linguistic semantics. (shrink)

Some presuppositions seem to be weaker than others in the sense that they can be more easily neutralized in some contexts. For example some factive verbs, most notably epistemic factives like know, be aware, and discover, are known to shed their factivity fairly easily in contexts such as are found in (1). (1) a. …if anyone discovers that the method is also wombat-proof, I’d really like to know! b. Mrs. London is not aware that there have ever been signs erected (...) to stop use of the route… c. Perhaps God knows that we will never reach the stars…. (The examples in (1) are all naturally occurring ones, discovered by David Beaver with the aid of Google; cf. Beaver 2002, exx. 32, 43, and 51, respectively.) On the other hand some other factives, e.g. regret, matter, and be surprised, do not exhibit the same type of behavior: (2) a. If any of the students regrets behaving badly, they’ll let us know. b. It doesn’t matter that the chimpanzees escaped. c. Was Bill surprised that spinach was included? Unlike the examples in (1), those in (2) could not be used appropriately in contexts where the speaker was not assuming that the complement clause was true. Our main concern will be trying to find the cause of this difference. However, before we get to that, we will look more closely at the concept “presupposition” itself, as well as its close neighbor in the linguistic literature, “conventional implicature” (section 2), and also at various ways of getting rid of presuppositions (section 3). In section 4 we will investigate two possible explanations for differences in presupposition triggering – the “lexical alternative” approach of Abusch (2002, 2005), and a suggestion of Ladusaw’s involving detachability of presuppositions. The final section contains concluding remarks. (shrink)

Last year (2005) marked the 100th anniversary of the publication of Russell’s classic ‘On denoting’. It should not cast any shadow on that great work to note that the problems it provided solutions to are still the subject of controversy. Two of those problems involved noun phrases (NPs) which fail to denote. Russell’s examples (1a) and (1b) (1) a. The king of France is bald. b. The king of France is not bald. are puzzling because they have the form of (...) simple contradictories, and yet we are not inclined to say either one is true. Example (2) (2) Pegasus does not exist. is even more problematic; the lack of denotation for Pegasus, which makes the sentence true, also seems to rob it of a meaningful constituent. Once the king of France is unpacked according to Russell’s analysis, (1b) is revealed to be ambiguous. It’s logical forms are given in (3). (3) a. ∃x[Kx ∧ ∀y[Ky ↔ y=x] ∧ ¬Bx] b. ¬∃x[Kx ∧ ∀y[Ky ↔ y=x] ∧ Bx] (3a) says that there is a unique (French) king who is not bald (obviously false), but (3b), the logical contradictory of (1a) says that it is not the case that there is a unique king who is bald (which is true). We can apply the analysis to sentence (2) once we recognize Pegasus as a concealed definite description, e.g. the winged horse of Greek mythology. (2) can then be unpacked as (4) (4) ¬∃x[Wx ∧ ∀y[Wy ↔ y=x]] which seems both meaningful and true, as required. Problems solved. Well, not quite. Strawson (1950) challenged the first solution above, arguing that neither (1a) nor (1b) could be used to assert the existence of a king of France. Rather, use of such sentences presupposes the existence of a king of France, and failing that existence, neither of (1a) or (1b) could be used to make either a true or a false statement – in Strawson’s words, “the question of whether it’s true or false simply doesn’t arise” (Strawson 1950, 330).1 In an extended series of essays, and one book, Jay Atlas (1977, 1978, 1979, 1989, 2004) has taken issue with the work of both Russell and Strawson.. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Wonder, Imagination, and the Matter of Theatre in The TempestMary MooreAriel occurs. Recounting his performance of "the tempest" in Act I, scene 1 of The Tempest, he presents himself as being and action, fracturing grammar, spatial and temporal logic in ways that amaze and confound:I boarded the King's ship; now on the beak, Now in the waist, the deck, in every cabin, I flamed amazement. Sometime I'd divide, And (...) burn in many places; on the topmast, The yards, and bowsprit would I flame distinctly, Then meet and join...(1.2.195–201) 1"I flamed" means that Ariel emits or is flames, which in the normal order of things would consume him. His very narration, however, proves his survival, evoking wonder through the utterance itself. Forceful and compacted syntax, a recognized source of wonder in Classical and Renaissance accounts of style (Biester, pp. 14; 35–40), magnifies this effect. 2 Shakespeare's transitive use of the usually intransitive verb flame reflects a not uncommon practice, as E. A. Abbott shows; 3 but this syntactic device also reflects The Tempest's own logic. Ariel crosses boundaries between [End Page 496] deed and being, verb and noun, subject and object, matter and spirit: he both is and does flames. What could be more jarring to syntax and semantics than a singular subject whose utterance claims that he can flame, divide, meet and join? Just as "a" fire consists of many flames yet functions grammatically as a singular substance in English, just as the Christian Trinity is both singular and multiple, Ariel burns in many places at once. Meanwhile, this extraordinary language seems belied by the actor's very embodiment. Ariel cannot have done what he claims; yet the prior scene has represented the very storm in which Ariel flamed. In that sense, the actor's embodiment represents what we imagine to be matter's intractability, while Ariel's claims, coupled with the storm we have just witnessed, reveal matter's fluidity and permeability to imagination. Fluidity and intractability co-exist, another source of wonder. Sound mimics these paradoxes: the assonance and consonance in flame and amazement create a near rhyme that echoes the near identity of fire and human amazement. If, as Gurr and Ichikawa observe, a Renaissance audience expected to hear more than see a play, this echo calls attention to Ariel's marvelous powers. 4 Lest the noises and pleasures of the Renaissance theatre, which recent scholarship deems to be considerable, distract audience members from this bit of language, similar moments reinforce Ariel's play in and with language and matter throughout the play. Marvelous poetic language is of a piece with a "fever" that is of "the mind," with music that "creeps," actors who vanish, new found goddesses who speak the discoverers' own language.Amazement provides our cue: it and its cognates name the appropriate response to Ariel, his language, and to The Tempest itself. Attention to Ariel's poetic language reveals that it, like the plot, conforms to the marvels of the play and to the period's well documented love for marvels in several ways. Wonder, an aesthetic "'object of desire'" in itself, and a response to the inexplicable in classical and early modern views, may be evoked by the unexpected in style (and through other strategies that the era's handbooks taught). 5 The clause "I flamed amazement" epitomizes the unexpected in syntax as well as differing from one of the few sources found for The Tempest, William Strachey's 1610 letter, which describes just such a storm. 6 While St. Elmo's fire itself may elicit wonder, Shakespeare's syntax and diction reinforce that marvel. And no wonder: rhetoric and theatre alike depend upon audience attention, and wonders naturally evoke it. Jarring language also harmonizes with The Tempest's structural marvels—loose ends, disrupted actions, unforeseen futures—issues several critics explore. 7 [End Page 497]The wonders of The Tempest, however, also involve imagination—in early modern psychology, the human faculty that permits perception of the world and invention of images. 8 Wonder responds to how the perceived differs from the expected, how the imagined supplants the usual, how an... (shrink)

A focus on the lawmaking process, I submit, permits us to explore a particular dimension of justice, namely the relationship between law and liberty. Laws that reflect the arbitrary whims of the lawmaker are presumptively unjust, because they constrain liberty for no good reason. A strategy for making arbitrary laws less likely involves recognizing checks on the lawmaker's powers and grounding those checks in processes that allow the governed to express their disapproval. The system of checks and balances employed in (...) the U.S. Constitution embodies this strategy, although reasonable people can debate its efficacy. As A.O. Hirschman observed, regimes that permit free movement of persons and property similarly restrict the force of arbitrary rules by allowing exit from unwanted restrictions. I want to inquire into the role of checks in international lawmaking. At first blush, it might appear that the fundamental principle of state consent provides all the checking that international lawmaking needs. This principle maintains that a state (and by extension, its subjects) can be bound by a rule of international law only if that state manifests its consent to the rule. As long as states have a real choice, itself subject to internal checks on official decisionmaking, the adoption of the rule should meet basic criteria of procedural justice. Indeed, the correlate of this principle—that each state has a veto over the adoption of international law, at least as applied to itself and its subjects—suggests that international lawmaking poses less of a threat to liberty than do conventional municipal lawmaking processes based on majority rule. One might think that, as a result of this principle, no rule will attain the status of international law unless its adoption makes some states better off and no state worse off. This first impression, however, is wrong. First, international lawyers argue for the existence of jus cogens norms that apply regardless of state consent. Second, the concept of state consent is artful, and opportunistic decisionmakers have some freedom to construe consent in ways that circumvent conventional checking processes. Third, political and economic coercion can reduce state consent to a meaningless formality. I discuss each of these points in turn. Once state consent ceases to constrain international lawmaking, the question role of alternative checks to protect liberty looms. Under what circumstances does the international lawmaking process as currently constituted present a threat of arbitrary force? What kinds of resistance to the results of international lawmaking can process values justify? I address these questions in three steps. First, I explore whether international law does carry a threat of coercion. If not, concerns about arbitrary restrictions of liberty are misplaced. Second, I discuss the problems arising from delegations of lawmaking authority to international institutions, with specific reference to the Rome Statute and the International Criminal Court. Third, I discuss the process-value issues associated with judicial lawmaking. None of these concerns justifies blanket opposition to international lawmaking. Rather, those interested in making and enforcing international rules need to grapple with these issues and provide another layer of justification for their efforts. a Footnotesa I am indebted to Ken Abbott, Jean Cohen, Larry Helfer, Robert Hockett, Sean Murphy, Phil Nichols, Ed Swaine, Joel Trachtman, the other contributors to this volume, and participants in a workshop at the University of Virginia School of Law for comments and criticism. Shortcomings are mine alone. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Wonder, Imagination, and the Matter of Theatre in The TempestMary MooreAriel occurs. Recounting his performance of "the tempest" in Act I, scene 1 of The Tempest, he presents himself as being and action, fracturing grammar, spatial and temporal logic in ways that amaze and confound:I boarded the King's ship; now on the beak, Now in the waist, the deck, in every cabin, I flamed amazement. Sometime I'd divide, And (...) burn in many places; on the topmast, The yards, and bowsprit would I flame distinctly, Then meet and join...(1.2.195–201) 1"I flamed" means that Ariel emits or is flames, which in the normal order of things would consume him. His very narration, however, proves his survival, evoking wonder through the utterance itself. Forceful and compacted syntax, a recognized source of wonder in Classical and Renaissance accounts of style (Biester, pp. 14; 35–40), magnifies this effect. 2 Shakespeare's transitive use of the usually intransitive verb flame reflects a not uncommon practice, as E. A. Abbott shows; 3 but this syntactic device also reflects The Tempest's own logic. Ariel crosses boundaries between [End Page 496] deed and being, verb and noun, subject and object, matter and spirit: he both is and does flames. What could be more jarring to syntax and semantics than a singular subject whose utterance claims that he can flame, divide, meet and join? Just as "a" fire consists of many flames yet functions grammatically as a singular substance in English, just as the Christian Trinity is both singular and multiple, Ariel burns in many places at once. Meanwhile, this extraordinary language seems belied by the actor's very embodiment. Ariel cannot have done what he claims; yet the prior scene has represented the very storm in which Ariel flamed. In that sense, the actor's embodiment represents what we imagine to be matter's intractability, while Ariel's claims, coupled with the storm we have just witnessed, reveal matter's fluidity and permeability to imagination. Fluidity and intractability co-exist, another source of wonder. Sound mimics these paradoxes: the assonance and consonance in flame and amazement create a near rhyme that echoes the near identity of fire and human amazement. If, as Gurr and Ichikawa observe, a Renaissance audience expected to hear more than see a play, this echo calls attention to Ariel's marvelous powers. 4 Lest the noises and pleasures of the Renaissance theatre, which recent scholarship deems to be considerable, distract audience members from this bit of language, similar moments reinforce Ariel's play in and with language and matter throughout the play. Marvelous poetic language is of a piece with a "fever" that is of "the mind," with music that "creeps," actors who vanish, new found goddesses who speak the discoverers' own language.Amazement provides our cue: it and its cognates name the appropriate response to Ariel, his language, and to The Tempest itself. Attention to Ariel's poetic language reveals that it, like the plot, conforms to the marvels of the play and to the period's well documented love for marvels in several ways. Wonder, an aesthetic "'object of desire'" in itself, and a response to the inexplicable in classical and early modern views, may be evoked by the unexpected in style (and through other strategies that the era's handbooks taught). 5 The clause "I flamed amazement" epitomizes the unexpected in syntax as well as differing from one of the few sources found for The Tempest, William Strachey's 1610 letter, which describes just such a storm. 6 While St. Elmo's fire itself may elicit wonder, Shakespeare's syntax and diction reinforce that marvel. And no wonder: rhetoric and theatre alike depend upon audience attention, and wonders naturally evoke it. Jarring language also harmonizes with The Tempest's structural marvels—loose ends, disrupted actions, unforeseen futures—issues several critics explore. 7 [End Page 497]The wonders of The Tempest, however, also involve imagination—in early modern psychology, the human faculty that permits perception of the world and invention of images. 8 Wonder responds to how the perceived differs from the expected, how the imagined supplants the usual, how an... (shrink)

This would have been a better book if Sampson had argued his main point, the usefulness of the Simonian principle as an explanation of the evolution, structure, and acquisition of language, on its own merits, instead of making it subsidiary to his attack on ‘limited-minders’ (e.g., Noam Chomsky). The energy he has spent on the attack he might then have been willing and able to employ in developing his argument at reasonable length and detail. He might then have found that (...) argument faulty, or even wrong. Underdeveloped as it is, however, his point about the Simonian principle does seem to have thepossibility of some significance in understanding the empirical issues of this book (and the dichotomy of ‘limited’ and ‘creative’ minds is certainly not one of these).What Sampson has done inMaking Sense has the appearance of science, and theoretical linguistics, and therefore it is somewhat puzzling to find the conclusions that the human mind cannot be scientifically studied (p. 10), and that theoretical linguistics is a “mirage” (p. 210). His statement that It may still seem worthwhile to some to work out the exact implications for present-day linguistic structure of the fact that languages are evolved systems, but I cannot see that there is much glamour or, indeed, much substance in this task (p. 210) would surely be surprising to a geneticist or ethologist. We hope his apparent misunderstanding on this point will not lead him to give up his profession, in which he seems willing and able to make a significant contribution.What in particular is required is a clear indication of how the Simonian principle imposes itself in the ontogenesis of language. Consider Chomsky's example of the rule for forming questions in English. For sentence (1) below, children able to deal with such examples would give (2) but not (3) as the corresponding question (Chomsky, 1975, p. 31).The man who is tall is in the room.Is the man who is tall in the room?*Is the man who tall is in the room?Now compare Sampson's evolutionary explanation for the structure-dependence of rules which is illustrated in (1)-(3): “once a behavior-pattern has become thoroughly established, it will tend to be treated as a fixed given when used as a constituent of a more complex, later-learned behavior-pattern” (p. 183). In order for this to account for Chomsky's example it would have to be the case that children learn relative clauses before they learn questions, which simply isn't true.In conclusion, we wish not to seem unaware of the problems with the position Sampson is attacking, or unaware of the sometimes dogmatic way it too has been presented. Chomsky's hypothesis of innate linguistic ideas seems, fundamentally, to derive from the claimed rapidity and uniformity of language acquisition in the face of limited and degenerate data. Chomsky appears to have been unwilling to argue these points directly or to show their relation to others, for which he has argued, for example, the implausibility of some abstract constraint's having been learned (cf. 1971, pp. 22–44; 1975, pp. 30–33; 1980, pp. 35–52). And almost from his first invoking of rationalism in support of his linguistic method, Chomsky has himself resorted to an unnecessarily polemical attack on empiricism (cf. 1965, p. 58, n. 33). The innateness issue is just not clear or simple enough to justify so much animus, or even conviction. (shrink)

Why are bookstore shelves filled with mysteries, horror stories, romances, Westerns and other genre fiction? Why should one spend time reading narratives that are so similar? Why, for that matter, should one write works that are so similar to those of other authors? One philosopher, Noel Carroll, in fact, refers to the phenomenon as the ?paradox of junk fiction?. Are there works in political theory as well that share characteristics with these genres? And is there also a paradox involved among (...) both these readers and authors? This essay reviews both the criticisms and defenses of popular generic texts focusing on arguments that defend the complexity of genre texts and those that deny the distinction between generic works and others. Utopias are identified as counterparts in political theory and are applied to this genre debate. I conclude by revising the genre paradox. (shrink)

What is morally permissible, and what is morally obligatory? These questions form the core of a vast amount of philosophical reasoning. In his Fundamental Principles of the Metaphysics of Morals, Immanuel Kant developed a basis for the answers. In this landmark work, the German philosopher asks what sort of maxim might function as a guide to appropriate action under a given set of circumstances. By universalizing such a maxim, would morally permissible behavior not become clear? Suppose that everyone were to (...) behave in accordance with this maxim. If everyone followed the maxim in the same way without harm to civilized culture, then the behavior would be morally permissible. But what if no one followed the maxim? Would civilization thereby be at risk? In such a case, the behavior would be morally obligatory. Kant's test, known as the Categorical Imperative, is a logical proof of the Golden Rule and the centerpiece of this work. It constitutes his best-known contribution to ethical discussion, and a familiarity with his reasoning in this book is essential to students of philosophy, religion, and history. (shrink)

Decades of psychological research have been aimed at modeling how people learn features and categories. The empirical validation of these theories is often based on artificial stimuli with simple representations. Recently, deep neural networks have reached or surpassed human accuracy on tasks such as identifying objects in natural images. These networks learn representations of real‐world stimuli that can potentially be leveraged to capture psychological representations. We find that state‐of‐the‐art object classification networks provide surprisingly accurate predictions of human similarity judgments for (...) natural images, but they fail to capture some of the structure represented by people. We show that a simple transformation that corrects these discrepancies can be obtained through convex optimization. We use the resulting representations to predict the difficulty of learning novel categories of natural images. Our results extend the scope of psychological experiments and computational modeling by enabling tractable use of large natural stimulus sets. (shrink)

First published in 1986, Knowledge, Belief, and Witchcraft remains the only analysis of indigenous discourse about an African belief system undertaken from within the framework of Anglo-American analytical philosophy. Taking as its point of departure W. V. O. Quine's thesis about the indeterminacy of translation, the book investigates questions of Yoruba epistemology and of how knowledge is conceived in an oral culture.

The New Evil Demon problem has been hotly debated since the case was introduced in the early 1980’s (e.g. Lehrer and Cohen 1983; Cohen 1984), and there seems to be recent increased interest in the topic. In a forthcoming collection of papers on the New Evil Demon problem (Dutant and Dorsch, forthcoming), at least two of the papers, both by prominent epistemologists, attempt to resist the problem by appealing to the distinction between justification and excuses. My primary aim here is (...) to critically evaluate this new excuse maneuver as a response to the New Evil Demon problem. -/- Their response attempts to give us reason to reject the idea that victims of the New Evil Demon have justification for believing as they do. I shall argue that this approach is ultimately unsuccessful, however much of value can be learned from these attempts. In particular, progress in the debate can be made by following those who advance the excuse maneuver and make explicit the connection between epistemic justification and epistemic norms. By doing so, the questions being debated are clarified, as is the methodology being used to attempt to answer them. (shrink)

Whether causing flash crashes in financial markets, purchasing illegal drugs, or running over pedestrians, AI is increasingly engaging in activity that would be criminal for a natural person, or even an artificial person like a corporation. We argue that criminal law falls short in cases where an AI causes certain types of harm and there are no practically or legally identifiable upstream criminal actors. This Article explores potential solutions to this problem, focusing on holding AI directly criminally liable where it (...) is acting autonomously and irreducibly. Conventional wisdom holds that punishing AI is incongruous with basic criminal law principles such as the capacity for culpability and the requirement of a guilty mind. -/- Drawing on analogies to corporate and strict criminal liability, as well as familiar imputation principles, we show how a coherent theoretical case can be constructed for AI punishment. AI punishment could result in general deterrence and expressive benefits, and it need not run afoul of negative limitations such as punishing in excess of culpability. Ultimately, however, punishing AI is not justified, because it might entail significant costs and it would certainly require radical legal changes. Modest changes to existing criminal laws that target persons, together with potentially expanded civil liability, are a better solution to AI crime. (shrink)

Schooling fish, swarms of starlings, plodding wildebeest, and musicians all display impressive synchronization. To what extent do they use acoustic cues to achieve these feats? Could the acoustic cues used in movement synchronization be relevant to the treatment of movement disorders such as Parkinson's disease in humans? In this article, we build on the emerging view in evolutionary biology that the ability to synchronize movement evolved long before language, in part due to acoustic advantages. We use this insight to explore (...) potential mechanisms that explain why music therapy has beneficial effects for PD patients. We hypothesize that rhythmic auditory cues, particularly music, can stimulate neuronal and behavioral processes that ease the symptoms and potentially the causes of PD because the neural circuits used in auditory entrainment at individual and group levels are associated with dopamine production. We summarize current treatment of PD and outline how new insights from an evolutionary perspective could improve understanding and eventual treatment of movement disorders in humans. (shrink)

There are various equivalent formulations of the Church-Turing thesis. A common one is that every effective computation can be carried out by a Turing machine. The Church-Turing thesis is often misunderstood, particularly in recent writing in the philosophy of mind.

This study presents a critical discourse analysis of YouTube comments below five videos of the Johnny Depp v Amber Heard trial, which was live streamed by the platform in April and May 2022. The analysis examines the discursive resources used by commenters to construct domestic abuse. Commenters draw on three interpretive repertoires: ‘Perfect Victim’, ‘Mutual Abuse’ and ‘Dangerous Women’. The analysis explores the way these repertoires are used to rebut Heard’s allegations of abuse by mobilising the perfect victim repertoire to (...) refute any claim she has to this experience, and the mutual abuse repertoire to implicate Heard in the abuse and minimise blame for Depp. Through establishing gender-symmetry in domestic abuse and drawing on traditional gender norms for each party, commenters construct the dangerous women repertoire to depict Heard as crazy, pathological and violent. The key implication of this study is that public constructions of domestic abuse can directly impact the attitudes and treatment of both victims and perpetrators. In this instance, they serve to maintain the oppression and control of women within anti-feminist narratives of female dominance, currently led by men’s rights activists and conservative outlets. (shrink)

Four models are outlined for describing and analysing the role of teachers in the formulation of educational policy and the resulting processes of change. The model of teachers as partners in education policy making draws on a pluralist view of political processes and an assumption of a degree of autonomy for teachers and schools. A model of teachers as implementers of change draws a sharp distinction between the processes of policy making and policy execution and excludes teachers from an involvement (...) in the former. A model of teachers as resisting change has been put forward both by those most opposed to and those most supportive of current educational policy developments. Finally, a model of teachers as policy makers in practice is proposed to describe the way in which the reality of teaching situations can lead to the independent actions of individual teachers having systematic policy effects. The applicability of these models is considered in the context of contemporary educational changes drawing on empirical research evidence, in particular that of the PACE study of the implementation of the National Curriculum at KS1 and KS2. (shrink)