Je défends ici la nécessité, et ébauche une première version, d’une théorie iconique des propositions. Selon celle-ci, les propositions sont comme les objets de représentation, ou similaires à eux. Les propositions, suivant cette approche, sont des propriétés que l’esprit instancie lorsqu’il modélise le monde. Je connecte cette théorie aux récents développements de la littérature académique sur les propositions, ainsi qu’à une branche de recherches en sciences cognitives, qui explique certains types de représentations mentales en termes d’iconicité. I motivate the need (...) for, and then sketch, an iconic theory of propositions according to which propositions are like or similar to their objects of representation. Propositions on this theory are properties that the mind instantiates when it models the world. I connect the theory to recent developments in the propositions literature as well as to a strain of cognitive science that explains some kinds of mental representation in terms of iconicity. (shrink)

In recent years, feminist scholarship on emotional labor has proliferated. I identify a related but distinct form of care labor, hermeneutic labor. Hermeneutic labor is the burdensome activity of: understanding and coherently expressing one’s own feelings, desires, intentions, and movitations; discerning those of others; and inventing solutions for relational issues arising from interpersonal tensions. I argue that hermeneutic labor disproportionately falls on women’s shoulders in heteropatriachal societies, especially in intimate relationships between women and men. I also suggest that some of (...) the gendered burdens of emotional labor that feminist scholars point out would better be described as hermeneutic labor. Drawing on feminist philosophy as well as findings from social psychology and sociology, I argue that the exploitation of women’s hermeneutic labor is a pervasive element of what Sandra Bartky calls the ‘micropolitics’ of intimate relationships. The widespread expectation that women are relationship maintenance experts, as well as the prevalence of a gendered demand-withdraw pattern of communication, leads an exploitative situation to appear natural or even desirable, even as it leads to women’s dissatisfaction. This situation may be considered misogynistic in Kate Manne’s sense, where misogyny is a property of social environments rather than a worldview. (shrink)

Rather than as a giving of permission to someone to transgress one’s bodily boundaries, I argue for defining sexual consent as feeling-with one’s sexual partner. Dominant approaches to consent within feminist philosophy have failed to capture the intercorporeal character of erotic consciousness by treating it as a form of giving permission, as is evident in the debate between attitudinal and performative theories of consent. Building on the phenomenology of Maurice Merleau-Ponty, Ann Cahill, Linda Martín Alcoff, and others, I argue that (...) taking consent to be an intercorporeal and dynamic coexistence of desiring bodies opens up new ways of thinking about the role of consent in sexual ethics. I suggest that phenomenology’s theories of embodied consciousness, operative intentionality, and the direct perception of others provide a better groundwork for conceptualizing the role of ambiguity and subtle power dynamics in sexual encounters than attitudinal or performative accounts of consent. I also defend my view against Jonathan Jenkins Ichikawa’s argument for doing away with the concept of consent in sexual ethics due to consent's stubborn and infelicitous presupposition of permission-giving. (shrink)

This study investigated attitudes toward the use of deception in negotiation, with particular attention to the distinction between deception regarding the informational elements of the interaction (e.g., lying about or misrepresenting needs or preferences) and deception about emotional elements (e.g., misrepresenting one's emotional state). We examined how individuals judge the relative ethical appropriateness of these alternative forms of deception, and how these judgments relate to negotiator performance and long-run reputation. Individuals viewed emotionally misleading tactics as more ethically appropriate to use (...) in negotiation than informational deception. Approval of deception predicted negotiator performance in a negotiation simulation and also general reputation as a negotiator, but the nature of these relationships depended on the kind of deception involved. (shrink)

Writers in the propositions literature consider the Benacerraf objection serious, often decisive. The objection figures heavily in dismissing standard theories of propositions of the past, notably set-theoretic theories. I argue that the situation is more complicated. After explicating the propositional Benacerraf problem, I focus on a classic set-theoretic theory of propositions, the possible worlds theory, and argue that methodological considerations influence the objection’s success.

In two recent papers, Michael Della Rocca accuses Descartes of reasoning circularly in the Fourth Meditation. This alleged new circle is distinct from, and more vicious than, the traditional Cartesian Circle arising in the Third Meditation. We explain Della Rocca’s reasons for this accusation, showing that his argument is invalid.

Phenomenologists have long viewed love as a central form of inter-subjective engagement. I show here that it is also of concern to phenomenological ethics. After establishing the relation of phenomenology to ethics, I show that both classical and existential phenomenology view love as an act of valuing the loved one. I argue that a second act of valuing is latent in phenomenology: valuing the relationship. These values are evident in the phenomenological distinction between true love, which generates a “perspective in (...) difference,” and false love, which seeks union with the beloved manifesting in devotion and/or jealousy. Because culturally dominant heteronormative scripts incline individuals toward false love, lovers should create their own pacts for ethical relationships. I consider consensually non-monogamous relationships as an example. (shrink)

Jean-Paul Sartre’s theory of “the look” has generally been understood as an argument for the impossibility of mutual recognition between consciousnesses. Being-looked-at reveals me as an object for the other, but I can never grasp this object that I am. I argue here that the chapter “The Look” in Being and Nothingness has been widely misunderstood, causing many to dismiss Sartre’s view unfairly. Like Hegel’s account of recognition, Sartre’s “look” is meant as a theory of successful mutual recognition that proves (...) the existence of others. Yet Sartre claims that such an account is plausible only if recognition is affective, not cognitive. Situating Sartre’s account of the look within his technical understanding of affect’s distinctness from cognition not only enables a better understanding of Sartre’s view, but also reveals a compelling alternative to the understanding of self-other relations in contemporary affect theory. (shrink)

We offer a novel interpretation of the argumentative role that Meditation IV plays within the whole of the Meditations. This new interpretation clarifies several otherwise head-scratching claims that Descartes makes about Meditation IV, and it fully exonerates the Fourth Meditation from either raising or exacerbating Descartes’ circularity problems.

Chalmers (Mind 120(479): 587–636, 2011a) presents an argument against “referentialism” (and for his own view) that employs Bayesianism. He aims to make progress in a debate over the objects of belief, which seems to be at a standstill between referentialists and non-referentialists. Chalmers’ argument, in sketch, is that Bayesianism is incompatible with referentialism, and natural attempts to salvage the theory, Chalmers contends, requires giving up referentialism. Given the power and success of Bayesianism, the incompatibility is prima facie evidence against referentialism. (...) In this paper, I review Chalmers’ arguments and give some responses on behalf of the referentialist. (shrink)

A detailed description of an as yet unrecorded astrolabe quadrant in a private collection is presented. A date between 1291 and 1310 is deduced from the calendrical data engraved on it. The characteristics of the newly recorded instrument have been compared with those of six other medieval astrolabe quadrants. The newly recorded instrument appears to present an early, if not the earliest, stage of development in the history of the astrolabe quadrant. In the comparison the newly recorded instrument is also (...) distinguished by the red and black colours applied to differentiate between the superposed scales of the astrolabe quadrant. The names and the positions of the stars on the instruments were used to establish a connection between two of the instruments studied, those in Rouen and Oxford, and a manuscript tradition on the construction of the astrolabe quadrant, exemplified by MS Oxford Ashmole 1522. The data on three other astrolabe quadrants are shown to stem from star lists in treatises on astrolabes. For two instruments, those dated earliest and latest, no such connection was found. Some star names on the newly recorded instrument have hitherto not been recorded. Finally, the competence of the later medieval artisans has been investigated by analysing the accuracy of these instruments. (shrink)

While Simone de Beauvoir’s theory of alterity has been the topic of much discussion within Beauvoir scholarship, feminist theory, and social and political philosophy, it has not commonly been a reference point for those working within ethics. However, Beauvoir develops a novel view that those concerned with the ethical import of respect for others should consider seriously, especially those working within the Levinasian tradition. I claim that Beauvoir distinguishes between two forms of otherness: namely, existential alterity and sociopolitical alterity. While (...) sociopolitical alterity is a contingent and surmountable form of otherness that results from oppression of individuals and groups, existential alterity is a necessary feature of the human condition that discloses the foreignness of the other as a freedom. Out of this view of existential alterity, I argue, Beauvoir develops an ethic of asymmetrical reciprocity. In contrast with Levinas, who dismisses reciprocity as a symmetrical or reversible model of relation that minimizes difference, Beauvoir promulgates a view of reciprocity that does not fall into the problems that Levinas diagnoses. Moreover, asymmetrical reciprocity more successfully figures the ethical relation to the other than the absolute asymmetry one finds in Levinas, which becomes evident through revisiting Levinas’s account of eros and contrasting it with that of Beauvoir. (shrink)

ABSTRACT:Increasing research attention to the ways that firms seek to influence the emotions of employees, consumers, and other stakeholders has not been accompanied by systematic attention to the ethical dimensions of emotion management. In this article we review and discuss research that informs the morality of influencing and regulating the emotions of others. What are the moral limits of the use of emotion as a management tool for shaping workplace behavior and influencing the thoughts and actions of consumers? Do the (...) ethics of emotional labor and emotional appeals (e.g., in consumer advertising) depart from moral rules that apply in “non-emotional” contexts? To explore these questions we examine research on the means by which individuals’ emotions are shaped and on the organizationally relevant consequences of individual emotional experience. We then discuss a number of potential ethical issues that are implicit or explicit in the organizationally sanctioned use of emotion management, incorporating existing literature in management and business ethics that has addressed the moral obligations of organizations in this context, and highlighting areas where there is yet work to be done. We conclude by discussing the implications of our analysis. (shrink)

Frege’s views on identity continue to provoke scholars, and rightly so. In particular his view in Begriffsschrift of 1879, and its relation to his view in ‘Über Sinn und Bedeutung’ of 1892 deserve careful attention. The issues involved have a wider significance than Frege’s specific views on identity in different periods, though these are important enough. They concern also the move from what I call below ‘thin’ semantics, which is exhausted in signs being assigned content, to a ‘thick’ semantics, in (...) which ‘modes of determining their content’, or Sinne are also concerned. (shrink)

An argument is presented to the effect that the ability to feel or to experience meaning conditions the ability to mean, and is thus essential to our notion of meaning. The experience of meaning is manifested in the "fine shades" of use and behavior. Theses, so obvious in music, constitute understanding music, which makes music understanding so relevant to understanding language. Applying these notions of understanding, feeling, and experience--as well as their explication in terms of comparisons, internal relation, and mastery (...) of technique--to music, where they are so apt and natural, is fertile both for the philosophy of language and the philosophy of music. (edited). (shrink)

That there are analytic truths may challenge a principle of the homogeneity of truth. Unlike standard conceptions, in which analyticity is couched in terms of "truth in virtue of meanings", Frege's notions of analytic and a priori concern justification, respecting a principle of the homogeneity of truth. Where there is no justification these notions do not apply, Frege insists. Basic truths and axioms may be analytic (or a priori), though unprovable, which means there is a form of justification which is (...) not (deductive) proof. This is also required for regarding singular factual propositions as a posteriori. A Fregean direction for explicating this wider notion of justification is suggested in terms of his notion of sense (Sinn)—modes in which what the axioms are about are given—and its general epistemological significance is sketched. (shrink)

ABSTRACT The ethics of reciprocity offered by Simone de Beauvoir is founded upon an irreducible epistemic gap between self and other. This gap is often overlooked by commentators, who have tended to imply that the ethics of reciprocity requires recognition of oneself in the other. I claim that Beauvoir's ethics forecloses such recognition of oneself in the other and reveals that it is at once illusory and dangerous. Recognition in this sense is based upon a false notion of self and (...) constitutes a violation of the alterity of the other. I argue that Beauvoir stages this dangerous form of recognition in her novel She Came to Stay, while her claims about reciprocity in The Second Sex provide an image of a different, more positive recognition capable of respecting alterity. Finally, I claim that the epistemic gap characteristic of reciprocity also holds with respect to one's self-relation. (shrink)

Based on a conception that a musical composition is constituted by normative properties, it is argued that every such composition has one ideal performance—a performance that fulfils all the aesthetic-normative properties that the composition determines. A performance is conceived of (and evaluated) as inherently and essentially ‘intentionalistic’—being, by its very nature, a performance of a certain composition. This conception allows for various different performances, none of which is preferable over the others. The properties concerned are conceived of broadly as comprising (...) not only the tones themselves and various ‘theoretical’ features such as thematic relations, harmonic progressions, rhythmical structures, but also descriptive, emotive, and ‘rhetorical’ properties, which are ‘objective’ properties of the composition. It is further claimed that these are indicated in the score when properly understood in the light, inter alia, of pertinent conventions, which are the business of theoreticians and musicologists to determine. The main significance of the result lies both in highlighting some important implications of the intentionalistic character of a performance, and in the style of conceptual connection it indicates between a musical composition, its aesthetic-normative properties, and features of performance or ways of fulfilling them. (shrink)

Early observations of the southern celestial sky were reported in many sixteenth-century books and compilations of voyages of discovery. Here we analyse these accounts in order to find out what was really seen and reported by the first navigators. Our analysis had resulted in new interpretations of the phenomena reported by Amerigo Vespucci and Andreas Corsali. Thus, a reassessment of the discovery of the Coalsack Nebula, the Magellanic Clouds, and the Southern Cross can be made. From a comparative review of (...) the observations of the latter constellation as published between 1500 and 1600, we demonstrate that only questionable records found their way to contemporary compilations of voyages of discovery, and that as a result public knowledge about this constellation at the end of the sixteenth century was entirely unreliable. Another problem we discuss is that although the stars of the Southern Cross were the first to be discovered, and were observed again and again by many navigators, it was not until 1678 that their proper positions were found in stellar atlases and star catalogues accessible to astronomers. We explain how negligence of and subsequently confidence in Ptolemy's astronomy by, respectively, the early navigators and cartographers, were at the root of this amazingly long-lasting gap in the knowledge of the southern celestial sky. (shrink)

Summary This paper describes a medieval instrument, a quadrans novus, which turned up during archaeological works in England. The invention of the instrument by Profacius in 1288 is discussed in terms of two other medieval instruments, the quadrans vetus and the common astrolabe. The characteristics of the present instrument are compared with those of the seven other known medieval quadrants. It is shown that the new quadrant was made in England for explicit use with the Sun.

Philosophical writing is challenging for students new to philosophy. Many philosophy classes are populated, for the most part, by students who have never taken philosophy before. While many institutions offer general writing support services, these services tend to be most beneficial for helping to identify problems with style and grammar. They are not equipped to help students with the particular challenges that come with writing philosophy for the first time. We implemented the “Home Base” Mentoring Program in two introductory level (...) philosophy courses to target the specific challenges that novice learners have when learning how to write philosophy. Through the program, students had access to writing mentors who were undergraduate senior philosophy majors. Based on surveys given to the students who have participated in this program, we found that the program boosted student confidence in writing and also worked to develop a welcoming, judgment-free, and encouraging environment in the philosophy department more generally. (shrink)

Eros is often considered to be a desire or inclination for what is irreducibly other to the self. This view is particularly prominent among philosophers who reject a “fusion” model of erotic love in favor of one that foregrounds the difference between lovers. Drawing from this “difference” model, I argue in this essay that autoeroticism is a genuine form of Eros, even when Eros is understood to involve irreducible alterity. I claim that the autoerotic act is not adequately captured by (...) traditional views of masturbation, where it is seen as distinct from the erotic encounter with another being. Instead, I employ Derrida and Irigaray to argue that the autoerotic act is auto-hetero-erotic, which depends on a view of the self as self-othering and heterogeneous. (shrink)

And indeed we think it not manly to perform music, except when drunk or for fun.Composing, performing, and listening are three familiar musical practices, each having various forms and manifestations. Aesthetic value is usually ascribed to objects—whether artistic or natural. But “object” needs to be understood here in a very wide sense, including, for example, a theatrical production or a ballet. In dealing with music, I assume that complete works are the primary bearers of such value, but we need not (...) deny it from the practices of composing and performing, for they are imbued with those properties and aspects that make their products objects of aesthetic value. I shall not deal with the many problems raised by... (shrink)

The study of social inequality and stratification has long been at the core of sociology and the social sciences. In this article, I argue that certain tendencies have become entrenched in our dominant paradigm that leave many researchers pursuing coarse-grained analyses of how difference relates to inequality. Centrally, despite the importance of categories and categorization for how researchers study social inequality, contemporary theories of categories are poorly integrated into conventional research. I contend that the widespread and often unquestioned use of (...) state categories as categories of analysis reinforces these tendencies. Using research on colorism as an inspiration, I highlight several components of what I call the infracategorical model of inequality, which urges researchers to disaggregate difference by shifting our focus from membership in categories to the cues of categories, membership in subcategories, and perceived typicality. (shrink)

This paper raises an underappreciated paradox for classical theism. Love seems to be an inherently biased and partial relation. Justice seems to require the opposite, detached impartiality (think of the attributes of the just judge). But if these are conceptual facts, then classical theism is guilty of ascribing inconsistent attributes to God: perfect love and perfect justice. I resolve this paradox in a manner that weighs in favor of the principle of divine simplicity.

Resumo Os sentidos para Frege são reais e objectivos, mas não são nem objectos nem funções. Eles são reais por causa da sua objectividade e por serem referências em contextos oblíquos. E, mesmo assim, eles não são objectos: eles não têm o modo de ser dos objectos – entidades identificáveis auto-subsistentes independentes – nem são funções. Assim, a ontologia de Frege inclui ainda uma outra categoria ontológica, a do sentido, que tem o seu próprio modo especial de ser. Entre as (...) suas características encontra-se: a sua intencionalidade, a sua sobreveniência na referência, a compreensibilidade pela mente humana e a limitação pela linguagem. Assim, os sentidos cruzam as distinções ontológicas simples, como a mental / material. Palavras-chave : Frege, funções, objectividade, objectos, platonismo, referência, sentidoFregean senses are real and objective, but neither objects nor functions. They are real because of their objectivity and their being references in oblique contexts. And yet they are not objects: they don’t have the mode of being of objects − independent self-subsistent identifiable entities − neither are they functions. Thus, Frege’s ontology includes another ontological category, that of sense, having its own special mode of being. Among its further characteristics are its intentionality, its supervenience on reference, its being graspable by the human mind and constrained by language. Thus, it crosses simple ontological distinctions like the mental / material one. Keywords : Frege, sense, reference, objects, function, objectivity, platonism. (shrink)

In my 'A Deterrence Theory of Punishment', I argued that a deterrence system of punishment can avoid the charge that it illegitimately uses offenders if its punishments are carried out 'quasiautomatically': threats are issued by a legislature for deterrent purposes, but those who carry out the punishments have no authority to take deterrent considerations into account. Sprague has objected that under such a system, those who carry out punishments will be unable to justify their actions. I reply that if it (...) is justifiable to set up the system in this way in the first place, then this justification will transmit to all actions carried out under it; and that it is justifiable to set up an institution of punishment in this way. (shrink)

Chapter: Sense and Intentionality A: Reference and Sense — Preliminary Remarks Few people during Frege's lifetime paid due attention to his work and its ...

In the words of Iris Murdoch, Mary Midgley’s Beast and Man built “an urgently needed bridge between science and philosophy”.1 While science and philosophy have never been entirely remote, Murdoch w...

Brute facts are facts that don't have explanations. They are instrumental in our attempts to give accounts of other facts or phenomena, and so they play a key role in many philosophers' views about the structure of the world. This volume explores neglected questions about the nature of brute facts and their explanatory role.

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 7-19 [Access article in PDF] Evaluating a Performance - Ideal vs. Great Performance Gilead Bar-Elli Two Notions of Performance Music, as everybody knows, is a performing art. Not only are musical works performed, but they are also designed, by their very nature, to be performed. The notion of a performance of a musical composition is therefore part and parcel of our conception (...) of music. And yet the relationships between a composition and its performances give rise to many difficult problems, some of which will be touched on later. For the present I want to stress two more specific issues in which the significance of the notion of performance for music lies. The first is that a musical composition is constituted by concepts and properties intrinsically connected to performance. In fact, I believe that the very meaning of these concepts and properties is rooted in the ways they are manifested in performance. Hence, even if a certain composition has never and will never be performed, it is still constituted by concepts and properties whose meaning lies in the ways they should be manifested in performance.The second point is that since music is in fact a performing art, since weperform music, and listen to various performances of the same compositions, and conceive of them and evaluate them as music, notions of performance are an integral part of the conceptual repertoire in which we conceive of music. Hence questions pertaining to the nature of performance, and to the relationship between a composition and its performances are inescapable in any philosophical investigation of music. And around these general questions a host of others suggest themselves: What makes a particular performance (even if faulty) a performance of a particular work? Can there be different equally good performances of the same work? In what terms should performances be evaluated (and graded) and how? Can a composition be individuated apart from its performances and how?On many of these problems and the issues surrounding them, a distinction between two conceptions of performance seems helpful, and sometimes [End Page 7] necessary. On the one hand we may conceive of a performance as a musical entity in itself, independently of the composition whose performance it in fact is. A performance thus conceived can be aesthetically evaluated "on its own" so to speak, or in and of itself, with no regard to our having an independent access to the composition whose performance it is. Sometimes, to push it to an extreme, we may not even know that it is a performance of a particular composition, and may not care if it is. Let us call this the"autonomousconception of a performance."On the other hand we often think of a performance as being essentially a performance of a particular composition, and we thus conceive of it and evaluate it. Here knowing which composition the performance is a performance of is essential. It is arguable that on this conception we must also have (in principle at least) an independent access to the composition, by being able to read its score, for example.1 Being a performance of a particular composition is, on this view, part of the very nature and identity of the performance. There can yet be various different performances of the same composition, and they may be compared and evaluated as such. In light of this essential relationship between the performance and "its" composition (the work whose performance it is) let us call this the "intentionalisticconception of a performance."There is a great difference between these two conceptions, and they imply important differences for the nature of music and of musical composition. I am not committing myself here to any particular view of the ontic nature of a composition — whether it is a class of performances, or a kind (in Nicholas Wolterstorff's sense) or a design (in Roger Scruton's).2 I shall exemplify the pertinence of the above distinction for one case. Many people think that music resides only in performances (some would add, actual and possible... (shrink)

The original Italian text has been reproduced in the back of the volume.