John McDowell has set the philosophical world alight with a revolutionary approach to the subject, illuminating old problems with dazzling particularity. In this welcome introduction to his work, Maximilian de Gaynesford puts within comfortable reach of non-specialists McDowell’s demanding writing. The guiding argument of the book is that the apparent variety of McDowell’s interests disguises a core concern with a single basic goal: ‘giving philosophy peace’. Since the dawn of the subject, philosophy has struggled with the question: can our experience (...) of the world give rational support to what we think and say; and if so, how? De Gaynesford analyses McDowell’s densely argued answer to this question in a lucid, balanced and engaging way. (shrink)
I is perhaps the most important and the least understood of our everyday expressions. This is a constant source of philosophical confusion. Max de Gaynesford offers a remedy: he explains what this expression means. He thereby shows the way to an understanding of how we express first-personal thinking. The book thus not only resolves a key issue in philosophy of language, but promises to be of great use to people working on problems in other areas of philosophy.
John McDowell has set the philosophical world alight with a revolutionary approach to the subject, illuminating old problems with dazzling particularity. In this welcome introduction to his work, Maximilian de Gaynesford puts writing within comfortable reach of non-specialists. The guiding argument of the book is that the variety of McDowell's interests disguises a core concern with a single basic goal: 'giving philosophy peace'. Since the dawn of the subject, philosophy has struggled with the question: can our experience of the world (...) give rational support to what we think and say; and if so, how? McDowell claims that philosophy has itself to blame if these questions seem problematic, and this book's animating purpose is to see what sense can be made of this notorious claim. In McDowell's view, the illusion that our fundamental relations with the world are truly problematic is traceable to false views about nature. We should give proper weight to a natural fact about the world: that human beings are of a kind that is naturally placed within the natural order. De Gaynesford analyses McDowell's densely argued and meticulous work in a lucid, balanced and engaging way, that will prove invaluable for all students and scholars of McDowell and philosophy. (shrink)
If philosophy and poetry are to illuminate each other, we should first understand their tendencies to mutual antipathy. Examining mutual misapprehension is part of this task. J. L. Austin's remarks on poetry offer one such point of entry: they are often cited by poets and critics as an example of philosophy's blindness to poetry. These remarks are complex and their purpose obscure—more so than those who take exception to them usually allow or admit. But it is reasonable to think that, (...) for all his levity at their expense, what Austin offers poets is exemption from forms of commitment. Since such exemption is precisely what poets and critics have sought, this diagnosis is eirenic. This exemption has a price, but it may be affordable. (shrink)
What is it for poetry to be serious and to be taken seriously? What is it to be open to poetry, exposed to its force, attuned to what it says and alive to what it does? These are important questions that call equally on poetry and philosophy. But poetry and philosophy, notoriously, have an ancient quarrel. Maximilian de Gaynesford sets out to understand and convert their mutual antipathy into something mutually enhancing, so that we can begin to answer these and (...) other questions. The key to attuning poetry and philosophy lies in the fact that poetic utterances are best appreciated as doing things. For it is as doing things that the speech act approach in analytic philosophy of language tries to understand all utterances. Taking such an approach, this book offers ways to enhance our appreciation of poetry and to develop our understanding of philosophy. It explores work by a range of poets from Chaucer to Geoffrey Hill and J. H. Prynne, and culminates in an extended study of Shakespeare's Sonnets. What work does poetry set itself, and how does this determine the way it is to be judged? What do poets commit themselves to, and what they may be held responsible for? What role does a poet have, or their audience, or their context, in determining the meaning of a poem, what work it is able to achieve? These are the questions that an attuned approach is able to ask and answer. (shrink)
What is it for poetry to be serious and to be taken seriously? What is it to be open to poetry, exposed to its force, attuned to what it says and alive to what it does? These are important questions that call equally on poetry and philosophy. But poetry and philosophy, notoriously, have an ancient quarrel. Maximilian de Gaynesford sets out to understand and convert their mutual antipathy into something mutually enhancing, so that we can begin to answer these and (...) other questions. The key to attuning poetry and philosophy lies in the fact that poetic utterances are best appreciated as doing things. For it is as doing things that the speech act approach in analytic philosophy of language tries to understand all utterances. Taking such an approach, this book offers ways to enhance our appreciation of poetry and to develop our understanding of philosophy. It explores work by a range of poets from Chaucer to Geoffrey Hill and J. H. Prynne, and culminates in an extended study of Shakespeare's Sonnets. What work does poetry set itself, and how does this determine the way it is to be judged? What do poets commit themselves to, and what they may be held responsible for? What role does a poet have, or their audience, or their context, in determining the meaning of a poem, what work it is able to achieve? These are the questions that an attuned approach is able to ask and answer. (shrink)
Philosophy has tended to regard poetry primarily in terms of truth and falsity, assuming that its business is to state or describe states of affairs. Speech act theory transforms philosophical debate by regarding poetry in terms of action, showing that its business is primarily to do things. The proposal can sharpen our understanding of types of poetry; examples of the ‘Chaucer-Type’ and its variants demonstrate this. Objections to the proposal can be divided into those that relate to the agent of (...) actions associated with a poem, those that relate to the actions themselves, and those that relate to the things done. These objections can be answered. A significant consequence of the proposal is that it gives prominence to issues of responsibility and commitment. This prominence brings philosophical debate usefully into line with contemporary poetry, whose concern with such issues is manifest in characteristic forms of anxiety. (shrink)
One claim about I, regularly made and almost universally endorsed, is that uses of the term are logically guaranteed to refer successfully. The claim is only rarely formulated perspicuously or argued for. Such obscurity helps disguise the fact that those who profess to advance the claim actually turn out to support not a logical guarantee at all but merely high security through fortunate coincidence. This is not surprising. For we have no good reason to accept the claim – granted, any (...) use of I is apt to refer successfully; but that can be explained by pragmatic features of its use. And we have some reason to reject the claim – it is notoriously difficult to see how genuine reference and guaranteed success do not exclude each other when considered as properties of the logic of any term. (shrink)
Prompted by Bob Dylan's song of this title: an essay on the philosophical issues raised by the idea of pledging one's time, and doing so in and by performing a song.
Reflecting a recent flourishing of creative thinking in the field, _Agents and Their Actions_ presents seven newly commissioned essays by leading international philosophers that highlight the most recent debates in the philosophy of action Features seven internationally significant authors, including new work by two of philosophy's ‘super stars’, John McDowell and Joseph Raz Presents the first clear indication of how John McDowell is extending his path-breaking work on intentionality and perceptual experience towards an account of action and agency Covers all (...) the major interconnections between action-agency and central areas of Philosophy: Metaphysics, Epistemology, History of Philosophy, Ethics, Logic, Philosophy of Language Provides a snapshot of current debate on the subject, which is fresh, enlightening, and fruitful. (shrink)
What is at stake when J. L. Austin calls poetry ‘non-serious’, and sidelines it in his speech act theory?. Standard explanations polarize sharply along party lines: poets and critics are incensed, while philosophers deny cause. Neither line is consistent with Austin's remarks, whose allusions to Plato, Aristotle and Frege are insufficiently noted. What Austin thinks is at stake is confusion, which he corrects apparently to the advantage of poets. But what is actually at stake is the possibility of commitment and (...) poetic integrity. We should reject what Austin offers. (shrink)
This paper argues that Henry James’ treatment of balancing in The Golden Bowl—to which Putnam insightfully draws attention—calls for the attunement of philosophy and literary criticism. The process may undermine Putnam’s own reading of the novel, but it also finds new reasons to endorse what his reading was meant to deliver: the confidence that philosophy and thoughtful appreciation of literature have much to contribute to each other, and the conviction that morality can incorporate seriousness about rules alongside sensitivity to character (...) and situation. (shrink)
I dispute the commonly held impression that Pope Francis is a compassionate shepherd and determined leader but that he lacks the intellectual depth of his recent predecessors.
Utterance of a sentence in poetry can be performative, and explicitly so. The best-known of Geoffrey Hill’s critical essays denies this, but his own poetry demonstrates it. I clarify these claims and explain why they matter. What Hill denies illuminates anxieties about responsibility and commitment that poets and critics share with philosophers. What Hill demonstrates affords opportunities for mutual benefit between philosophy and criticism.
How is it that we think and refer in the first-person way? For most philosophers in the analytic tradition, the problem is essentially this: how two apparently conflicting kinds of properties can be reconciled and united as properties of the same entity. What is special about the first person has to be reconciled with what is ordinary about it . The range of responses reduces to four basic options. The orthodox view is optimistic: there really is a way of reconciling (...) these apparently contradictory properties as contained within the same thing. The heretical views are pessimistic and content to be so: there is no such way, and that is because there is simply nothing to reconcile – because there is really nothing special about what is in question; or there is really nothing ordinary about it; or there is really nothing …. (shrink)
Ordinarily, what we experience does not jump from one place or time to another—we have to pass through all the intermediate times and places. But in films, what we experience can jump in both dimensions, both separately and together. This phenomenon has been memorably described in film criticism by Rudolph Arnheim and it has been deployed philosophically by Suzanne Langer and Colin McGinn. But discussion of space-time discontinuity remains hampered by the lack of attunement between film critical and philosophical investigations. (...) Without philosophy, the valuable insights of film criticism lack rigour and have been blunted by conceptual imprecision and confusion; without film criticism, the provocative claims of philosophy lack support, floating free of the evidence that a suitably sharp awareness of the details of particular films alone provides. This paper brings philosophy and film criticism to bear on each other so that we stand to make headway on the issue of film and space-time discontinuity. (shrink)
Consensus identifies an underlying continuity to Wittgenstein's treatment of the self and 'I', despite certain obvious surface variations and revisions. Almost all Wittgenstein's arguments and observations concerning 'I' and the self in the Tractatus are arranged as attempts to explicate. The philosophical self is not the human being, not the human body, or the human soul, with which psychology deals, but rather the metaphysical subject, the limit of the world, not a part of it. The picture that forms around the (...) consensus view is certainly enlightening about Wittgenstein on 'I' and the self, but this is so because rather than in spite of the difficulties we face in making it match. Contrary to the consensus view, there is little or no 'denigrating' of the first person in his thought, whether of the reductionist or eliminativist kind, and where it may be manifest limited uses only, and by contrast with the general case. (shrink)
Putnam is one of the most influential philosophers of recent times, and his authority stretches far beyond the confines of the discipline. However, there is a considerable challenge in presenting his work both accurately and accessibly. This is due to the width and diversity of his published writings and to his frequent spells of radical re-thinking. But if we are to understand how and why philosophy is developing as it is, we need to attend to Putnam's whole career. He has (...) had a dramatic influence on theories of meaning, semantic content, and the nature of mental phenomena, on interpretations of quantum mechanics, theory-change, logic and mathematics, and on what shape we should desire for future philosophy. By presenting the whole of his career within its historical context, de Gaynesford discovers a basic unity in his work, achieved through repeated engagements with a small set of hard problems. By foregrounding this integrity, the book offers an account of his philosophy that is both true to Putnam and helpful to readers of his work. (shrink)
Putnam is one of the most influential philosophers of recent times, and his authority stretches far beyond the confines of the discipline. However, there is a considerable challenge in presenting his work both accurately and accessibly. This is due to the width and diversity of his published writings and to his frequent spells of radical re-thinking. But if we are to understand how and why philosophy is developing as it is, we need to attend to Putnam's whole career. He has (...) had a dramatic influence on theories of meaning, semantic content, and the nature of mental phenomena, on interpretations of quantum mechanics, theory-change, logic and mathematics, and on what shape we should desire for future philosophy. By presenting the whole of his career within its historical context, de Gaynesford discovers a basic unity in his work, achieved through repeated engagements with a small set of hard problems. By foregrounding this integrity, the book offers an account of his philosophy that is both true to Putnam and helpful to readers of his work. (shrink)
This paper draws attention to the fact that works of philosophy are often judged by aesthetic criteria. This raises the question of whether philosophical writings may properly be regarded as suitable objects of aesthetic judgement in a strong sense; namely, that judging their worth qua works of philosophy is an aesthetic endeavour. The paper argues in the affirmative with the aid of a Kantian account of aesthetic judgement. Judging a work of philosophy by the means chosen may be regarded as (...) subjecting it to criticism by criteria established within a philosophical aesthetic. (shrink)
