I argue that it is possible literally to perceive the emotions of others. This account depends upon the possibility of perceiving a whole by perceiving one or more of its parts, and upon the view that emotions are complexes. After developing this account, I expound and reply to Rowland Stout's challenge to it. Stout is nevertheless sympathetic with the perceivability-of-emotions view. I thus scrutinize Stout's suggestion for a better defence of that view than I have provided, and offer a refinement (...) of my own proposal that incorporates some of his insights. (shrink)

In a series of articles (Pagin, 2004, 2009), Peter Pagin has argued that assertion is not a social speech act, introducing a method (which we baptize ‘the P-test’) designed to refute any account that defines assertion in terms of its social effects. This paper contends that Pagin's method fails to rebut the thesis that assertion is social. We show that the P-test is both unreliable (because it overgenerates counterexamples) and counterproductive (because it ultimately provides evidence in favor of some social (...) accounts). Nonetheless, we contend that assertion is not fully social. We defend an intermediate view according to which assertion is only a partly social speech act: assertions both commit the speaker to a proposition (a social component) and present their propositional content as true (a non-social component). The upshot is that assertion is in some important respect social, although it cannot be defined solely in terms of its social effects. (shrink)

We critically survey prominent recent scholarship on the question of whether fiction can be a source of epistemic value for those who engage with it fully and appropriately. Such epistemic value might take the form of knowledge (for ‘cognitivists’) or understanding (for ‘neo-cognitivists’). Both camps may be sorted according to a further distinction between views explaining fiction’s epistemic value either in terms of the author’s engaging in a form of telling, or instead via their showing some state of affairs to (...) obtain, a special case of which is the provision of self-knowledge. Fictional works that show rather than tell often employ thought experiments. The epistemic value of some fictional works is indicated by their enabling of empathy, itself illuminated via the psychological process of experience-taking. Whether a fictional work offers epistemic value by telling or showing, there is, in principle, no bar to its being able to deliver on what it offers, and consumers of fiction who exercise epistemic vigilance may gain either knowledge or some degree of understanding from their engagement with it. (shrink)

Stalnaker’s conception of context as common ground possesses unquestionable explanatory power, shedding light on presupposition, presupposition accommodation, the behavior of certain types of conditionals, epistemic modals, and related phenomena. The CG-context approach is also highly abstract, so merely pointing out that it fails to account for an aspect of communication is an inconclusive criticism. Instead our question should be whether it can be extended or modified to account for such a phenomenon while preserving its spirit. To that end, this essay (...) assesses the prospects of the CG-context approach for making sense of the variety of ways in which interlocutors accept propositions as well as non-propositional contents, some different types of conversation and the norms distinctive of these different types, some pre-illocutionary pragmatic phenomena, conversational injustice, and fictional discourse. (shrink)

This essay addresses the question whether artificial speakers can perform speech acts in the technical sense of that term common in the philosophy of language. We here argue that under certain conditions artificial speakers can perform speech acts so understood. After explaining some of the issues at stake in these questions, we elucidate a relatively uncontroversial way in which machines can communicate, namely through what we call verbal signaling. But verbal signaling is not sufficient for the performance of a speech (...) act. To explain the difference, we elucidate the notion of a speech act developed by Austin in the mid-twentieth century and then discuss Strawson’s influential proposal for how that notion may be related to Grice’s conception of speaker meaning. We then refine Strawson’s synthesis in light of Armstrong’s reconceptualization of speaker meaning in terms of objectives rather than intentions. We next extend this conception of speech acts to the cases of recorded, proxy, and conditional speech acts. On this basis, we propose that a characteristic role for artificial speakers is as proxies in the performance of speech acts on behalf of their human creators. We also consider two objections to our position, and compare our approach with others: while other authors appeal to notions such as “quasi-assertion,” we offer a sharp characterization of what artificial speakers can do that does not impute intentions or similarly controversial powers to them. We conclude by raising doubts that our strategy can be applied to speech acts generally. (shrink)

I argue that it is possible literally to perceive the emotions of others. This account depends upon the possibility of perceiving a whole by perceiving one or more of its parts, and upon the view that emotions are complexes. After developing this account, I expound and reply to Rowland Stout's challenge to it. Stout is nevertheless sympathetic with the perceivability-of-emotions view. I thus scrutinize Stout's suggestion for a better defence of that view than I have provided, and offer a refinement (...) of my own proposal that incorporates some of his insights. (shrink)

Metaphorical utterances are construed as falling into two broad categories, in one of which are cases amenable to analysis in terms of semantic content, speaker meaning, and satisfaction conditions, and where image-construction is permissible but not mandatory. I call these image-permitting metaphors, and contrast them with image-demanding metaphors comprising a second category and whose understanding mandates the construction of a mental image. This construction, I suggest, is spontaneous, is not restricted to visual imagery, and its result is typically somatically marked (...) sensu Damasio. IDM’s are characteristically used in service of self-expression, and thereby in the elicitation of empathy. Even so, IDM’s may reasonably provoke banter over the aptness of the imagery they evoke. (shrink)

Earlier versions of this paper were presented at the University of Virginia and at Texas A&M University. I thank audiences at both institutions for their insightful comments. Special thanks to John Williams for his illuminating comments on an earlier draft. Research for this paper was supported in part by a Summer Grant from the Vice Provost for Research and Public Service at the University of Virginia. That support is here gratefully acknowledged.

This chapter contains sections titled: Introduction Three Forms of Showing Showing How and Knowing How Perceiving Aspects and Affects Expressiveness and Showing How Congruence of Sensation and Affect Empathy and Epistemology Art and Skill.

This chapter contains sections titled: Literature, Fiction, and Truth Literary Cognitivism Thought Experiments Genres Learning by Supposing De se Suppositions.

In articles such as “Speech Acts without Propositions?” (2006), Marina Sbisà advocates a “strong” conception of speech acts as means by which speakers modify their own and others’ deontic statuses, including their rights, obligations, and commitments. On this basis Sbisà challenges an influential approach to speech acts as typically if not universally possessing propositional contents. Sbisà argues that such an approach leads to viewing speech acts as primarily aimed at communicating propositional attitudes rather than carrying out socially and normatively significant (...) action. For this reason she advocates eschewing propositions from speech act theory’s conceptual toolkit; she also proposes a liberalization of the distinction between illocutionary force and semantic content, which are widely thought to be mutually exclusive. In this chapter we examine Sbisà’s reasoning and argue that while it does justify denying propositional attitudes a central role in communication, it does not justify dispensing with propositions or other contents in our theorizing about speech acts. In addition, we endorse Sbisà’s proposal for liberalizing the force/content distinction, and show a variety of ways in which force indicators may also possess semantic content. (shrink)

forthcoming in S. L. Tsohatzidis (ed.) John Searle’s Philosophy of Language: Force, Meaning and Mind (Cambridge).

Slote has argued that empathy plays a crucial role in such speech acts as questions and assertions. After clarifying some of the aims and limitations of speech act theory, providing an account of empathy and its potential epistemic value, and sketching the role that some speech acts play in expressing psychological states, we consider Slote’s argument for the place of empathy in questions and assertions. We show that the most that Slote has established is that some cases of questioning and (...) asserting depend upon on empathetic engagement between speaker and addressee. That, however, is no basis for concluding that empathy plays a crucial role in either of these illocutions. (shrink)

1. On at least one usage of ‘mean’, performing an action that leads someone else to think that P, is not, on its own, sufficient for meaning that P. Nor is performing an action that is intended to get someone to think this. Instead one must make one’s intention overt. Grice’s way of developing this overtness requirement requires audience-directed intentions: for an agent, on this approach, to mean that P, she must perform a publicly accessible action with the intention of (...) producing in an addressee the belief that P, while further intending that her addressee enter that state at least in part by recognition of her intention. 11 Different types of intended cognitive state and content correspond to different illocutionary forces. Thus an imperatival utterance might be made with the aim of producing an intention to do something; and one might mean P as a conjecture rather than as an assertion by intending to produce in an addressee not a belief but some less committal cognitive state such as tentative acceptance. (shrink)

In recent years the view that understanding a language requires knowing what its words and expressions mean has come under attack. One line of attack attempts to show that while knowledge can be undermined by Gettier-style counterexamples, language understanding cannot be. I consider this line of attack, particularly in the work of Pettit and Longworth, and show it to be unpersuasive. I stress, however, that maintaining a link between language understanding and knowledge does not itself vindicate a cognitivist view of (...) the former. (shrink)

After briefly laying out a cultural-evolutionary approach to speech acts (Sects. 1–2), I argue that the notion of commitment at play in assertion and related speech acts comprises multiple dimensions (Sect. 3). Distinguishing such dimensions enables us to hypothesize evolutionary precursors to the modern practice of assertion, and facilitates a new way of posing the question whether, and if so to what extent, speech acts are conventional (Sect. 4). Our perspective also equips us to consider how a modern speaker might (...) employ an illocutionary analogue of A.N. Prior’s “runabout-inference ticket”, in which the pragmatic “introduction rules” for utterances correspond to evolutionary precursors of modern speech acts, but in which the “elimination rules” correspond to their modern descendants (Sect. 5). Such behavior would be abusive, though not in a way readily discernible without an evolutionary perspective on speech acts that attends to the dimensions of commitment that they encompass. Such behavior also raises the question how we may safeguard against it in public discourse, and I close (Sect. 6) with some suggestions for doing so. (shrink)

This chapter examines Davidson's treatment of emotions as complexly bound up with cognitive states such as belief, rather than as being essentially opposed to such states. Emotions on Davidson's view can be justified, and can be both causes of and reasons for action. We also consider Davidson's elucidation and defense of David Hume's analysis of pride and similar affective states. Objections to that elucidation and defense are discussed, and it is explained how Davidson could rebut those objections. Davidson's theory is (...) then discussed in light of unconscious emotions, irrational emotions, and the possibility of nonhuman animals possessing emotions. (shrink)

Definitions of art tend to take the phenomenon at face value, with philosophers aspiring to accommodate their theories to the artistic facts no matter how bizarre. The result, as for instance in the work of Dickie, is a definition of art neutral on the questions whether any of it is any good, and why anyone would bother to produce it. Zangwill bucks this trend by insisting that the method of definition-and-counterexample that drives much of the field is out of date, (...) and by contending that any good theory of art should explain why making and appreciating it is worth our while. The result is an account of art that foregrounds aesthetic value while striving to show why art production and appreciation are rational activities.Zangwill sees the tradition he wishes to rebut as guided by the method of ‘extensional adequacy’, that is, ‘ … a theory of art that classifies as art all or most of the things we intuitively call “art”, and that excludes all or most of the things that we intuitively do not call “art” ’. This is jarring, since that tradition aims for intensional adequacy, as shown by the fact that a critic of a given theory is allowed to proffer hypothetical rather than just actual cases in aid of that critique. Zangwill's error does not, however, undermine the gravamen of his challenge, which is this. Insofar as we are after a theory of art rather than a description of the …. (shrink)

I give a brief overview of the major contentions and methodologies of my book, Self-Expression.