This chapter overviews Hume’s thoughts on the nature and role of imagining and focusses primarily on three important distinctions that Hume draws among our conscious mental episodes: (i) between impressions and ideas; (ii) between ideas of the memory and ideas of the imagination; and (iii), among the ideas of the imagination, between ideas of the judgement and ideas of the fancy. In addition, the chapter considers Hume’s views on the imagination as a faculty of producing ideas, as well as on (...) the part that imagining plays in the acquisition of modal knowledge and in the comprehension of, and resistance to, false or fictional opinions. (shrink)

An observation of Hume’s has received a lot of attention over the last decade and a half: Although we can standardly imagine the most implausible scenarios, we encounter resistance when imagining propositions at odds with established moral (or perhaps more generally evaluative) convictions. The literature is ripe with ‘solutions’ to this so-called ‘Puzzle of Imaginative Resistance’. Few, however, question the plausibility of the empirical assumption at the heart of the puzzle. In this paper, we explore empirically whether the difficulty (...) we witness in imagining certain propositions is indeed due to claim type (evaluative v. non-evaluative) or whether it is much rather driven by mundane features of content. Our findings suggest that claim type plays but a marginal role, and that there might hence not be much of a ‘puzzle’ to be solved. (shrink)

In this article, I defend the view that we can acquire factual knowledge – that is, contingent propositional knowledge about certain (perceivable) aspects of reality – on the basis of imaginative experience. More specifically, I argue that, under suitable circumstances, imaginative experiences can rationally determine the propositional content of knowledge-constituting beliefs – though not their attitude of belief – in roughly the same way as perceptual experiences do in the case of perceptual knowledge. I also highlight some philosophical (...) consequences of this conclusion, especially for the issue of whether imagination can help us to learn something from fictions. (shrink)

By way of an engagement with the thought of Stuart Hampshire and his account of the ‘normality of conflict’, this article articulates a novel distinction between two models of value pluralism. The first model identifies social and political conflict as the consequence of pluralism, whereas the second identifies pluralism as the consequence of social and political conflict. Failure to recognise this distinction leads to confusion about the implications of value pluralism for contemporary public ethics. The article illustrates this by considering (...) the case of toleration. It contends that Hampshire’s model of pluralism offers a new perspective on the problem of toleration and illuminates a new way of thinking about the accommodation of diversity as ‘civility within conflict’. (shrink)

The Puzzle of Imaginative Failure asks why, when readers are invited to do so, they so often fall short of imagining worlds where the moral facts are different. This is puzzling because we have no difficulty imagining worlds where the descriptive facts are different. Much of the philosophical controversy revolves around the question of whether the reader's lack of imagination in such cases is a result of psychological barriers (an inability or a difficulty on the reader's part to imagine (...) what she is asked to imagine) or whether it is instead a result of wilful resistance (a desire not to imagine what she's asked to imagine). I argue for a different kind of solution. I maintain the primary reason for such systematic failures on the reader's part is due to an inability on the author's part to make clear that she is inviting the reader to engage in such imaginings. (shrink)

I explore the view that metaphysics is essentially imaginative. I argue that the central goal of metaphysics on this view is understanding, not truth. Metaphysics-as-essentially-imaginative provides novel answers to challenges to both the value and epistemic status of metaphysics.

Heinrich Popitz’s Phenomena of Power aims to uncover power as “a universal component in the genesis and operation of human societies”. In order to uncover this “universal” concept of power, Popitz employs Husserl’s method of the “imaginative variation” [Phantasievariation]. Yet, contrary to phenomenology’s traditionally descriptive posture, Phenomena of Power’s project is at once descriptive and normative—seeking not only to describe power, but to also describe the way in which power can be remade. In the present paper it is argued (...) that this normative component of Popitz’s project offers the burgeoning field of critical phenomenology an illustration of the way in which Husserl’s “imaginative variation” might be employed not only as a descriptive tool of pure essences, but also as an instrument in the refashioning of social reality. (shrink)

I argue that knowledge about the human condition can be derived from appreciating works of fictional literature. I support this claim in two major ways. ;First, I present a theory of "fictive modeling," which holds that: Fictive works may embody the structure of some subject matter ; and Such an embodiment allows the subject matter's structure to become more perspicuous to suitable appreciators and, thereby, susceptible to a wide range of epistemic operations . I contend this theory accommodates more segments (...) of the knowledge acquisition process than standard propositional theories, which limit what we learn from fiction to propositions contained either implicitly or explicitly in a fictive text. I hold that fictive knowledge includes shifts in pattern recognition, conceptual classification and analogical projection--each of which is an important epistemic result in science and practical affairs, yet which is inadequately articulated by the notion of a determinate proposition. ;Second, I analyze several kinds of knowledge fiction typically generates about the human condition. These include both descriptive and normative knowledge concerning human emotions, subjective "ways of seeing," and self-deceptions, as well as imaginative knowledge of other people's views and circumstances. ;In my discussion, I challenge Plato's conception that fictive art leads appreciators to have hedonic and emotive experiences which discourage the attainment of knowledge. I contend Plato underestimates the capacity of appreciators to subject fictive models to critical testing and, in this way, to control such experience. Critical testing may be accomplished by employing the claims and procedures of experts or the appreciator's own experiences. ;I also discuss the beneficial role served by literacy critics, who guide appreciators in identifying and assessing epistemic models contained in fictive works. Concerning the problem of multiple, yet contrary, interpretations of a work , I claim there is no logical difficulty here, since there are good reasons to accept the premise that fictive works are structurally ambiguous objects. (shrink)

Gendler reformulated the so-called imaginability puzzle in terms of authorial breakdown. The main idea behind this move was to isolate the essential features displayed by the alleged problematic cases and to specify a puzzle general enough to be applied to a variety of different types of imaginative resistance. I offer various criticisms of Gendler’s approach to imaginative resistance that also raise some more general points on the recent literature on the topic.

In lieu of an abstract, here is a brief excerpt of the content:Context Building and Educating Imaginative EngagementDavid E. W. Fenner (bio)IntroductionIn my experience—with students, colleagues, friends, myself—I find that most people view aesthetic objects and art objects (which sometimes overlap but not always) through a variety of "lenses": subjectively located, psychologically based perspectives or "contexts" through which the object is viewed, considered, appreciated, and many times even criticized. I believe that many times the depth and richness of aesthetic (...) reward depends on the perspective through which the subject attends to an object or event. While a part of aesthetic perspectival context is objective—such as the physical conditions surrounding and history concerning the aesthetic object—the majority of it is subjective, and I want to take another step and say that the majority is psychological.1 Aesthetic attenders bring to aesthetic experiences thick sets of background beliefs, personal associations, taste preferences, attitudes, and values—and this is not to mention the more temporal items like how they feel on the day or whether they are attending alongside friends, relatives, or colleagues. Hundreds of psychological factors result in differences in aesthetic experience; this is most likely true of all experiences, but it is even more the case in aesthetic experience and those kinds of experiences that set the occasions for attenders to think, feel, consider, spend time with, introspect, and be in a relationship—subject and object—that is distinct from the ordinary and the routine.Attenders can employ a single lens or multiple ones. It is entirely possible to attend in the absence of the employment of any lens—a purely disinterested or purely formalist perspective would be such a thing—but the vast majority of aesthetic attenders bring with them layers of lenses through which they naturally, nontheoretically (which is not to say noncognitively) view objects. On different occasions, given particular objects and particular subjects, the subject may view an aesthetic object from an art historical [End Page 109] perspective (whether or not the object is an art object); a moral perspective; a cultural, political, or national perspective; a social, class, race, ethnic, or gender perspective; a religious or spiritual point of view; an emotional point of view; a point of view colored by personal associations, personal history, personal identification, personal preference; and on and on.2 Sometimes the employment of lenses is distracting, and sometimes the experience is less than positive given such employment. But (1) many times—I want to say most times—the employment of such lenses results in a richer and more meaningful experience, and (2) it is the natural stance. Adopting a noncontextualized perspective requires conscious volitional effort. Seeing through particular psychological lenses is the default.I want to focus in this paper on a kind of perspective, a kind of psychological context, that has not been much discussed: I will call it aesthetic engagement preparation. Essentially, this has to do with the level of readiness that the subject possesses for engaging with particular objects aesthetically. To engage in a way that will provide a good return on her investment of attention, the subject must be open to the object, must be comfortable with the objective context, must be ready to enter into a relationship with the object—a relationship that may be psychologically associational in all sorts of ways (affectively, cognitively, and so forth)—and must be ready to employ a range of lenses, like the ones described above, to get the most out of her experience. Again, those who advocate noncontextualized (disinterested or formalist) approaches—Shaftesbury, Hutcheson, Addison, Kant, Schopenhauer, Wilde, Whistler, Wimsatt, Greenberg, Brooks, Wolfflin, Bell, Moore, Bullough, Hanslick, Ortega y Gassett, Fry, Hampshire, Stolnitz, and Zangwill, just to name a few—will find aesthetic engagement preparation not only unnecessary but counterproductive. However, given its efficacy for enhancing actual aesthetic experience, I take this as a sign that these noncontextualists may have been on the wrong path. But of course this is an empirical question, and certainly there are cases—though rare, I claim—where employment of aesthetic lenses results in a less positive experience than otherwise.What I will try to do in this paper is to demonstrate (1) the scope of aesthetic engagement preparation on... (shrink)

Departing from Anderson’s (2016) suggestion that there are three communities in Peirce’s thought corresponding to his three normative sciences of logic, ethics, and esthetics, I argue that these communities partake in a relationship of dependence similar to that found among the normative sciences. In this way, just as logic relies on ethics which relies on esthetics, so too would a logical community of inquirers rely on an ethical community of love, which would rely on an esthetic community of artists. A (...) community could conduct inquiry together only if it pursued the same goal; and it could pursue the same goal only if it first imaginatively construed it. Any logical or ethical community requires a shared imaginative repertoire of ideal ends. (shrink)

Roger Garaudy, the Hellenic tradition, and imaginative space.--Kazantzakis' making of God.--Existentialism and language.--The argument of water.--Literature as ikonic language.--Literature and morality.

The tension between the need for critique and its (often unperceived) limits through our given common sense, a tension Charles S. Peirce describes as critical common sense, hasn’t lost its actuality. Vague certainty is one root of this tension, which the paper unfolds by distinguishing two forms: while the first one grounds common sense as a form of life, the second one, self-certainty, represents the purpose of endeavors, and it serves, speaking with Pierre Bourdieu, as a form of distinction (1). (...) As part of an indifference towards power structures of exclusion, vague certainties contribute to what Judith Butlers describes as the violent derealization of others, which is being discussed in the light of the Black Lives Matter and Me Too movement. (Self-)certainty, as is being shown, is not (merely) an epistemological matter, but encompasses the fields of the political and aesthetic. Accordingly, as a crucial part of political critique and practices to counter (self-)certainties, a differentiation of doubting is required – the paper proposes four different kinds: authoritarian, anti-authoritarian, acknowledging and imaginative doubting. They help understand the political struggles of re-realizing formerly derealized positions within society (2). Particularly through imaginative doubting, some shortcomings within Peirce’s notion of the self (and, for that matter, within the pragmatist notion of doubting) are being overcome by showing how to link it to creative processes of abduction, which in turn have consequences for political matters by unsettling implicit consent, or, in the words of Jacques Rancière, the partition of the sensible (3). (shrink)

This collection of essays shifts the focus of scholarly debate away from the themes that have traditionally dominated the study of Edmund Burke. In the past, largely ideology-based or highly textual studies have tended to paint Burke as a “prophet” or “precursor” of movements as diverse as conservatism, political pragmatism, and romanticism. In contrast, these essays address prominent issues in contemporary society—multiculturalism, the impact of postmodern and relativist methodologies, the boundaries of state-church relationships, and religious tolerance in modern societies—by emphasizing (...) Burke’s earlier career and writings and focusing on his position on historiography, moral philosophy, jurisprudence, aesthetics, and philosophical skepticism. The essays in this collection, written by some of today’s most renowned Burke scholars, will radically challenge our deeply rooted assumptions about Burke, his thought, and his place in the history of Western political philosophy. (shrink)

Non-heterosexual men have long existed on the social and cultural margins. Gay and bisexual male characters in literature, too, have done so for many generations. This essay explores the construction of gay masculinity in the short story “Brokeback Mountain” in relation to the “imaginative leap” that its author, Annie Proulx, undertook in order to conceptualize and represent this noteworthy form of marginalized otherness. It demonstrates that, despite the story’s various refreshing elements, “Brokeback Mountain” ultimately relies far too extensively on (...) the logic of melodrama when telling the tale of Ennis del Mar and Jack Twist, who fall in love in 1963 and continue their sexual relationship over the course of two decades. As a result, this story ends up positioning its two queer protagonists as enemies of the patriarchal social order and the larger society within which it so comfortably exists, implicitly perpetuating both heterosexism and homophobia as it does its cultural work. (shrink)

It is unfashionable to talk about artistic truth. Yet the issues traditionally addressed under that term have not disappeared. Indeed, questions concerning the role of the artist in society, the relationship between art and knowledge and the validity of cultural interpretation have intensified. Lambert Zuidervaart challenges intellectual fashions. He proposes a new critical hermeneutics of artistic truth that engages with both analytic and continental philosophies and illuminates the contemporary cultural scene. People turn to the arts as a way of finding (...) orientation in their lives, communities and institutions. But philosophers, hamstrung by their own theories of truth, have been unsuccessful in accounting for this common feature in our lives. This book portrays artistic truth as a process of imaginative disclosure in which expectations of authenticity, significance and integrity prevail. Understood in this way, truth becomes central to the aesthetic and social value of the arts. (shrink)

This article argues for a certain picture of the rational formation of conditional intentions, in particular deterrent intentions, that stands in sharp contrast to accounts on which rational agents are often not able to form such intentions because of what these enjoin should their conditions be realized. By considering the case of worthwhile but hard-to-form deterrent intentions (the threat to leave a cheating partner, say), the article argues that rational agents may be able to form such intentions by first simulating (...) psychological states in which they have successfully formed them and then bootstrapping themselves into actually forming them. The article also discusses certain limits imposed by this model. In particular, given the special nature of deterrent intentions (e.g. the ones supposedly involved in nuclear deterrence), there is good reason to think that these must remain inaccessible to fully rational and moral agents. (shrink)

The current resurgence of interest in the scientific origins of psychoanalysis has overshadowed the artistic and literary models to which Freud had recourse time and again in the development and presentation of his theories. It is this neglected aesthetic wellspring of psychoanalysis to which Harry Trosman calls attention in _Freud and the Imaginative World_. Trosman enriches our understanding of psychoanalysis by demonstrating how Freud's cultural and humanistic commitments guided his pursuit of a science of mind. Toward this end, he (...) undertakes a number of challenging tasks: to situate Freud in the formative culture of his time, to adumbrate the human concerns that infromed his work in the natural sciences, and to delineate the multiple "modes of influence" that fostered his creativity. The second part of the book moves from the cultural sources of Freud's creativity to the psychoanalytic contribution to our understanding of art and literature. Here, Trosman focuses on the consumer of art and literature, tracing psychoanalytic perspectives on aesthetic responsiveness from Freud to the present. Trosman's critical review of the da Vinci and _Hamlet_ literature illustrates the limitations as well as the explanatory potential of the two principal genres of applied psychoanalytic work, and leads naturally to the reflective estimation of psychoanalysis and creativity that concludes the work. Throughout, Trosman is a well-informed and engaging guide, both to the imaginative Freud and to the abundant literature on psychoanalysis and the arts. He documents Freud's continuing indebtedness to the literary models that nourished his theorizing and gave shape to his narrative clinical expositions, even as he takes pains to show how psychoanalysis has, in many ways, outgrown Freud's own reductive explanations of aesthetic phenomena. A skillfully crafted overview, _Freud and the Imaginative World_ is an exemplary introduction to a crucial aspect of the Freudian legacy. (shrink)

This article discusses why it is the case that we refuse to accept strange evaluative claims as being true in fictions, even though we are happy to go along with other types of absurdities in such contexts. For instance, we would refuse to accept the following statement as true, even in the con-text of a fiction: -/- (i) In killing her baby, Giselda did the right thing; after all, it was a girl. -/- This article offers a sensibilist diagnosis of (...) this puzzle, inspired by an observation first made by David Hume. According to sensibilism, the way we feel about things settles their evaluative properties. Thus, when confronted with a fictional scenario where the configuration of non-evaluative facts and properties is relevantly similar to the actual world, we refuse to go along with evaluative properties being instantiated ac-cording to a different pattern. It is the attitudes we hold in the actual world that fix the extension of evaluative properties, even in non-actual worlds. When engaging with a fiction, we (to some extent) leave our be-liefs about what the world is like behind, while taking our emotional atti-tudes with us into the fiction. To substantiate this diagnosis, this paper outlines a sensibilist semantics for evaluative terms, based on recent discussion regarding predicates of personal taste, and explains how, together with standard assumptions about the nature of fictional discourse, it makes the relevant predictions with respect to engagement with fictions. (shrink)