A transcript of three lectures, given at Princeton University in 1970, which deals with (inter alia) debates concerning proper names in the philosophy of language.

INTRODUCTION: REASON AND THE PASSIONS i. Philosophy? This same philosophy is a good horse in the stable, but an arrant jade on a journey. ...

This book tackles the issues that arise in connection with intensional logic -- a formal system for representing and explaining the apparent failures of certain important principles of inference such as the substitution of identicals and existential generalization -- and intentional states --mental states such as beliefs, hopes, and desires that are directed towards the world. The theory offers a unified explanation of the various kinds of inferential failures associated with intensional logic but also unifies the study of intensional contexts (...) and intentional states by grounding the explanation of both phenomena in a single theory. When an axiomatized realm of abstract entities is added to the metaphysical structure of the world, we can use them to identify and individuate the contents of directed mental states. The special abstract entities can be viewed as the objectified contents of mental files, and they play a crucial role in the analysis of truth conditions of the sentences involved in inferential failures. (shrink)

Jenefer Robinson takes the insights of modern scientific research on the emotions and uses them to illuminate questions about our emotional involvement with the arts. Laying out a theory of emotion supported by the best evidence from current empirical work, she examines some of the ways in which the emotions function in the arts. Written in a clear and engaging style, her book will make fascinating reading for anyone interested in the emotions and how they work, as well as anyone (...) engaged with the arts and aesthetics. (shrink)

This book, one of the first full-length studies of the modalities to emerge from the debate to which Saul Kripke, David Lewis, Ruth Marcus, and others are contributing, is an exploration and defense of the notion of modality de re, the idea that objects have both essential and accidental properties. Plantinga develops his argument by means of the notion of possible worlds and ranges over such key problems as the nature of essence, transworld identity, negative existential propositions, and the existence (...) of unactual objects in other possible worlds. He also applies his logical theories to the elucidation of two problems in the philosophy of religion: the problem of evil and the ontological argument. (shrink)

A perfectly matched layer (PML) absorbing material composed of a uniaxial anisotropic material is presented for the truncation of finite-difference time-domain (FDTD) lattices. It is shown that the uniaxial PML material formulation is mathematically equivalent to the perfectly matched layer method published by Berenger (see J. Computat. Phys., Oct. 1994). However, unlike Berenger's technique, the uniaxial PML absorbing medium presented in this paper is based on a Maxwellian formulation. Numerical examples demonstrate that the FDTD implementation of the uniaxial PML medium (...) is stable, equal in effectiveness as compared to Berenger's PML medium, while being more computationally efficient. (shrink)

This book demonstrates how children's imagination makes a continuing contribution to their cognitive and emotional development.

In this urbane and witty book, Ronald de Sousa disputes the widespread notion that reason and emotion are natural antagonists.

Noel Carroll, film scholar and philosopher, offers the first serious look at the aesthetics of horror. In this book he discusses the nature and narrative structures of the genre, dealing with horror as a "transmedia" phenomenon. A fan and serious student of the horror genre, Carroll brings to bear his comprehensive knowledge of obscure and forgotten works, as well as of the horror masterpieces. Working from a philosophical perspective, he tries to account for how people can find pleasure in having (...) their wits scared out of them. What, after all, are those "paradoxes of the heart" that make us want to be horrified? (shrink)

We distinguish between two categories of belief—thin belief and thick belief—and provide evidence that they approximate genuinely distinct categories within folk psychology. We use the distinction to make informative predictions about how laypeople view the relationship between knowledge and belief. More specifically, we show that if the distinction is genuine, then we can make sense of otherwise extremely puzzling recent experimental findings on the entailment thesis (i.e. the widely held philosophical thesis that knowledge entails belief). We also suggest that the (...) distinction can be applied to debates in the philosophy of mind and metaethics. (shrink)

Noel Carroll, film scholar and philosopher, offers the first serious look at the aesthetics of horror. In this book he discusses the nature and narrative structures of the genre, dealing with horror as a "transmedia" phenomenon. A fan and serious student of the horror genre, Carroll brings to bear his comprehensive knowledge of obscure and forgotten works, as well as of the horror masterpieces. Working from a philosophical perspective, he tries to account for how people can find pleasure in having (...) their wits scared out of them. What, after all, are those "paradoxes of the heart" that make us want to be horrified? (shrink)

This challenging study places fiction squarely at the centre of the discussion of metaphysics. Philosophers have traditionally treated fiction as involving a set of narrow problems in logic or the philosophy of language. By contrast Amie Thomasson argues that fiction has far-reaching implications for central problems of metaphysics. The book develops an 'artifactual' theory of fiction, whereby fictional characters are abstract artifacts as ordinary as laws or symphonies or works of literature. By understanding fictional characters we come to understand how (...) other cultural and social objects are established on the basis of the independent physical world and the mental states of human beings. (shrink)

In addition to his poetry, Coleridge also wrote influential piece of literary criticism, Biographia Literaria, a collection of his thoughts and opinions on literature. The work delivered both biographical explanations of the author's life as well as his impressions on literature. The collection also contained an analysis of a broad range of philosophical principles of literature ranging from Aristotle to Immanuel Kant and Schelling and applied them to the poetry of peers such as William Wordsworth. Coleridge's explanations of metaphysical principles (...) were popular topics of discourse in academic communities throughout the 19th and 20th centuries, and T.S. Eliot stated that he believed that Coleridge was "perhaps the greatest of English critics, and in a sense the last." In Biographia Literaria and his poetry, symbols are not merely "objective correlatives" to Coleridge, but instruments for making the universe and personal experience intelligible and spiritually covalent. Samuel Taylor Coleridge (1772 - 1834) was an English poet, literary critic and philosopher who, with his friend William Wordsworth, was a founder of the Romantic Movement in England and a member of the Lake Poets. He wrote the poems The Rime of the Ancient Mariner and Kubla Khan, as well as the major prose work Biographia Literaria. His critical work, especially on Shakespeare, was highly influential, and he helped introduce German idealist philosophy to English-speaking culture. He coined many familiar words and phrases, including suspension of disbelief. He was a major influence on Emerson, and American transcendentalism. (shrink)

explanation is of course that Arnheim was working against the assumption that film cannot be art because it is mere mechanical recording. Thus what he needed to emphasize were all the ways in which film fails to accurately reproduce reality.

What are virtue and vice, and how do they relate to other moral properties such as goodness and rightness? This book defends a perfectionist account of virtue and vice that gives distinctive answers to these questions. The account treats the virtues as higher‐level intrinsic goods, ones that involve morally appropriate attitudes to other, independent goods and evils. Virtue by itself makes a person's life better, but in a way that depends on the goodness of other things. This account was accepted (...) by many early twentieth‐ century consequentialists, including Franz Brentano, G. E. Moore, Hastings Rashdall, and W. D. Ross. The book elaborates it further than has been done before, describing its mathematical structure, connecting it to individual virtues and vices, and applying it to specific issues such as the morality of fantasy and the proper roles of private charity and the welfare state. While doing so, it argues for the account's superiority over rival views of virtue, including those defended under the heading of “virtue ethics.”. (shrink)

This important book provides a theory about the nature of fiction, and about the relation between the author, the reader and the fictional text. The approach is philosophical: that is to say, the author offers an account of key concepts such as fictional truth, fictional characters, and fiction itself. The book argues that the concept of fiction can be explained partly in terms of communicative intentions, partly in terms of a condition which excludes relations of counterfactual dependence between the world (...) and the text. This communicative model is then applied to the following problems: how can something be 'true in the story' without being explicitly stated in the text? In what ways does interpreting a fictional story depend upon grasping its author's intentions? Is there always a unique best interpretation of a fictional text? What is the correct semantics for fictional names? What is the nature of our emotional response to a fictional work? In answering these questions the author explores the complex interaction between author, reader, and text. This interaction requires the reader to construct a 'fictional author' - a character in the story whose personality, beliefs and emotional states must be interpreted if the reader is to grasp the meaning of the work. (shrink)

Are fictional characters such as Sherlock Holmes real? What can fiction tell us about the nature of truth and reality? In this excellent introduction to the problem of fictionalism R. M. Sainsbury covers the following key topics: what is fiction? realism about fictional objects, including the arguments that fictional objects are real but non-existent; real but non-factual; real but non-concrete the relationship between fictional characters and non-actual worlds fictional entities as abstract artefacts fiction and intentionality and the problem of irrealism (...) fictionalism about possible worlds moral fictionalism. R. M. Sainsbury makes extensive use of examples from fiction, such as Sherlock Holmes, Anna Karenina and Madame Bovary and examines the work of philosophers who have made significant contributions to the topic, including Meinong, David Lewis, and Bas Van Fraassen. Additional features include chapter summaries, annotated further reading and a glossary of technical terms, making _Fiction and Fictionalism_ ideal for those coming to the issue for the first time. (shrink)

A thorough and closely argued examination of a central issue in philosophical logic, an issue which is shown to have profound implications for the philosophy of language and much of metaphysics.

Gut Reactions is an interdisciplinary defense of the claim that emotions are perceptions of changes in the body.

Philosophers since Aristotle have explored emotion, and the study of emotion has always been essential to the love of wisdom. In recent years Anglo-American philosophers have rediscovered and placed new emphasis on this very old discipline. The view that emotions are ripe for philosophical analysis has been supported by a considerable number of excellent publications. In this volume, Robert Solomon brings together some of the best Anglo-American philosophers now writing on the philosophy of emotion, with chapters from philosophers who have (...) distinguished themselves in the field of emotion research and have interdisciplinary interests, particularly in the social and biological sciences. The reader will find a lively variety of positions on topics such as the nature of emotion, the category of "emotion," the rationality of emotions, the relationship between an emotion and its expression, the relationship between emotion, motivation, and action, the biological nature versus social construction of emotion, the role of the body in emotion, the extent of freedom and our control of emotions, the relationship between emotion and value, and the very nature and warrant of theories of emotion. In addition, this book acknowledges that it is impossible to study the emotions today without engaging with contemporary psychology and the neurosciences, and moreover engages them with zeal. Thus the essays included here should appeal to a broad spectrum of emotion researchers in the various theoretical, experimental, and clinical branches of psychology, in addition to theorists in philosophy, philosophical psychology, moral psychology, and cognitive science, the social sciences, and literary theory. (shrink)

ARTHUR PRIOR once wrote that "philosophical discussion of the notion of existence, or being, has centred on two main problems...." One of them was the problem of what to say about the existence of fictitious objects, and the other the problem of what to say about abstract objects. Historically, however, this claim is hardly correct; for the existence of individuals that are real rather than fictitious, and concrete rather than abstract, has been at least as central a topic as those (...) mentioned by Prior. It is with the existence of such individuals that I shall be concerned in this paper. (shrink)

There is a view of the emotions (I might tendentiously call it ‘cognitivism’) that has at present a certain currency. This view is of the emotions as playing an essential role in our gaining evaluative knowledge of the world. When we are angry at an insult, or afraid of the burglar, our emotions involve evaluative perceptions and thoughts, which are directed towards the way something is in the world that impinges on our well-being, or on the well-being of those that (...) matter to us. Without emotions, we would be worse off, prudentially and morally: we would not see things as they are, and accordingly we would not act as we should. Emotions are, according to this view a Good Thing. No wonder we have evolved as creatures capable of emotion.[1]. (shrink)