Recent work in philosophy of language has raised significant problems for the traditional theory of propositions, engendering serious skepticism about its general workability. These problems are, I believe, tied to fundamental misconceptions about how the theory should be developed. The goal of this paper is to show how to develop the traditional theory in a way which solves the problems and puts this skepticism to rest. The problems fall into two groups. The first has to do with reductionism, specifically attempts (...) to reduce propositions to extensional entities-either extensional functions or sets. The second group concerns problems of fine grained content-both traditional 'Cicero'/'Tully' puzzles and recent variations on them which confront scientific essentialism. After characterizing the problems, I outline a non-reductionist approach-the algebraic approach-which avoids the problems associated with reductionism. I then go on to show how the theory can incorporate non-Platonic (as well as Platonic) modes of presentation. When these are implemented nondescriptively, they yield the sort of fine-grained distinctions which have been eluding us. The paper closes by applying the theory to a cluster of remaining puzzles, including a pair of new puzzles facing scientific essentialism. (shrink)

Peter Hanks defends a new theory about the nature of propositional content, according to which the basic bearers of representational properties are particular mental or spoken actions. He explains the unity of propositions and provides new solutions to a long list of puzzles and problems in philosophy of language.

Trenton Merricks presents an original argument for the existence of propositions, and defends an account of their nature. He draws a variety of controversial conclusions, for instance about supervaluationism, the nature of possible worlds, truths about non-existent entities, and whether and how logical consequence depends on modal facts.

Existence questions have been topics for heated debates in metaphysics, but this book argues that they can often be answered easily, by trivial inferences from uncontroversial premises. This 'easy' approach to ontology leads to realism about disputed entities, and to the view that metaphysical disputes about existence questions are misguided.

Philosophy, science, and common sense all refer to propositions--things we believe and say, and things which are true or false. But there is no consensus on what sorts of things these entities are. Jeffrey C. King, Scott Soames, and Jeff Speaks argue that commitment to propositions is indispensable, and each defend their own views on the debate.

In this book, Kathrin Gl¨uer carefully outlines Donald Davidson's principal claims and arguments, and discusses them in some detail, providing a concise, systematic introduction to all the main elements of Davidson's philosophy.

In works of literary fiction, it is a part of the fiction that the words of the text are being recounted by some work-internal 'voice': the literary narrator. One can ask similarly whether the story in movies is told in sights and sounds by a work-internal subjectivity that orchestrates them: a cinematic narrator. George M. Wilson argues that movies do involve a fictional recounting (an audio-visual narration ) in terms of the movie's sound and image track. Viewers are usually prompted (...) to imagine seeing the items and events in the movie's fictional world and to imagine hearing the associated fictional sounds. However, it is much less clear that the cinematic narration must be imagined as the product of some kind of 'narrator' - of a work-internal agent of the narration. Wilson goes on to examine the further question whether viewers imagine seeing the fictional world face-to-face or whether they imagine seeing it through some kind of work-internal mediation . It is a key contention of this book that only the second of these alternatives allows one to give a coherent account of what we do and do not imagine about what we are seeing on the screen. Having provided a partial account of the foundations of film narration, the final chapters explore the ways in which certain complex strategies of cinematic narration are executed in three exemplary films: David Fincher's Fight Club , von Sternberg's The Scarlet Empress , and the Coen brothers' The Man Who Wasn't There. (shrink)

It is advisable to treat some sorts of discourse about fiction with the aid of an intensional operator "in such-And-Such fiction...." the operator may appear either explicitly or tacitly. It may be analyzed in terms of similarity of worlds, As follows: "in the fiction f, A" means that a is true in those of the worlds where f is told as known fact rather than fiction that differ least from our world, Or from the belief worlds of the community in (...) which the fiction originated. (shrink)

In recent work, Williamson has defended a suggestive account of assertion. Williamson claims that the following norm or rule (the knowledge rule) is constitutive of assertion, and individuates it: (KR) One must ((assert p) only if one knows p) Williamson is not directly concerned with the semantics of assertion-markers, although he assumes that his view has implications for such an undertaking; he says: “in natural languages, the default use of declarative sentences is to make assertions” (op. cit., 258). In this (...) paper I will explore Williamson’s view from this perspective, i.e., in the light of issues regarding the semantics of assertion-markers. I will end up propounding a slightly different account, on which, rather than KR, what is constitutive and individuating of assertion is an audience-involving transmission of knowledge rule: (TKR) One must ((assert p) only if one’s audience comes thereby to be in a position to know p) I will argue that TKR, of which KR is an illocutionary consequence (but not the other way around), has all the virtues that Williamson claims for his account and no new defect. (shrink)

I am going to assume, in what follows, that when we engage with a fiction we are participating in a game of make-believe; that is, that we are engaging in an imaginative effort. In this paper I shall attempt to identify the kind of game we are playing. I begin with two words of caution. First, identifying the kind of game will be a matter of finding a game whose structure best reflects the facts about our engagement with fiction. The (...) fit, however, will not be exact. In a game of mud pies, the fact that the cardboard box holds a maximum of six globs of mud may make it true in the game that the oven holds a maximum of six pies, but the fact that the box has "Fyffes bananas" written on the side of it will probably not make it true in the game that the oven has the same. Second the variety of works of fiction makes it unwise to assume that one kind of game will cover all cases. These two provisos might be thought to vitiate my project before it begins. In the face of an objection to my first proviso, namely, that the kind of make-believe I maintain we play with fiction does not mirror the facts of our relations with fiction, I can reply that the structure is not isomorphic in that particular respect. In reply to the claim that in some particular instance we do not play the game of make-believe that I suggest we do, I can simply agree and count it as one of the many exceptions to the rule. (shrink)