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)

(1996). The historical lessons of human rights: In search of a new approach. The European Legacy: Vol. 1, Fourth International Conference of the International Society for the study of European Ideas, pp. 498-503.

Feminist philosophy of film is a young field that is rapidly growing but that has as yet no distinct disciplinary presence within philosophy. Articles by feminist philosophers on film began appearing in aesthetics journals and anthologies in English only in the late 1980s and 1990s. In film studies, as in aesthetics more generally, disciplinary boundaries are fluid. Writers from many fields – literature, art, communications, cultural studies – make critical contributions on film, addressing philosophical issues and drawing upon philosophical theories. (...) Many questions discussed in the general field of film theory are philosophical ones, and among these are topics important for feminist philosophy and aesthetics: Is film an art, and if so why? What is the essence of film? How does film depict subjectivity? What is the nature of our emotional reactions to and interest in film? How is the photographic nature of film used in constructing realistic or other forms of representations of the world? How is ideology at work in the Hollywood production system and in the circulation of filmic images in the popular culture industry? It would be not only difficult, but arbitrary and misleading, to restrict the label or practice of “feminist philosophy of film” to professional philosophers. It is best to approach this subject, then, by situating it in relation to other fields, including feminist film theory, film theory in general, philosophical work on film, and feminist aesthetics. Feminist philosophy of film is rapidly expanding as philosophers with diverse interests turn their attention to film. The inclusion of feminist essays by philosophers in two anthologies on film in the mid‐1990s, together with the appearance of the first issue of the journal Film and Philosophy, suggest that this field is on the brink of a period of rapid growth and change. I will discuss possible new directions of growth, and connections with feminist philosophy broadly considered in the conclusion. (shrink)

Landini discusses the second edition of Principia Mathematica, to show Russella (TM)s intellectual relationship with Wittgenstein and Ramsey.

(1996). The Conradian inheritance in the African novel. The European Legacy: Vol. 1, Fourth International Conference of the International Society for the study of European Ideas, pp. 101-108.

In Complicity and Moral Accountability, Gregory Mellema presents a philosophical approach to the moral issues involved in complicity. Starting with a taxonomy of Thomas Aquinas, according to whom there are nine ways for one to become complicit in the wrongdoing of another, Mellema analyzes each kind of complicity and examines the moral status of someone complicit in each of these ways. Mellema's central argument is that one must perform a contributing action to qualify as an accomplice, and that it (...) is always morally blameworthy to perform such an action. Additionally, he argues that an accomplice frequently bears moral responsibility for the outcome of the other's wrongdoing, but he distinguishes this case from cases in which the accomplice is tainted by the wrongdoing of the principal actor. He further distinguishes between enabling, facilitating, and condoning harm, and introduces the concept of indirect complicity. Mellema tackles issues that are clearly important to any case of collective and shared responsibility, yet rarely discussed in depth, always presenting his arguments clearly, concisely, and engagingly. His account of the nonmoral as well as moral qualities of complicity in wrongdoing--especially of the many and varied ways in which principles and accomplices can interact--is highly illuminating. Liberally sprinkled with helpful and nuanced examples, Complicity and Moral Accountability vividly illustrates the many ways in which one may be complicit in wrongdoing. "In Complicity and Moral Accountability, Gregory Mellema has made an immensely important contribution to the discussion of group morality and collective responsibility both within and far beyond professional academic philosophy. His clearly written book will be essential reading." --Fergus Kerr, Honorary Fellow, University of Edinburgh. (shrink)

(1996). Stereotype discourse in Israel. The European Legacy: Vol. 1, Fourth International Conference of the International Society for the study of European Ideas, pp. 680-688.

This work discusses blood, beauty, culture, money, sex, web sites, and research on the brain's role in perceiving art.

(1997). Super‐paradigms, art, and science: Romanticism and the birth of social science. The European Legacy: Vol. 2, Fourth International Conference of the International Society for the Study of European Ideas, pp. 749-754.

(1996). The contribution of communist states to the proscription of racist speech. The European Legacy: Vol. 1, Fourth International Conference of the International Society for the study of European Ideas, pp. 801-811.

(1996). Repairing the moral deficits of capitalism: The role of the nonprofit sector. The European Legacy: Vol. 1, Fourth International Conference of the International Society for the study of European Ideas, pp. 595-600.

(1996). Latvia in search of a social policy model. The European Legacy: Vol. 1, Fourth International Conference of the International Society for the study of European Ideas, pp. 652-658.

(1996). Values, cultural identity, and European integration: Towards a theoretical model. The European Legacy: Vol. 1, Fourth International Conference of the International Society for the study of European Ideas, pp. 619-626.

(1996). The concept of Carolingian Europe in the foreign policy of the Federal Republic of Germany. The European Legacy: Vol. 1, Fourth International Conference of the International Society for the study of European Ideas, pp. 727-733.

We often ascribe possibility to the scenes that are displayed by mental or nonmental sensory images. The paper presents a novel argument for thinking that we are prima facie justified in ascribing metaphysical possibility to what is displayed by suitable visual images, and it argues that many of our imagery‐based ascriptions of metaphysical possibility are therefore prima facie justified. Some potential objections to the arguments are discussed, and some potential extensions of them, to cover nonvisual forms of imagery and nonmetaphysical (...) forms of possibility, are endorsed. (shrink)