This paper introduces an interesting class of predicates that come in pairs, so-called total and partial predicates. It will be shown that such predicates contribute to an explanation for the weak and strong interpretations of donkey sentences. This paper proposes that the phenomenon of weak and strong interpretations is real, and that whether a sentence receives the weak or the strong interpretation depends on the predicate in the nuclear scope of the sentence. It also proposes that sum individuals are calculated (...) at some level before the nuclear scope of the sentence is processed. Once the sum individuals are calculated, it will be decided whether the nuclear scope is true of at least one element of the sum individual (weak interpretation) or true of all elements of the sum individual (strong interpretation). (shrink)

In these challenging pages, Unger argues for the extreme skeptical view that, not only can nothing ever be known, but no one can ever have any reason at all for anything. A consequence of this is that we cannot ever have any emotions about anything: no one can ever be happy or sad about anything. Finally, in this reduction to absurdity of virtually all our supposed thought, he argues that no one can ever believe, or even say, that anything is (...) the case. (shrink)

This paper studies a distinction that was proposed in previous works between total and partial adjectives. In pairs of adjectives such as safe–dangerous, clean–dirty and healthy–sick, the first (“total”) adjective describes lack of danger, dirt, malady, etc., while the second (“partial”) adjective describes the existence of such properties. It is shown that the semantics of adjective phrases with modifiers such as almost, slightly, and completely is sensitive to whether the adjective is total or partial. The interpretation of such modified constructions (...) is accounted for using a novel scale structure for total and partial adjectives. It is proposed that the standard value of a total adjective is always fixed as the lower bound of the corresponding partial adjective. By contrast, the standard value of partial adjectives can take any point on the partial scale. The effects of this theoretical distinction on the behavior of modified constructions are studied in detail, and their ramifications for the semantic theory of adjectives are discussed. Some other phenomena are surveyed that show evidence for total and partial adjectival constructions with various comparatives and exceptive phrases. (shrink)

One aim of this essay is to contribute to understanding aesthetic communication—the process by which agents aim to convey thoughts and transmit knowledge about aesthetic matters to others. Our focus will be on the use of aesthetic adjectives in aesthetic communication. Although theorists working on the semantics of adjectives have developed sophisticated theories about gradable adjectives, they have tended to avoid studying aesthetic adjectives—the class of adjectives that play a central role in expressing aesthetic evaluations. And despite the wealth of (...) attention paid to aesthetic adjectives by philosophical aestheticians, they have paid little attention to contemporary linguistic theories of adjectives. We take our work to be a first step in remedying these lacunae. In this paper, we present four experiments that examine one aspect of how aesthetic adjectives ordinarily function: the context-sensitivity of their application standards. Our results present a prima facie empirical challenge to a common distinction between relative and absolute gradable adjectives because aesthetic adjectives are found to behave differently from both. Our results thus also constitute a prima facie vindication of some philosophical aestheticians’ contention that aesthetic adjectives constitute a particularly interesting segment of natural language, even if the boundaries of this segment might turn out to be different from what they had in mind. (shrink)

It is a truism that people speak ‘loosely’——that is, that they often say things that we can recognize not to be true, but which come close enough to the truth for practical purposes. Certain expressions. such as those including ‘exactly’, ‘all’ and ‘perfectly’, appear to serve as signals of the intended degree of approximation to the truth. This article presents a novel formalism for representing the notion of approximation to the truth, and analyzes the meanings of these expressions in terms (...) of this formalism. Pragmatic loosencss of this kind should be distinguished from authentic truth-conditional vagueness. (shrink)

As the title of this book was meant to suggest, its subject is the way we talk about (and write about) works of art: or, rather, one of the ways, namely, the way we describe works of art for critical purposes. Be cause I wished to restrict my subject matter in this way, I have made a sharp, and no doubt largely artificial distinction between describing and evaluating. And I must, at the outset, guard against a misreading of this distinction (...) to which I have left myself open. In distinguishing between evaluative and descriptive aesthetic judgments, I am not saying that when I assert "X is p," where p is a "descriptive" term like "unified," or "delicate," or "garish," I may not at the same time be evaluating X too; and I am not saying that when I make the obviously "evaluative" assertion "X is good," I may not be describing X. Clearly, if I say "X is unified" I am evaluating X in that unity is a good-making feature of works of art; and as it is correct in English at least to call an evaluation a description, I do not want to suggest that if an assertion is evaluative, it cannot be de scriptive (although there have been many philosophers who have thought this indeed to be the case). (shrink)

By the time of his death in 2003, Bernard Williams was one of the greatest philosophers of his generation. Ethics and the Limits of Philosophy is not only widely acknowledged to be his most important book, but also hailed a contemporary classic of moral philosophy. Presenting a sustained critique of moral theory from Kant onwards, Williams reorients ethical theory towards ‘truth, truthfulness and the meaning of an individual life’. He explores and reflects upon the most difficult problems in contemporary philosophy (...) and identifies new ideas about central issues such as relativism, objectivity and the possibility of ethical knowledge. (shrink)

Lexical Semantics is about the meaning of words. Although obviously a central concern of linguistics, the semantic behaviour of words has been unduly neglected in the current literature, which has tended to emphasize sentential semantics and its relation to formal systems of logic. In this textbook D. A. Cruse establishes in a principled and disciplined way the descriptive and generalizable facts about lexical relations that any formal theory of semantics will have to encompass. Among the topics covered in depth are (...) idiomaticity, lexical ambiguity, synonymy, hierarchical relations such as hyponymy and meronymy, and various types of oppositeness. Syntagmatic relations are also treated in some detail. The discussions are richly illustrated by examples drawn almost entirely from English. Although a familiarity with traditional grammar is assumed, readers with no technical linguistic background will find the exposition always accessible. All readers with an interest in semantics will find in this original text not only essential background but a stimulating new perspective on the field. (shrink)

Among semanticists and philosophers of language, there has been a recent outburst of interest in predicates such as delicious, called predicates of personal taste (PPTs, e.g. Lasersohn 2005). Somewhat surprisingly, the question of whether or how we can distinguish aesthetic predicates from PPTs has hardly been addressed at all in this recent work. It is precisely this question that we address. We investigate linguistic criteria that we argue can be used to delineate the class of specifically aesthetic adjectives. We show (...) that there are, in fact, good motivations for keeping PPTs and aesthetic predicates apart: the semantic structure of the former, but not the latter, entails an experiencer. There are many adjectives whose semantic structure arguably also entails an experiencer, yet which are readily used in expressing aesthetic judgments. Adjectives such as provocative or moving are a case in point, since as adjectives they arguably maintain the experiencer argument from the verb they are derived from. Nevertheless, when we describe, say, a sculpture as provocative, or a theater performance as moving, we clearly make aesthetic judgments. The difficult question, then, is to articulate the relationship between an aesthetic predicate (of which beautiful and ugly are paradigms) and other predicates that just happen to be used in making an aesthetic judgment. Tightly related to this point is the more general question of the relationship between an evaluative predicate and a predicate that occurs in an evaluative judgment. One of our aims is to make some progress in addressing these questions. (shrink)