This paper seeks to bridge two aspects of Fronto's letters, erotics and rhetoric, by demonstrating that Fronto himself merges the two areas in his discourse with Marcus Aurelius about their relationship. Whereas some letters suggest an unequal relationship based on power, others encourage the identification of Fronto with Marcus. Fronto achieves this identification by structuring their relationship itself as a metaphor in which he and Marcus are equated and linked by epistolary bonds. I close by discussing why the epistolary genre (...) in particular is an apt site for the merger of metaphor and love. (shrink)

I first show why Davidson was wrong to maintain that there is no such thing as metaphorical meaning, that which paraphrases strive to capture. I then sketch a conception of metaphors as utterances in contexts, and suggest how such utterances can acquire metaphorical meanings despite there being no semantic rules for the projection of such meanings. I next urge the essentiality of a metaphor's verbal formulation to its being the metaphor it is, and I conclude with some reflections on common (...) and uncommon metaphors, and on the difficulty of finding strings of words resistant to metaphorical construal. (shrink)

Lyric poetry is often associated with expression of the personal. For instance, the work of the so-called “confessional” poets, such as Sylvia Plath and Anne Sexton, is often thought to reveal inmost thoughts and feelings of the poetic voice through first personal expression. The lyric poem, with its use of personal pronouns and singularity of voice, appears to invite the reader to experience the unfolding of the words as the intimate expression of another.Intimacy itself is associated with attention to another (...) and is thought to play a role in feeling sympathy and empathy. As John Gibson comments, “Empathy makes possible an especially intimate and powerful form of identification. It underwrites our capacity...... (shrink)

We apply Carol Gilligan's distinction between a "male" mode of moral reasoning, focussed on justice, and a "female" mode, focussed on caring, to the reading of literature. Martha Nussbaum suggests that certain novels are works of moral philosophy. We argue that what Nussbaum sees as the special ethical contribution of such novels is in fact training in the stereotypically female mode of moral concern. We show this kind of training is appropriate to all readers of these novels, not just to (...) women. Finally, we explore what else is involved in distinctively feminist readings of traditional novels. (shrink)

Philosophers often characterize discourse in general as aiming at some sort of convergence (in beliefs, plans, dispositions, feelings, etc.), and many views about aesthetic discourse in particular affirm this thought. I argue that a convergence norm does not govern aesthetic discourse. The conversational dynamics of aesthetic discourse suggest that typical aesthetic claims have directive force. I distinguish between dynamic and illocutionary force and develop related theories of each for aesthetic discourse. I argue that the illocutionary force of aesthetic utterances is (...) typically invitational because its dynamic force is influenced by a ‘communal’ norm. I draw on dynamic pragmatics to develop a formal account of this dynamic force that explains why invitation has pride of place in aesthetic conversation. It turns out that the end of aesthetic discourse is not convergence but a distinctive form of community, a kind of harmony of individuality, that is compatible with aesthetic disagreement. If this is right, then convergence theories of aesthetic and normative discourse, and of conversation in general, need to be revised. (shrink)

This is an introduction to a Filipino virtue ethics which is a relationship-oriented virtue ethics. The concepts to be discussed are the result of the unique history of the Philippines, namely a Southeast Asian tribal and animist tradition mixed with a Spanish Catholic tradition for over 300 years. Filipino virtue ethics is based on two foundational concepts in Filipino culture. The first is loób, which can easily be misunderstood when literally translated into English as ‘inside’ but which is better translated (...) as ‘relational will’, and the second is kapwa, which is literally translated as ‘other person’ but is better understood as ‘together with the person’. These serve as pillars for a special collection of virtues which are not individualistic virtues in the same way as most of the cardinal virtues of the Western tradition but are all directed towards the preservation and st.. (shrink)

We propose a theatrical Aesthetics of liberation understood as one that articulates imaginary, visual, or textual bridges between the opening to the context-world and its impact on subjectivity and that gives rise to a scenic production favorable to the conservation and improvement of life that raises opposition or rejection of those contexts that are not conducive to it. We will observe the productions of the theatrical scene in three moments of the recent Argentine past to visualize both the resistance and (...) denunciation of the decrease or disappearance of rights and the rejection of the necessary control of bodies and actions to impose the liberal/neoliberal model. We will look into scenes produced during the Argentine Revolution, stagings of the end of the 20th century responding to the exacerbation of neoliberalism, and finally, those produced during the last neoliberal restoration. (shrink)

What could ground normative restrictions concerning cultural appropriation which are not grounded by independent considerations such as property rights or harm? We propose that such restrictions can be grounded by considerations of intimacy. Consider the familiar phenomenon of interpersonal intimacy. Certain aspects of personal life and interpersonal relationships are afforded various protections in virtue of being intimate. We argue that an analogous phenomenon exists at the level of large groups. In many cases, members of a group engage in shared practices (...) that contribute to a sense of common identity, such as wearing certain hair or clothing styles or performing a certain style of music. Participation in such practices can generate relations of group intimacy, which can ground certain prerogatives in much the same way that interpersonal intimacy can. One such prerogative is making what we call an appropriation claim. An appropriation claim is a request from a group member that non-members refrain from appropriating a given element of the group’s culture. Ignoring appropriation claims can constitute a breach of intimacy. But, we argue, just as for the prerogatives of interpersonal intimacy, in many cases there is no prior fact of the matter about whether the appropriation of a given cultural practice constitutes a breach of intimacy. It depends on what the group decides together. (shrink)

(1988). Approaches, opportunities and priorities in the rhetoric of political inquiry: A critical synthesis. Social Epistemology: Vol. 2, No. 1, pp. 21-42.

Thomas Hobbes's condemnation of metaphor as one of the chief "abuses of speech" in Leviathan occupies a famous place in the history of thinking about metaphor. From the viewpoint of cognitive metaphor theory, George Lakoff and Mark Johnson have depicted Hobbes and John Locke as the founding fathers of a tradition in which "metaphor and other figurative devices [became] objects of scorn". Similar verdicts on Hobbes and on Locke as arch-detractors of metaphor can be found in many other accounts of (...) the history of semantics. However, these indictments stand in marked contrast to a considerable number of scholarly publications that have shown that Hobbes's assessment of rhetoric and metaphor is far from a 'straightforward' denunciation of anything non-'literal'. In this paper I shall use results of this research in an analysis of key-passages from Leviathan to re-assess Hobbes's views on metaphor. I shall demonstrate that some critics of Hobbes have overlooked crucial differentiations in his concept of metaphor as a key-issue of public communication. Furthermore, I shall argue that Hobbes's foregrounding of the 'dangers' of metaphor use in political theory and practice should be interpreted as an acknowledgement rather than as a denial of its conceptual and cognitive force. (shrink)

The paper offers a semantic and pragmatic analysis of statements of the form ‘x is beautiful’ as involving a double speech act: first, a report that x is beautiful relative to the speaker’s aesthetic standard, along the lines of naive contextualism; second, the speaker’s recommendation that her audience comes to share her appraisal of x as beautiful. We suggest that attributions of beauty tend to convey such a recommendation due to the role that aesthetic practices play in fostering and enhancing (...) interpersonal coordination. Aesthetic practices are driven by a disposition towards the attunement of attitudes and aesthetic recommendations contribute to forwarding such attunement. Our view is motivated by an attempt to satisfy the following set of desiderata: to account for the experiential nature of aesthetic judgments, disagreements in aesthetic debates, and the normative aspirations of aesthetic discourse, as well as to avoid appealing to error theory and realist ontological commitments. (shrink)

A metaphor is an effective way to show how something is to be conceived. In this article, I look at two Neo-Confucian Korean philosophical contexts—the Four-Seven debate and Book of the Imperial Pivot—and suggest that metaphors are philosophically expedient in two further contexts: when both intellect and emotion must be addressed; and when the aim of philosophizing is to produce behavioral change. Because Neo-Confucians had a conception of the mind that closely connected it to the heart (心 xin), metaphor’s empathy-inducing (...) and perspective-giving capacities made it an especially helpful mode of philosophizing in the history of Korean philosophy. (shrink)

Epistemologists of testimony have focused almost exclusively on the epistemic dynamics of simple testimony. We do sometimes testify by ways of simple, single sentence assertions. But much of our testimony is narratively structured. I argue that narrative testimony gives rise to a form of epistemic dependence that is far richer and more far reaching than the epistemic dependence characteristic of simple testimony.

Metaphors are powerful communicative tools because they produce ”framing effects’. These effects are especially palpable when the metaphor is an insult that denigrates the hearer or someone he cares about. In such cases, just comprehending the metaphor produces a kind of ”complicity’ that cannot easily be undone by denying the speaker’s claim. Several theorists have taken this to show that metaphors are engaged in a different line of work from ordinary communication. Against this, I argue that metaphorical insults are rhetorically (...) powerful because they combine perspectives, presupposition, and pragmatics in the service of speech acts with assertoric force. (shrink)

Many questions concerning the future of the urban Indian landscape have at their core the conflict of a modernist design aesthetic, which privileges uniformity and predictability, with what many consider to be the unsightly presence of a chaotic local aesthetic. The hand-painted signboard, a hallmark of Indian urban experience, is largely disdained by modernist planners, who became especially vocal in the lead-up to the Commonwealth Games in 2010, when the goal of transforming Delhi into a ‘world class city’ envisioned, among (...) other measures, a reining in of the city’s frenetic signboard culture. This paper examines the ingenuity of the hand-painted signboard which employs complex visual strategies such as three-dimensional depth cues, typographic innovation and visual metaphor, while assessing the unique ways in which hand-painted signage shapes the experience of public space in an urban environment. Against ideas of uniformity and order which underpin liberal modernist visions of the city both in relation to its visual cultures and the use of public spaces, this paper proposes what we call an ‘aesthetic of accommodation’: the visual and the social order here become sites for the expression of an ‘adjustment’ ethic visible in the hybrid art practice of hand-painted signboards and the multiple rather than single usage of public spaces evident in the manner in which signboards spill onto sidewalks and sidewalks onto streets. (shrink)

Many questions concerning the future of the urban Indian landscape have at their core the conflict of a modernist design aesthetic, which privileges uniformity and predictability, with what many consider to be the unsightly presence of a chaotic local aesthetic. The hand-painted signboard, a hallmark of Indian urban experience, is largely disdained by modernist planners, who became especially vocal in the lead-up to the Commonwealth Games in 2010, when the goal of transforming Delhi into a ‘world class city’ envisioned, among (...) other measures, a reining in of the city’s frenetic signboard culture. This paper examines the ingenuity of the hand-painted signboard which employs complex visual strategies such as three-dimensional depth cues, typographic innovation and visual metaphor, while assessing the unique ways in which hand-painted signage shapes the experience of public space in an urban environment. Against ideas of uniformity and order which underpin liberal modernist visions of the city both in relation to its visual cultures and the use of public spaces, this paper proposes what we call an ‘aesthetic of accommodation’: the visual and the social order here become sites for the expression of an ‘adjustment’ ethic visible in the hybrid art practice of hand-painted signboards and the multiple rather than single usage of public spaces evident in the manner in which signboards spill onto sidewalks and sidewalks onto streets. (shrink)

In this paper I am concerned with two questions: What is sexist humor? and what is wrong with it? To answer the first question, I briefly develop a theory of humor and then characterize sexist humor as humor in which sexist beliefs are presupposed and are necessary to the fun. Concerning the second question, I criticize a common sort of argument that is supposed to explain why sexist humor is offensive: although the argument explains why sexist humor feels offensive, it (...) does not place responsibility for the offense in the humorist or audience that enjoys sexist humor. I develop an alternate account of the offense in sexist humor that places responsibility for offense in precisely those quarters. (shrink)