This chapter focuses on one of the common fallacies in Western philosophy, 'intentional fallacy (IF)'. The IF is an odd kind of fallacy. Rather than being a fallacy focused on logic and argumentation, it is a fallacy that focuses on art, relating to how we judge art and engage in literary criticism. The IF focuses on the fact that we often think that there is one right interpretation of a work of art. According to David (...) Fenner, the IF “states that we do not need to know, nor can we on most occasions, what was in the mind of the artist in order to interpret the art work”. So, it seems unreasonable to use the artist's intention as the most important way to understand a work of art as the artist's intention is often unavailable. The IF is an error in art interpretation that causes us to realize important things about art. (shrink)

In Chapter 5 of his book, Res Cogitans, Zeno Vendler argued for the thesis that what we know when we know that p, e.g. that Los Angeles is south of San Francisco, and what we believe when we believe that p cannot be the same despite being expressed in the same words, on the ground that ‘believe’ is what he called a subjective verb and ‘know’ what he called an objective verb. For this he gave two main criteria that subjective (...) verbs can take only ‘subjective that- clauses,’ by which he means clauses which express propositions, whereas objective verbs can take only ‘objective that-clauses,’ by which he means clauses which express facts; that subjective verbs cannot take, whereas objective verbs can take, wh- nominalisations - in practice these are the interrogatives what, who where, when, how - which Vendler also takes as a mark of the objective. (shrink)

In their article ‘The Intentional Fallacy’, Beardsley and Wimsatt raised problems about the legitimacy of certain critical practices. These problems, raised again in later writings and intensively discussed in recent years, remain unsettled and this lecture is intended to throw light upon them.

In lieu of an abstract, here is a brief excerpt of the content:A Fallacy in the Intentional FallacyJames DowneyAccording to a famous argument by W. K. Wimsatt and Monroe Beardsley, the intention of the author is neither available nor desirable as a standard by which to judge the success of a work of literary art. I wish to focus on the former allegation. The author's intention is not available as a standard by which to judge a work's success, (...) it is argued, because "If the poet succeeded in doing it [the intention], then the poem itself shows what he was trying to do. And if the poet did not succeed, then the poem is not adequate evidence, and the critic must go outside the poem."1The intent of this reasoning is not entirely clear. It is intended to pose a dilemma for intentionalism, but what is the dilemma supposed to be? What difficulty is there for intentionalism if the poem itself shows what the author's intention was? Perhaps it is supposed to follow that somehow intentionalism would be purposeless. Perhaps the point is Socratic: if the intention is successful, then the reader automatically knows it was intended, so that the intention cannot be sought. Or, perhaps it is the success which cannot be sought. The idea may be that one automatically knows the extent of success precisely to the extent that one recognizes the intention. Perhaps both points are intended.On the other side of the dilemma, suppose the intention is not successful and the critic "must go outside the poem." Is this supposed to imply that whatever meaning is thereby discovered will not be the poem's meaning? Or, is the idea that being forced to go outside the poem for evidence of its meaning violates some essential goal of intentionalism? [End Page 149]It is not my main concern, however, to question the implications of the argument's premises. I wish to challenge the basic premise, itself, that if an intention is successful then the work would show that it was the author's intention. I will assume that this means, at least, that the reader would understand a certain intention and know that it was the author's intention, and that the work would provide this knowledge.Sometimes an author deliberately composes without thematic intentions. I take my example from cinematic art because it is a particularly striking example, and the point clearly holds for other forms of art. Furthermore, the intentional fallacy is usually thought to apply to other forms of art in addition to literary art. So, let us consider the method which Salvador Dalí claims that he and Luis Buñuel used when creating Un Chien Andalou, to put together whatever images came to their mind without any particular intentions directing them. Indeed, Dalí claimed, if there was even a pause between the artists, a mere moment when it seemed as though some directed thought might be beginning to take hold of them, he and Buñuel immediately discarded that idea. They retained only those ideas which arose with no thematic intentions, or intentions as to larger meaning. (We may set aside the fact that there were still formal intentions, such as what images to present, in what order, etc.—although even this can be eliminated to some degree, as when an artist cuts up bits of sound tapes and splices them together willy-nilly, and so forth.) In such a work of art, it is not possible that any such intentions be shown, since there are none.But there is still a definite intention behind such art, namely, the intention to compose with no thematic intentions. This intention could be successfully shown to an audience through a work, certainly. However, Dalís often intend otherwise (so they say). They may intend not to reveal whether or not there are certain, or even any, thematic intentions (perhaps that is an intentional anti-religious theme in that scene in Un Chien Andalou, after all; we do not know.) Perhaps, even, Dalí does not want us to know whether he wants us not to know. An intention not to reveal might apply to the intention not to reveal. What a grand game... (shrink)

This book explores the logic and historical origins of a strange taboo that has haunted literary critics since the 1940s, keeping them from referring to the intentions of authors without apology. The taboo was enforced by a seminal article, "The Intentional Fallacy," and it deepened during the era of poststructuralist theory. Even now, when the vocabulary of "critique" that has dominated the literary field is under sweeping revision, the matter of authorial intention has yet to be reconsidered. This (...) work explains how "The Intentional Fallacy" confused different kinds of authorial intentions and how literary critics can benefit from a more up-to-date understanding of intentionality in language. The result is a challenging inventory of the resources of literary theory, including implied readers, poetic speakers, omniscient narrators, interpretive communities, linguistic indeterminacy, unconscious meaning, literary value, and the nature of literature itself. (shrink)

In their article ‘The Intentional Fallacy’, Beardsley and Wimsatt raised problems about the legitimacy of certain critical practices. These problems, raised again in later writings and intensively discussed in recent years, remain unsettled and this lecture is intended to throw light upon them.

One of the more controversial articles published in the philosophy of criticism during the past twenty-five years is “The Intentional Fallacy” by W. K. Wimsatt, Jr. and Monroe Beardsley. Scholars from a variety of disciplines have expended a lot of energy in attacking and defending the Wimsatt-Beardsley position. Their efforts fall mainly into two classes. Either they have been exploratory with respect to the nature of the concept ‘intention’, but so exploratory as to present no tangible discovery; or (...) they have merely been occasions to air the author’s own views, views which take sides, but views which in the end only serve to define what positions may be taken without really convincing anyone whether one position is clearly better than the other. This dilemma is really rather odd because in a certain sense it is pitifully easy to understand what the intentional fallacy amounts to. There is a kind of minimal meaning to it, and I suspect that introductory students in courses in Aesthetics and Criticism have little difficulty in understanding it. ‘Difficulties’ seem to arise primarily in connection with its implications and general scope within the totality of criticism. However, it would be wrong to conclude that these difficulties have nothing to do with the intentional fallacy. They do. And the reason is this: the way in which one argues for, that is, establishes, the intentional fallacy has much to do with its implications and general scope within the realm of criticism. (shrink)

One of the more controversial articles published in the philosophy of criticism during the past twenty-five years is “The Intentional Fallacy” by W. K. Wimsatt, Jr. and Monroe Beardsley. Scholars from a variety of disciplines have expended a lot of energy in attacking and defending the Wimsatt-Beardsley position. Their efforts fall mainly into two classes. Either they have been exploratory with respect to the nature of the concept ‘intention’, but so exploratory as to present no tangible discovery; or (...) they have merely been occasions to air the author’s own views, views which take sides, but views which in the end only serve to define what positions may be taken without really convincing anyone whether one position is clearly better than the other. This dilemma is really rather odd because in a certain sense it is pitifully easy to understand what the intentional fallacy amounts to. There is a kind of minimal meaning to it, and I suspect that introductory students in courses in Aesthetics and Criticism have little difficulty in understanding it. ‘Difficulties’ seem to arise primarily in connection with its implications and general scope within the totality of criticism. However, it would be wrong to conclude that these difficulties have nothing to do with the intentional fallacy. They do. And the reason is this: the way in which one argues for, that is, establishes, the intentional fallacy has much to do with its implications and general scope within the realm of criticism. (shrink)

One of the more controversial articles published in the philosophy of criticism during the past twenty-five years is “The Intentional Fallacy” by W. K. Wimsatt, Jr. and Monroe Beardsley. Scholars from a variety of disciplines have expended a lot of energy in attacking and defending the Wimsatt-Beardsley position. Their efforts fall mainly into two classes. Either they have been exploratory with respect to the nature of the concept ‘intention’, but so exploratory as to present no tangible discovery; or (...) they have merely been occasions to air the author’s own views, views which take sides, but views which in the end only serve to define what positions may be taken without really convincing anyone whether one position is clearly better than the other. This dilemma is really rather odd because in a certain sense it is pitifully easy to understand what the intentional fallacy amounts to. There is a kind of minimal meaning to it, and I suspect that introductory students in courses in Aesthetics and Criticism have little difficulty in understanding it. ‘Difficulties’ seem to arise primarily in connection with its implications and general scope within the totality of criticism. However, it would be wrong to conclude that these difficulties have nothing to do with the intentional fallacy. They do. And the reason is this: the way in which one argues for, that is, establishes, the intentional fallacy has much to do with its implications and general scope within the realm of criticism. (shrink)

This chapter contains sections titled: The Intentions of Art Can Private Intentions Go Public? The Intention to Make a Poem Poems Are Made out of Words Blake's “London”.

I argue that biographical information is akin to other non-aesthetic, social, historical, or political information. As such, artist’s biographies are always relevant and important when interpreting art. While the meaning and value of a piece of art is not determined by any single piece of contextual information, neither is its meaning and value ever entirely separated from context. In some cases, however, a piece of art that is technically magnificent may be experienced as repugnant when the artist has committed egregious (...) acts. (shrink)

I argue that biographical information is akin to other non-aesthetic, social, historical, or political information. As such, artist’s biographies are always relevant and important when interpreting art. While the meaning and value of a piece of art is not determined by any single piece of contextual information, neither is its meaning and value ever entirely separated from context. In some cases, however, a piece of art that is technically magnificent may be experienced as repugnant when the artist has committed egregious (...) acts. (shrink)

Much of the recent work in action theory can be organized around a set of objections facing the Simple View and other intention-based accounts of intentional action. In this paper, I review three of the most popular objections to the Simple View and argue that all three objections commit a common fallacy. I then draw some more general conclusions about the relationship between intentional action and moral responsibility.

Neuroscientist Maxwell Bennett and philosopher Peter Hacker defend the need to eradicate the mereological fallacy of cognitive neuroscience. This fallacy attributes to the parts of an animal psychological predicates that make sense only when applied to the whole animal. In contrast, philosopher Daniel Dennett argues that it is possible to explain behavior and cognitive abilities by applying the Intentional Stance to the brain, a stance that attributes increasingly simple psychological capacities to increasingly less intelligent homunculi. So, among (...) other things, taking the intentional stance requires i) attributing psychological predicates to the brain and its parts, and ii) gradually replacing psychological predicates with non-psychological predicates.If the criticism of Bennett and Hacker is accepted, these requirements lead to two dilemmas. According to the first, the intentional stance would be inapplicable or fallacious: because it implies incurring in the mereological fallacy, and to deny is equivalent to rejecting the intentional stance. The horns of the second dilemma are dualism and explanatory vacuity: can be interpreted in a dualistic sense because it presupposes the distinction between psychological and non-psychological predicates; however, failing to respect generates an infinite regress. In this article I intend to show that both dilemmas are resolved by focusing on the details of the relationship between the intentional stance and the design stance. (shrink)

The denial of moral absolutes rests, I think, on a seductive but fallacious argument, which I shall attempt both to expound and to refute here. Human beings are highly complex creatures living in a highly complex world. Every human being is different from every other, every interaction or relationship between or among human beings is unique. Hence also every occasion for moral choice is also unique, and all those action kinds - be theyadultery, murder, rape, theft, ortorture on which moralists (...) are accustomed to pass judgment include an enormous variety of differing transactions, which ideally ought to be evaluated one by one. Moreover, each proposed action has a variety of different aspects: intention, foreseen consequence, conventional meaning, and symbolic significance for example, which bear on moral choice in a wide variety of ways. Moral rules are therefore rules of thumb, open to exceptions whenever persuasive arguments for making them are provided. (shrink)

We have noticed a pattern of arguments that exhibit a type of irrationality or a particular informal logical fallacy that is not fully captured by any existing fallacy. This fallacy can be explored through three examples where one misattributes a cause by focusing on a smaller portion of a larger set—specifically, the last or least known—and claiming that that cause holds a unique priority over other contributing factors for the occurrence of an event. We propose to call (...) this fallacy the “last straw fallacy” and will argue why these examples actually warrant a new logical name. Finally, we will show how these cases point to a deeper insight about the contexts in which we typically invoke this type of reasoning and some significant harmful consequences of doing so. (shrink)

This paper argues that social representations cannot be used as independent variables in causal explanations of social behaviour. It is shown that the structure of investigations often follows a causally explanatory design despite explicit statements to the contrary by the researchers. This fact is analyzed with three investigations. It is argued that verbal data used to assess the contents of a representation as independent variable are logically equivalent to data obtained from the “dependent” overt behaviour. Therefore these two kinds of (...) data must be seen as two illustrations of the same representational contents. The researchers’preference for using verbal data to assess the independent variable and the tendency to introduce a causal relationship between representation and behaviour is shown to result from misplacing folk-beliefs. Folk-beliefs about intentional causality, it is shown, pertain to the same level as other beliefs about the world on the part of the subjects. Hence they are part of the folk-representation itself and must be treated as such; their use in scientific accounts of the belief-action relationship is not implied by data on rational belief systems. It is suggested to conceptualize social representations as integral units of beliefs and action which may be used to explain causally subsequent contingent social events. The function of folk-beliefs in intentional causality for the self-concept of rational people and for social accountability is discussed. (shrink)

The common assumption is that if a group comprising moral agents can act intentionally, as a group, then the group itself can also be properly regarded as a moral agent with respect to that action. I argue, however, that this common assumption is the result of a problematic line of reasoning I refer to as “the collective fallacy.” Recognizing the collective fallacy as a fallacy allows us to see that if there are, in fact, irreducibly joint actors, (...) then some of them will lack the full-fledged moral agency of their members. The descriptivist question of whether a group can perform irreducibly joint intentional action need not rise and fall with the normative question of whether a group can be a moral agent. (shrink)

In this article, I develop an account of the use of intentional predicates in cognitive neuroscience explanations. As pointed out by Maxwell Bennett and Peter Hacker, intentional language abounds in neuroscience theories. According to Bennett and Hacker, the subpersonal use of intentional predicates results in conceptual confusion. I argue against this overly strong conclusion by evaluating the contested language use in light of its explanatory function. By employing conceptual resources from the contemporary philosophy of science, I show (...) that although the use of intentional predicates in mechanistic explanations sometimes leads to explanatorily inert claims, intentional predicates can also successfully feature in mechanistic explanations as tools for the functional analysis of the explanandum phenomenon. Despite the similarities between my account and Daniel Dennett's intentional-stance approach, I argue that intentional stance should not be understood as a theory of subpersonal causal explanation, and therefore cannot be used to assess the explanatory role of intentional predicates in neuroscience. Finally, I outline a general strategy for answering the question of what kind of language can be employed in mechanistic explanations. (shrink)

The common assumption is that if a group comprising moral agents can act intentionally, as a group, then the group itself can also be properly regarded as a moral agent with respect to that action. I argue, however, that this common assumption is the result of a problematic line of reasoning I refer to as “the collective fallacy.” Recognizing the collective fallacy as a fallacy allows us to see that if there are, in fact, irreducibly joint actors, (...) then some of them will lack the full-fledged moral agency of their members. The descriptivist question of whether a group can perform irreducibly joint intentional action need not rise and fall with the normative question of whether a group can be a moral agent. (shrink)

The "apathetic fallacy" dominates literary criticism: to make critical inquiry "epistemologically objective" (rational and disinterested) literary critics have mistakenly tried to restrict their study to that which is "ontologically objective" (not a matter of subjective reality). Absurdity results, particularly when, because of a combination of New Critical orthodoxy, and cherry-picked psychoanalytic concepts, intentional meaning is denigrated as "merely" subjective. Fredric Jameson's account of postmodernism is a case-study in such absurdity; further folly can be avoided only by a disciplinary (...) audit that purges literary inquiry of the "apathetic fallacy.". (shrink)

The common assumption is that if a group comprising moral agents can act intentionally, as a group, then the group itself can also be properly regarded as a moral agent with respect to that action. I argue, however, that this common assumption is the result of a problematic line of reasoning I refer to as “the collective fallacy.” Recognizing the collective fallacy as a fallacy allows us to see that if there are, in fact, irreducibly joint actors, (...) then some of them will lack the full-fledged moral agency of their members. The descriptivist question of whether a group can perform irreducibly joint intentional action need not rise and fall with the normative question of whether a group can be a moral agent. (shrink)

This style of argument comes up everywhere in the philosophy of practical reason, leveled against theories of the norm of means-end coherence on intention, against Humean theories of reasons, and many other places. It comes up in normative moral theory – for example, in arguments against buck-passing. It comes up in epistemology, in discussions of how to account for the rational connection between believing the premises of a valid argument and believing its conclusion. And it comes up in political philosophy, (...) where one of its most salient occurrences is in the so-called ‘leveling down’ objection to egalitarianism. (shrink)

Regarded for decades as a fallacy, intentionalist interpretation is beginning to attract a following among philosophers of art. Intentionalism is the doctrine that the actual intentions of artists are relevant to the interpretation of the artworks they create – just as actual intentions are relevant to the interpretation of the everyday words and deeds of other people. Although there are several forms of actual intentionalism, I defend the form known as modest actual intentionalism, which holds that the correct interpretation (...) of an artwork is compatible with the author's actual intention, which itself must be supported by the artwork. Looking at literary works specifically, I consider criticisms of actual intentionalism – for example, the contention that such a stance substitutes paraphrase for a reading of the text. In particular, I argue against hypothetical intentionalism, which maintains that the correct interpretation of an artwork is constrained by the best hypotheses of the artist's intentions. As I show, the methodology of this position is in fact designed to track the author's actual intentions, and furthermore, hypothetical intentionalism does not accurately depict existing interpretive practices. (shrink)

Regarded for decades as a fallacy, intentionalist interpretation is beginning to attract a following among philosophers of art. Intentionalism is the doctrine that the actual intentions of artists are relevant to the interpretation of the artworks they create – just as actual intentions are relevant to the interpretation of the everyday words and deeds of other people. Although there are several forms of actual intentionalism, I defend the form known as modest actual intentionalism, which holds that the correct interpretation (...) of an artwork is compatible with the author's actual intention, which itself must be supported by the artwork. Looking at literary works specifically, I consider criticisms of actual intentionalism – for example, the contention that such a stance substitutes paraphrase for a reading of the text. In particular, I argue against hypothetical intentionalism, which maintains that the correct interpretation of an artwork is constrained by the best hypotheses of the artist's intentions. As I show, the methodology of this position is in fact designed to track the author's actual intentions, and furthermore, hypothetical intentionalism does not accurately depict existing interpretive practices. (shrink)

Representationalism in cognitive science holds that semantic meaning should be explained by representations in the mind or brain. In this paper it is argued that semantic meaning should instead be explained by an abstract theory of semantic machines -- machines with predicative capability. The concept of a semantic machine (like that of a Turing machine or of Dennett's intentional systems ) is not a physical concept -- although it has physical implementations. The predicative competence of semantic machines is defined (...) in terms of independent agreement alone (cf. independent, and yet synchronised, clocks). Abstract theories are analysed as systems of quasi-apriori rules for abstract predicates. A relatively limited number of such theories and a few fundamental dimensions (space, time, mass, etc.) are today assumed to exhaust physical reality. However, that assumption need not be in conflict with predicates that cannot be defined in physical terms – for instance the functional and intentional terms that are crucial for cognitive science. (shrink)

If the title of this article resounds with the polemical palavering of literary theory in the 1940s, I have to submit that the allusion is not entirely accidental. It is not my intention here, however, to resuscitate the arguments of W. K. Wimsatt Jr and Monroe C. Beardsley, but rather to evoke a sense of parallelism between their issues and those at stake here. A crucial objective which informed Wimsatt's and Beardsley's project was to buttress the significance and irreducibility of (...) the literary text in the face of monopolistic authorial and receptional meaning-making. [3] The scholarly environment that was American New Criticism tended to consider intentionalism and emotionalism as threats to the epistemological prominence and integrity of the text, which was all too readily lost in a plenitude of contexts whose relevance for the literary work was not always impressively transparent. Similarly, within the domain of film studies, it has perhaps become increasingly unclear whether the real object of study is the film text itself, or rather a concatenation of different disciplinary discourses hailing from departments of psychology, sociology, and biology (to name a few). The colonization of cinema studies is not a novel development; as a process its apogee was in the 1970s. (shrink)

Beliefs like the Gambler's Fallacy and the Hot Hand have interested cognitive scientists, economists, and philosophers for centuries. We propose that these judgment patterns arise from the observer's mental models of the sequence-generating mechanism, moderated by the strength of belief in an a priori base rate. In six behavioral experiments, participants observed one of three mechanisms generating sequences of eight binary events: a random mechanical device, an intentional goal-directed actor, and a financial market. We systematically manipulated participants’ beliefs (...) about the base rate probabilities at which different outcomes were generated by each mechanism. Participants judged 18 sequences of outcomes produced by a mechanism with either an unknown base rate, a specified distribution of three equiprobable base rates, or a precise, fixed base rate. Six target sequences ended in streaks of between two and seven identical outcomes. The most common predictions for subsequent events were best described as pragmatic belief updating, expressed as an increasingly strong expectation that a streak of identical signals would repeat as the length of that streak increased. The exception to this pattern was for sequences generated by a random mechanical device with a fixed base rate of.50. Under this specific condition, participants exhibited a bias toward reversal of streaks, and this bias was larger when participants were asked to make a dichotomous choice versus a numerical probability rating. We review alternate accounts for the anomalous judgments of sequences and conclude with our favored interpretation that is based on Rabin's version of Tversky & Kahneman's Law of Small Numbers. (shrink)

This paper considers non-standard analysis and a recently introduced computational methodology based on the notion of ①. The latter approach was developed with the intention to allow one to work with infinities and infinitesimals numerically in a unique computational framework and in all the situations requiring these notions. Non-standard analysis is a classical purely symbolic technique that works with ultrafilters, external and internal sets, standard and non-standard numbers, etc. In its turn, the ①-based methodology does not use any of these (...) notions and proposes a more physical treatment of mathematical objects separating the objects from tools used to study them. It both offers a possibility to create new numerical methods using infinities and infinitesimals in floating-point computations and allows one to study certain mathematical objects dealing with infinity more accurately than it is done traditionally. In these notes, we explain that even though both methodologies deal with infinities and infinitesimals, they are independent and represent two different philosophies of Mathematics that are not in a conflict. It is proved that texts :539–555, 2017; Gutman and Kutateladze in Sib Math J 49:835–841, 2008; Kutateladze in J Appl Ind Math 5:73–75, 2011) asserting that the ①-based methodology is a part of non-standard analysis unfortunately contain several logical fallacies. Their attempt to show that the ①-based methodology can be formalized within non-standard analysis is similar to trying to show that constructivism can be reduced to the traditional Mathematics. (shrink)

Limited air strikes present an attractive “middle-ground approach” for policymakers, as they are less costly to coercers than deploying troops on the ground. Policymakers believe that threatening and employing limited air strikes signal their resolve to targets. In this essay, as part of the roundtable on “The Ethics of Limited Strikes,” I debunk this fallacy and explain how the same factors that make limited air strikes attractive to coercers are also those that undermine their efficacy as a coercive tool (...) of foreign policy. The limited nature of these air strikes undermines the ability of coercers to effectively signal their resolve. In turn, coercive threats of limited air strikes are less likely to be credible, creating a vicious cycle: policymakers threaten to employ air strikes because they are less costly but then often need to follow through on those threats as target states fail to acquiesce to their demands, precisely because limited air strikes are less costly for the coercer. Limited air strikes, therefore, can actually be a source of conflict escalation and lead policymakers to engage in military action that they would prefer to avoid. I further explain why failing to follow through on such coercive threats can undermine a leader's reputation for resolve and lead to future crisis escalation. Finally, I discuss what this quagmire means for the ethics of the threat and the use of air strikes, particularly for the principles of right intention, likelihood of success, and probability of escalation. (shrink)

Aristotelian conceptions of the good life are often criticized from several ethical positions, like G.E. Moore’s anti-naturalism or emotivism and prescriptivism. Aristotelians are accused of committing the naturalistic fallacy when they make a moral evaluation of features, actions, intentions and faculties of human beings. In this paper, I examine and refute AlfonsoGómez-Lobo’s strategy to reject that accusation; then, I propose another strategy and I argue that inclusivist Aristotelian conceptions of the good life could be freed from such criticism if (...) they appeal to the concept of “brute facts relative to” as proposed by G.E. Anscombe. (shrink)

In this paper, I argue that informational semantics, the most well-known and worked-out naturalistic account of intentional content, conflicts with a fundamental psychological principle about the conditions of belief-formation. Since this principle is an important premise in the argument for informational semantics, the upshot is that the view is self-contradictory??indeed, it turns out to be guilty of a sophisticated version of the fallacy famously committed by Euthyphro in the eponymous Platonic dialogue. Criticisms of naturalistic accounts of content typically (...) proceed piecemeal by narrowly constructed counterexamples, but I argue that the current result is more robust. It affects a broad family of accounts, and provokes a wider doubt about the possibility of successful execution of the naturalistic project. (shrink)

Most theories and models of memory are based on two assumptions that contain theoretical problems. These problems are reflected in the memory-trace paradox, which consists in believing that the past is contained in the memory trace, and in the fallacy of the homunculus, which consists in assuming the existence of an unconscious intentional subject. We will discuss these and present an alternative hypothesis concerning the relationship between memory, consciousness and temporality. This holds that consciousness is not a unitary (...) dimension, but is the set of distinct and original modes to address the object. Among the modes of consciousness, a distinction is made between Knowing Consciousness (KC) and Temporal Consciousness (TC). KC describes the mode of addressing the object in order to know it. TC describes the mode of consciousness that temporalizes its object according the subordinate structures of temporality, the past, the present and the future. Finally it is shown how the hypothesis accounts for a variety of memory disorders and phenomena while avoiding the memory- trace paradox and the fallacy of the homunculus. (shrink)

In 1964 Searle argued against the naturalistic fallacy thesis that an ought-statement can in fact be derived from is-statements. From an analysis of this argument and of Searle’s social ontology of 1995 – which includes a full-blown theory of institutional facts – I conclude that this argument is unsound on his own (later) terms. The conclusion that can now be drawn from Searle’s argument is that social or institutional obligations are epistemically objective even though they are observer-dependent. I go (...) on to argue that the strength of such obligations depends on the strength of the underlying collective acceptance, which is a kind of collective intentionality. I also point out that all normativity in Searle’s framework can be traced back to either individual or collective intentionality. This bars him from providing an account of intention-independent moral facts. (shrink)

This essay develops a theory of representation that confirms realism – an objective dependent on establishing that reality is autonomous of representation. I argue that the autonomy of reality is not incompatible with epistemic access and that an adequate account of representation is capable of satisfying both criteria. Pursuit of this argument brings the work of C. S. Peirce and Roy Bhaskar together. Peirce’s doctrine of semiotics is essentially a realist theory of representation and is thus relevant to the project (...) of critical realism. However, critical realism is also required to finesse Peirce’s intricate over-theorising. Although a complete treatment remains absent from Bhaskar’s writings, his philosophy, I discovered, incorporates an implicit theory of representation. Peirce can be employed to extract this theory and amplify it. The only way the problem of representation can be addressed adequately is to locate it in a realist framework. This, however, is contingent on re-conceiving representation as a process rather than an object. Such a ‘perspectival switch’ reconfirms the intentional structure of representation but also suggests that it be considered in teleological terms as an activity oriented to a trans-representational object. Representation finally emerges as a form of inquiry with the aim to make being accessible in its autonomy. (shrink)

Excerpt from How the Mind Falls Into Error: A Brief Treatment of Fallacies for the General Reader I will not be afraid of death and bane Till Birnam forest come to Dunsinane. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged (...) copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

Excerpt from How the Mind Falls Into Error: A Brief Treatment of Fallacies for the General Reader I will not be afraid of death and bane Till Birnam forest come to Dunsinane. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged (...) copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

_Why originalism is a flawed, incoherent, and dangerously ideological method of constitutional interpretation__ “Chemerinsky... offers a concise, point-by-point refutation of the theory [of originalism]. He argues that it cannot deliver what it promises—and if it could, no one would want what it is selling.”—David Cole, _New York Review of Books__ Originalism, the view that the meaning of a constitutional provision is fixed when it is adopted, was once the fringe theory of a few extremely conservative legal scholars but is now (...) a well-accepted mode of constitutional interpretation. Three of the Supreme Court’s nine justices explicitly embrace the originalist approach, as do increasing numbers of judges in the lower courts. Noted legal scholar Erwin Chemerinsky gives a comprehensive analysis of the problems that make originalism unworkable as a method of constitutional interpretation. He argues that the framers themselves never intended constitutional interpretation to be inflexible and shows how it is often impossible to know what the “original intent” of any particular provision was. Perhaps worst of all, though its supporters tout it as a politically neutral and objective method, originalist interpretation tends to disappear when its results fail to conform to modern conservative ideology. (shrink)

The relationship of the author’s intention to the meaning of a literary work has been a persistently controversial topic in aesthetics. Anti-intentionalists Wimsatt and Beardsley, in the 1946 paper that launched the debate, accused critics who fueled their interpretative activity by poring over the author’s private diaries and life story of committing the ‘fallacy’ of equating the work’s meaning, properly determined by context and linguistic convention, with the meaning intended by the author. Hirsch responded that context and convention are (...) not sufficient to determine a unique meaning for a text; to avoid radical ambiguity we must appeal to the author’s intention, which actualizes one of the candidate meanings. Subsequent writers have defended refined versions of these views, and a variety of positions on the spectrum between them, in a debate that remains central to philosophical aesthetics. This Teaching and Learning Guide lists key readings and suggests how they might be incorporated within a syllabus. It also offers focus questions related to the readings. See also the companion article, Sherri Irvin, “Authors, Intentions and Literary Meaning.” Philosophy Compass 1 (2006), 114-128. (shrink)