We assume a central thesis about modal auxiliaries due to Angelika Kratzer, the modal base presupposition: natural language expressions that contain a modal component in their meaning, including all English modal auxiliaries and epistemic modal auxiliaries (EMA)s in particular, presuppose a modal base, a function that draws from context a relevant set of propositions which contribute to a premise-semantics for the modal. Accepting this thesis for EMAs leaves open (at least) the following two questions about the meaning of English EMAs (...) like _must_ and _might_: (i) What constraints, if any, are there on the character of the premise set for an EMA? And (ii) what is the nature of the relationship between premises and conclusion that is required for truth of the EMA statement? I argue for at least a partial answer to (i), with a hypothesis about constraints on the modal base for an EMA: EMAs, unlike some other types of modals, are indexical: They are anchored to an agent-in-a-situation whose doxastic state is currently under discussion in the context of utterance. Realized in a Kratzerian semantics, indexicality sheds new light on a number of outstanding puzzles, including the widely observed variability of anchoring of EMAs, the ways in which EMAs differ from so-called root modals, Yalcin’s (Mind 116:983–1026, 2007) puzzle (a version of Moore’s paradox for epistemic modals embedded under attitudes), how to explain the apparent weakness of necessity EMAs, and problems with second order belief and disagreement. (shrink)

Novels like Fight Club or American Psycho are said to be instances of unreliable narration: the first person narrator presents an evidently distorted picture of the fictional world. The film adaptations of these novels are likewise said to involve unreliable narration. I resist this extension of the term ‘unreliable narration’ to film. My argument for this rests on the observation that unreliable narration requires a personal narrator while film typically involves an impersonal narrator. The kind of ambiguous story-telling that we (...) find in literary fiction with unreliable narrators, where for certain descriptions it is unclear whether what we’re told is an accurate account of what’s happening in the story world or not, can instead be achieved by conventionalized filmmaking techniques for reporting the contents of mental states, like the point of view shot, but especially the more ambiguous blended perspective shot. (shrink)

Research spanning linguistics, psychology, and philosophy suggests that speakers and hearers are finely attuned to perspectives and viewpoints that are not their own, even though perspectival information is not encoded directly in the morphosyntax of languages like English. While some terms seem to require a perspective or a judge for interpretation (e.g., epithets, evaluative adjectives, locational PPs, etc.), perspective may also be determined on the basis of subtle information spanning multiple sentences, especially in vivid styles of narrative reporting. In this (...) paper, I develop an account of the cues that are involved in evaluating and maintaining non-speaker perspectives, and present an economy-based discourse processing model of perspective that embodies two core principles. First, perspectives are subject to a “speaker-default,” but may shift to a non-speaker perspective if sufficient contextual cues are provided. Second, the processor follows the path of least resistance to maintaining perspective, opting to maintain the current perspective across sentences as long as the shifted perspective continues to be coherent. The predictions of the model are tested in a series of offline and online studies, manipulating the form of an attitude report and the tense of the sentence that follows. Implications for processing perspective and viewpoint in speech and narrative forms are explored. (shrink)

Pictorial free perception reports are sequences in comics or film of one unit that depicts an agent who is looking, and a following unit that depicts what they see. This paper proposes an analysis in possible worlds semantics and event semantics of such sequences. Free perception sequences are implicitly anaphoric, since the interpretation of the second unit refers to the agent depicted in the first. They are argued to be possibly non-extensional, because they can depict hallucination or mis-perception. The semantics (...) proposed here employs an account of anaphora using discourse referents, a formalized possible worlds semantics for pictorial narratives, and, to model the epistemic consequences of perceptual events, the event alternative construction from dynamic epistemic logic. In intensional examples, the second unit depicting what is seen is analyzed as embedded. It is argued that a semantics for embedding where the attitudinal state of the depicted agent is required to entail the semantic content of the picture attributes too much information to the agent. This is addressed with a model of normal looking, and a semantics for the embedding construction that uses existential quantification over alternatives, rather than universal quantification. (shrink)

Presuppositions are perspective‐sensitive: They may be evaluated with respect to the beliefs of a salient protagonist. This happens not only in well‐known cases of perspective shift such as free indirect discourse, but also when the perspective shift is less obvious, but still present, such as in examples of so‐called protagonist projection. In this paper, I show that this simple observation explains many puzzling facts noted in connection with presuppositions over the last 50 years, concerning, for example, emotive and cognitive factives, (...) temporal clauses, and reason clauses. (shrink)