I explain a mechanism I call “incorporation,” that I think is at work in a wide range of cases often put under the heading of “scare-quoting.” Incorporation is flagging some words in one’s own utterance to indicate that they are to be interpreted as if uttered by some other speaker in some other context, while supplying evidence to one’s interpreter enabling them to identify that other speaker and context. This mechanism gives us a way to use others’ vocabularies and (...) contexts, thereby extending our expressive capacities on the fly. -/- Explaining incorporation involves explaining intra-sentential shifts in lexicon and in context. Shifts of the former sort are familiar to linguists under the heading of “code-switching.” Shifts of the latter sort have been less explored; accordingly I explain how to modify Kaplan’s logic of demonstratives to allow for such shifts. -/- I compare the incorporation account of scare-quoting with accounts offered by Brandom, Recanati, Geurts and Maier, Benbaji, Predelli, and Shan. Finally I note a possible implication concerning the speech act of assertion: that you can properly assert a content you do not believe, let alone know, because part of it is expressed with words you do not understand. (shrink)

Quotation marks in natural language that do not function straightforwardly as devices for securing reference to linguistic objects have generally been categorized as instances of either mixed quotation or scare quotation. I argue that certain uses of quotation marks in natural language resist assimilation to either of these two theoretical categories, as well as to the more familiar categories of pure and direct quotation. It follows that we must recognize a novel type of (...) class='Hi'>quotation in natural language, which I call dummy quotation because it involves the contribution of semantically minimal `dummy meanings' to composition. I develop a semantic theory of dummy quotation and show that it is better able than rival proposals to account for the troublesome examples in question. (shrink)

Most writers working on simultaneous use and mention assume a distinction between mixed quotation and scare quoting. The consensus is that MQ affects truth-conditions. Hence, many writers regard MQ as a semantic phenomenon. There is no such consensus about ScQ. On the face of it, there is a clear difference between: Alice said that life “is difficult to understand”. Several ‘groupies' followed the band on their tour. The words quoted in are attributed to Alice, and would seem false (...) if Alice had not uttered them. No such intuition is available for. This induces Cappelen & Lepore, leading writers in the field, to regard as a blend of Direct and Indirect Discourse and to propose the following semantic analysis : there is an utterance u such that Alice said u and u samesays “Life is difficult to understand” and u sametokens “is difficult to understand”. As for, they regard the impact of the quotation in it as being entirely pragmatic. I show, however, that there is no principled distinction between MQ and ScQ. The main points are: speech attribution to Alice in is defeasible; there are cases of simultaneous use and mention without “say” which are semantically relevant ; there is apparent MQ with reporting verbs that pose a problem because they cannot govern Direct Speech reports. Hence, it is illegitimate to appeal to the sametokening predicate in logical form. These examples that ‘refuse' to fall neatly under MQ or ScQ seal the fate of Cappelen & Lepore's account. To conclude, I discuss Benbaji's fully semantic theory. Benbaji adopts Cappelen & Lepore's views on MQ. But he also proposes a semantic account of ScQ. One option for him is to give up the Cappelen & Lepore story and extend his views on ScQ to all instances of simultaneous use and mention. I show, however, that this too fails. Therefore, in the end, only a pragmatic account of simultaneous use and mention remains as a viable option. (shrink)

The main aim of this paper is that of providing a unified analysis for some interesting uses of quotation marks, including so-called scare quotes. The phenomena exemplified by the cases I discuss have remained relatively unexplored, notwithstanding a growing interest in the behavior of quotation marks. They are, however, of no lesser interest than other, more widely studied effectsachieved with the help of quotationmarks. In particular, as I argue in whatfollows, scare quotes and other similar instances (...) bear interesting relations with someimportant themes in the study of natural languages, such as questions regarding alleged devicesof conventional implicature, cases of so-called metalinguistic negation, and, moregenerally, problems pertaining to the distinction between semantic and pragmatic fieldsof inquiry.In Section 1, I begin with a description of some examples involvingthe uses of quotation marks I intend to discuss, and I hint at some desiderata fortheir analysis. In Section 2, I temporarily abandon quotation marks, and, inspired by therecent work of Stephen Neale and Kent Bach on alleged devices of conventional implicature,I present what I call the theory of message and attachment. In Sections 3 and 4,I return to my initial examples, I employ the theory of message and attachment in theiranalysis, and I discuss certain features regarding the behavior of negation in some related cases. (shrink)

The proposal of a semantics for quotations using explanatory notions drawn from philosophical theories of pictures. In Quotations as Pictures, Josef Stern develops a semantics for quotations using explanatory notions drawn from philosophical theories of pictures. He offers the first sustained analysis of the practice of quotation proper, as opposed to mentioning. Unlike other accounts that treat quotation as mentioning, Quotations as Pictures argues that the two practices have independent histories, that they behave differently semantically, that the inverted (...) commas employed in both mentioning and quotation are homonymous, that so-called mixed quotation is nothing but subsentential quotation, and that the major problem of quotation is to explain its dual reference or meaning—its ordinary meaning and its metalinguistic reference to the quoted phrase attributed to the quoted subject. Stern argues that the key to understanding quotation is the idea that quotations are pictures or have a pictorial character. As a phenomenon where linguistic competence meets a nonlinguistic symbolic ability, the pictorial, quotation is a combination of features drawn from the two different symbol systems of language and pictures, which explains the exceptional and sometimes idiosyncratic data about quotation. In light of this analysis of verbal quotation, in the last chapters Stern analyzes scare quotation as a nonliteral expressive use of the inverted commas and explores the possibility of quotation in pictures themselves. (shrink)

The utterance of any expression x ostends or makes manifest the customary referent of x, x itself, and related matter. If x appears in quotation marks then the presumed intention behind the utterance is to pick out something other than the customary referent (either instead of it or in addition to it). The consequences of these ideas, taken from my 1998 work, are here drawn out in application to a variety of quotations: metalinguistic citation, reported speech, scare-quoting, echo-quoting, (...) loan words, and titles. (shrink)

This paper develops the view presented in our 1997 paper "Varieties of Quotation". In the first part of the paper we show how phenomena such as scare-quotes, echoing and mimicry can be treated as what we call Speech Act Heuristics. We then defend a semantic account of mixed quotation. Along the way we discuss the role of indexicals in mixed quotation and the noncancelability of reference to words in mixed quotation. We also respond to some (...) objections raised by Recanati, Saka, Stainton and Reimer. (shrink)

I defend a semantic theory of quotation marks, according to which these are ambiguous, as they have several different acceptations involving corresponding different conventional indications. In particular, in allusion (“mixed”) uses, the corresponding conventional indication is one with an adverbial or prepositional content, roughly equivalent to “using the quoted expression or an appropriate version of it”. And in “scare” uses, the corresponding conventional indication is that the enclosed expression should be used not plainly but in some broadly speaking (...) distanced way, or that it is being so used by the utterer. I also defend this view against some alternative views on which allusion and distance indications are to be seen as pragmatically conveyed. In particular, I consider several views that attempt to explain especially allusion and distance indications as pragmatic suggestions generated from a meager conventional basis, and I argue that they cannot accommodate a number of linguistic phenomena and reflectively supported theses about the use of quotation marks. I lay special emphasis on the fact that the main pragmatic theories fail to pass an extremely plausible test for challenges to polysemic accounts of an expression. (shrink)

continent. 1.4 (2011): 230—233. A word about the quotation marks. People ask about them, in the beginning; in the process of giving themselves up to reading the poem, they become comfortable with them, without necessarily thinking precisely about why they’re there. But they’re there, mostly to measure the poem. The phrases they enclose are poetic feet. If I had simply left white spaces between the phrases, the phrases would be read too fast for my musical intention. The quotation (...) marks make the reader slow down and silently articulate—not slur over mentally—the phrases at the pace, and with the stresses, I intend. They also distance the narrative form myself. I am not Alette. Finally they may remind the reader that each phrase is a thing said by a voice: this is not a thought, or a record of thought process, this is a story, told.(1) We read (reread) the poems that keep the discourse with ourselves going. —Wallace Stevens We have to break open words or sentences, too, and find what’s uttered in them. —Gilles Deleuze “The Descent of Alette” “is an allegorical poem” “in four books” “first published” “in 1992” “by Alice Notley.” “In the Descent of Alette,” “the double quotation mark” “is wrapped around” “words, phrases, sometimes whole sentences, and utilized as bones for structure and tonality.” “The winged” “dbl quotation” “like angels or devils” “descending from elsewhere” “function as” “poetic feet.” “Distance” “in the text through the use of dbl quotes,” “according to Notley,” “was a way to distance” “her self” “from the narrative.” I know someone who tattooed double quotes on her shoulder blades. In other words, the body is quotable. To be able to say that one is quotable. A body filled with other’s sayings. I never asked her what for, what is the double quote tattoo for and why on the shoulder blades? I prefer my own interpretation that keeps shifting every time I see her. First words of every poem in every book: Book One One ... On ... A ... There ... I ... We ... An ... A ... A ... I ... At ... A ... When ... When ... There ... I ... In ... At ... I ... Once ... A ... A ... In ... A ... A ... Two ... I ... I ... Eyeball ... In ... I... A ... I ... I ... On ... I ... There ... What ... As ... As Book Two I ... When ... I ... I ... As ... I ... I ... There ... I ... There ... I ... A ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I Book Three The ... Presently ... I ... I’m ... I ... We ... What ... My ... I ... Who ... But ... Lay ... My ... I ... The ... Your ... The ... I ... It’s ... As ... The ... Talon’s ... When ... We ... I ... Slowly ... I ... I ... The ... How ... The Book Four I ... I ... You ... The ... Now ... She ... The ... There ... As ... Then ... The ... All ... Let’s I ... You ... The ... Thus ... The ... I ... The ... I ... There ... Have ... The ... As ... The Defamiliar Object “Poetry is a defamiliarized language, whose formations, so far from being simply formations of meaning, are aesthetic structures...”(2) “The same can be” “irresponsibly associated” “with the use of punctuation.” “The dbl quotation as a measure” “of poetic feet” “is treated as such” “because the author” “injects artfulness into it.” “The dbl quote is an object—” “a joystick” “to control breadth” “(of breath.)” “To de-familiarize” “said sign” “is also to” “impart the sensation of [it] as [it is] perceived and not as they are known.”(3) “The dbl quote” “nests previous words, phrasings and sayings.” “How many have come and gone” “through the doorway of this punctuation sign.” “There are also air quotes and virtual quotes.” “There is emphasis and there’s irony.” “It would be aggravating” “or interesting” “to watch a reading of” “The Descent of Alette” “with someone” “raising and curling” “fingers” “bent out of shape” “in what could be used as” “peace signs.” “I am trying to avoid” “scare quotes.” “I looked up” “what they are” “and supposedly they arose” “in the early 20th century.” “The scare quote” “is a mark around a word or phrase to indicate that it doesn’t signify conventional or literal meaning.” “This isn’t how Notley” “intended to use them” “in The Descent of Alette.” “The characters, places, and things” “signify nothing” “beyond” “their literal meaning” “ within the allegory .” “I’d like to stress” “within the allegory;” “that’s why its” “italicized.” “It is told through” “the main character/voice of” “Alette.” “The author reminds us she is not Alette.” “The author marvelously found a way” “to distance” “her self” “from the narrative.” “This was attempted” “by tonal and intimate” “affect of the dbl quote” “used as poetic feet.” “Its as though” “punctuation in this regard” “becomes a magical toy.” “Arguably, punctuation” “(as perceived)” “undergoes a kind of” “ defamiliar ” “make-over.” “The text” gently forces the reader” “to slow down,” “read slowly.” “At some point” “one begins to sense” “lines of text” “moving on its own.” “Broken words, phrases, and sentences” “shuttling left to right” “like a subway” “that stops” “from station to station;” “open quote to end quote.” Double Quote Occupied “There are two worlds; one above ground” “and one underground.” “The world above ground is where,” “the tyrant” “with a capital t” “lives.” “(The “T” gets tangled in the claws of the dbl quote.)” “Alette becomes an owl and kills him.” “In the last book the tyrant dies.” “ “...the tyrant” “a man in charge of” “the fact” “that we were” “below the ground” “endlessly riding” “our trains, never surfacing” “A man who” “would make you pay” “so much” “to leave the subway” “that you don’t” “ever ask” “how much it is” “It is, in effect,” “all of you & more” “Most of which you already” “pay to live below” “But he would literally” “take your soul” “Which is what you are” “below the ground” “Your soul” “your soul rides” “this subway” “I saw” “on the subway a” “world of souls” ”(4) “New York;” “the city of cities” “and its subways—” “worlds underground,” “above ground,” “& above the above ground.” “Skyscrapers,” “Wall Street,” “old money,” “new money,” “and falling further down a cleavage;” “the middle class” “slipping away.” “Contemporary artist ” “Ligorano Reece” “recently made” “a sculpture of ice ” “a block of ice” “carved to read” “middle class” “(in all upper case letters)” “and let it melt” “naturally” “for however long—” “hours,” “days.” “It didn’t take very long to melt.” A global uprise of mass demonstrations; a cacophony of bodies on the street, in parks and universities, on City Hall lawns, coastal ports, neighborhoods, etc., and for what? The reasons are endless and finite. Not a single body is unaffected by the movement even when not “occupying.” “Occupiers” “stormed into a Sotheby’s auction” “protesting” “via human microphone” “that the CEO takes home” “about” “six thousand dollars” “a day.” “(The a/Art market” “is not a reflection” “of a desire” “for a/Art” “but a reflection” “of a desire” “for money” “confused with a/Art.)” What could it mean to occupy that which has been written or said? Someone with double quotes tattooed on both shoulders attempts to reclaim the sign; re-invent it privately-publicly since the body is always split between both spheres. A genre of hide-and-seek; the speaking and silent body which can never mean what it says even while it so desires to mean something. To nest (and hold hostage) someone in double quotes is an act of violence; a gesture of displacement where one is arrested, dislocated, and scrutinized under a distant gaze. “The air quote” “also known as” “finger quote or ersatz quote” “supposedly” “harks back to” “1927.” “The brevity of this gesture” “ as something invisible” “like virtual money or credit” “doesn’t really exist” “though it take up space;” “its the ghostliest of all punctuation signs” “and one that requires the presence and appearance of a body.” “ “she made a form” “in her mind” “an imaginary” “form” “to settle” “in her arms where” “the baby” “had been” “We saw her fiery arms” “cradle air” “She cradled air...” ”(5) “The air” “gets occupied” “by one or two hands” “with thumb, forefinger, and middle finger” “which alternately could be used” “to shoot rubber bullets,” “pepper spray,” “tear gas.” “How three fingers” “could be responsible for so much:” “satire, sarcasm, irony” “and ultimately” “bruises, blood, death.” (“The violence of the dbl quote is to eagerly to place oneself inside a tornado.)” “The violence of this” “embodied punctuation mark” “stems from a discordance with others.” “Is the name, word, or phrase” “placed in dbl quotes” “heroic” “ or brave?” “An act of displacement;” “must there always be” “bright or negative lights—” “a leaderless act” “to inhabit, to occupy” “space removed” “from normative use.” “Of course” “I’m also wondering” “what it means to re-occupy” “public/private space—the street, neighborhood or page” “policed” “by laws, limits, and” “to some extent” “punctuation.” Echo, Mirror “There are first, second, and third voices interwoven.” “ “Braid of voices,”(6) ” “Some lines read as internal thoughts,” “dialogues,” “and scene descriptions,” “all of which make up the allegory.” “It seems appropriate” “for the word” “allegory” “to nest in dbl quotes” “for perhaps it might be” “a gesture to echo on and on” “eternally referencing” “whatever came before.” I notice the first tooth of the double quote, when paying too close attention, gets caught in the hook of the “f”. I space bar to untangle them; the f does not resist the closed bite of “deaf” and I resist to know what it could mean, because it could doubly mean nothing. “ “He looked” “so familiar” “to me...”(7) ” “The second-person” “echoes in one of two directions:” “further into” “or farther from” “me.” “Its as though” “the second-person amplifies” “or else the opposite” “in which he,” “who looks so familiar,” “retreats further” “like stars in a telescope.” “The dbl quote” “has this kind of affect” “concerning distance and dimension” “as also illusory” “as something twice removed” “and unreal” “in a similar way” “movie stars are unreal and far away.” “ “I entered” “a car” “in which I seemed” “to see double” “Each person I” “looked at seemed” “spread out” “as if doubled” “Gradually” “I perceived that” “each person” “was surrounded by a ghostly” “second image” “was encased in it” “& each” / “of those images,” “those encasings,” “was exactly the same” “each was in fact” “the tyrant...” ”(8) A daydream of a mirror-less world while staring through window blinds; a palm tree behind. It was dark with nothing there. A world with no mirrors “in my mind,” though my mind could only reflect what it knew: a palm tree. Naturally then, palm trees multiplied; a world of palm trees reflected the daydream with no mirror in sight. “The mirror” “(prior to obsidian manufacturing ca. 6000 B.C)” “was wherever water” “could be found.” “Its interesting” “mirrors have been around” “before humans—its funny” “animals and humans” “get born into” “a world of mirrors,” “therefore, simulation” “is always already” “a given—” “a sparkly consequence to be born with a dbl.” NOTES 1. Notley, Alice. “Author’s Note” in The Descent of Alette (New York, 1996) 2. Bruns, Gerald L. “ From Intransitive Speech to the Universe of Discourse” in Modern Poetry And The Idea of Language (New Haven & London, 1974), p.75 3. Ibid. p.77 4. Notley, Alice. The Descent of Alette (New York, 1996). p.3 5. Ibid. p.10 6. Ibid i. p.9 7. Ibid ii. p.16 8. Ibid iii. p.12. (shrink)

Cinema no abrigo: encontros, gestos e acontecimento Resumo: Este texto é fruto de reflexões sobre nossa vivência com o Projeto de Extensão “Educação, Cinema, Outros Territórios” no Lar de Idosos ‘Abrigo Tiradentes’, em Minas Gerais. Um objetivo específico do Projeto é realizar sessões de cinema junto aos idosos em diferentes territórios. A metodologia e a avaliação das ações são compreendidas como um gesto de acompanhamento do Programa de Extensão, amparado na investigação cartográfica, prática metodológica pertinente para o acompanhamento de processos (...) em curso e a produção de subjetividades. As questões que nos colocamos para esta reflexão são: o que pode o cinema num Abrigo de Idosos? Quais conexões poderíamos arquitetar entre cinema, linguagem e acontecimento? O que essas pessoas experimentam com os filmes? O que poderíamos exercitar, a partir do conceito de acontecimento, no pensamento? Buscamos, por meio deste ensaio, um exercício de pensar “acontecimentos” no nosso encontro com os moradores e com os filmes durante as sessões de cinema no Lar de Idosos – Abrigo Tiradentes. Palavras-chave: Acontecimento; Cinema; Idoso. Cinema in the shelter: meetings, gestures and events Abstract: This text is the result of reflections on our experience with the “Education, Cinema, Other Territories” Extension Project at the Lar de Idosos Abrigo Tiradentes, in Minas Gerais. A specific objective of the Project is to hold cinema sessions with the elderly in different territories. The methodology and the evaluation of the actions are understood as a gesture of monitoring the Extension Program, supported by cartographic research, methodological practice relevant to the monitoring of ongoing processes and the production of subjectivities. The questions we ask ourselves for this reflection are: what can cinema do in a Shelter for the Elderly? What connections could we make between cinema, language and event? What do these people experience with films? What could we exercise, based on the concept of event, in thought? Through this essay, we seek an exercise in thinking about “events” in our meeting with the residents and with the films during the cinema sessions at Lar de Idosos – Abrigo Tiradentes. Key-words: Event; Cinema; Elderly. Cine en el retiro: encuentros, gestos y acontecimientos Resumen: Este texto es el resultado de reflexiones sobre nuestra experiencia con el Proyecto de Extensión “Educación, Cine, Otros Territorios” en el Lar de Idosos Abrigo Tiradentes, en Minas Gerais. Un objetivo específico del Proyecto es realizar sesiones de cine con personas mayores en diferentes territorios. La metodología y la evaluación de las acciones se entienden como un gesto de seguimiento del Programa de Extensión, con el apoyo de la investigación cartográfica, la práctica metodológica relevante para el seguimiento de los procesos en curso y la producción de subjetividades. Las preguntas que nos hacemos para esta reflexión son: ¿qué puede hacer el cine en un refugio para ancianos? ¿Qué conexiones podríamos hacer entre cine, idioma y evento? ¿Qué experimentan estas personas con las películas? ¿Qué podríamos ejercer, basado en el concepto de evento, en el pensamiento? A través de este ensayo, buscamos un ejercicio para pensar acerca de los "eventos" en nuestra reunión con los residentes y con las películas durante las sesiones de cine en Lar de Idosos – Abrigo Tiradentes. Palabras-claves: Acontecimentos; Cine; Ancianos. Data de registro: 19/03/2020 Data de aceite: 28/08/2020. (shrink)

“Inventing AIDS.” “Constructing cancers.” Relax; no bioterrorist mischief is implied. Like “Construction of nature,” “Social construction of illness,” “Social construction of scientific facts,” and many others, these are titles of scholarly books and projects in science, technology, and medicine studies. They express a fashion shared by doctrines loosely known under the rubric of postmodernism. It is recognizable by the frequent scare quotation marks around words such as truth, reality, scientific, and objectivity. The scare quotes convey the message (...) that scientific knowledge is so permeated by politics and cultural biases that it cannot be true and any claim to objectivity is illusory. (shrink)

“Closure occurs in science when a consensus emerges that the ‘truth’ has been winnowed from the various interpretations.”[1] More than once in library books I saw “sic” scribbled in the margin pointing to the scare quotation marks in this and similar texts. If the readers read on, they would discover that scare quotes around scientific truth, fact, reality, nature, technological progress, and similar terms are fashionable in postmodern literature and are spreading beyond it. Scientific results are “true.” (...) Scientists arrive at the “fact.” What do the scare quotes mean? What are their effects? (shrink)

James's most original and important contribution was his moralizing of epistemology, in particular belief-acceptance and truth. We are always to believe in a way that maximizes desire-satisfaction, with a proposition counting as true when a belief in it maximizes desire-satisfaction. The theory of truth that falls out of James's pragmatic theory of meaning must be downgraded to a theory of when a proposition is epistemology warranted, thus the reason for the scare-quotation marks around "Truth" in the title of (...) the paper. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 31.1 (2007) 189-196MuseSearchJournalsThis JournalContents[Access article in PDF]Fiction and Theory of Mind: An ExchangeLisa Zunshine University of KentuckyBrian Boyd's review of my new book, Why We Read Fiction: Theory of Mind and the Novel (Ohio State University Press, 2006) engages a large variety of issues.1 I would like to address an important question about the integration of scientific methodology with literary analysis suggested by Boyd's discussion.2 As (...) I argue below, two different perspectives of this integration may mark two different—indeed, incompatible—ways of formulating the disciplinary goals and philosophy of the new field of cognitive literary theory.Why We Read Fiction makes a case for admitting the recent findings of cognitive psychologists into literary studies by showing how their research into the ability to explain behavior in terms of the underlying states of mind can furnish us with a series of surprising insights into our interaction with literary texts. Using as my case studies novels ranging from Richardson's Clarissa, Dostoyevsky's Crime and Punishment, and Austen's Pride and Prejudice to Woolf's Mrs. Dalloway, Nabokov's Lolita, and Hammett's The Maltese Falcon, I advance and explore a series of hypotheses about cognitive cravings that are satisfied—and created!—when we read fiction.Although my study draws on the already well-established as well as forthcoming work of numerous cognitive scientists (including Simon Baron-Cohen, Clark H. Barrett, Richard Byrne and Andrew Whiten, Leda Cosmides and John Tooby, Christopher Frith, Uta Frith, Paul Bloom, Susan Carey and Elizabeth Spelke, Peter Carruthers, Andy Clark, Antonio Damasio, Daniel Dennett, Alison Gopnik, Francesca Happe, Paul [End Page 189] Harris, Lawrence Hirschfeld, Stanley Klein, Alan Leslie, Andrew Meltzoff, Robert Mitchell, Keith Oatley, Gloria Origgi, Oliver Sacks, Dan Sperber, James Stiller, and Endel Tulving), it makes a point of being accessible to non-specialist readers. Cognitive science can be incredibly complicated and so can literary criticism, but I wanted to write a book on cognitive literary theory that does not scare anybody away with unnecessary jargon, knotty sentences, and overlong quotations. (Ironically, I must have succeeded too well in making my book reader-friendly and tucking my references in the endnotes since Boyd observes that I rely on only "a few findings" of cognitive scientists in my discussion.)The book consists of three parts. The first part, "Attributing Minds," introduces the first key theoretical concept of this book: mind-reading, also known as Theory of Mind. Drawing on the work of Simon Baron-Cohen (Mindblindness: An Essay on Autism and Theory of Mind), I suggest that fiction engages, teases, and pushes to its tentative limits our mind-reading capacity. Building on the recent research of Robin Dunbar and his colleagues, I then consider one particular aspect of Woolf's prose as an example of spectacular literary experimentation with our Theory of Mind. Finally, I turn to Steven Pinker's controversial analysis of Woolf in The Blank Slate to discuss the possibilities of a more profitable dialogue between cognitive science and literary studies.Of particular importance to this part of my argument is my belief that fictional narratives endlessly experiment with rather than automatically execute our evolved cognitive adaptations. When cognitive scientists succeed in isolating a certain regularity of our information-processing—for example, a constraint on the number of mutually reflecting minds that we can process with ease—we can take that constraint and see how it plays itself out in a fictional narrative. What we discover is that where there is a cognitive constraint, there is a "guarantee" of sorts that writers will intuitively experiment in the direction of challenging that constraint, probing and poking it and getting around it. The exact forms of such probing and poking will depend on specific cultural circumstances, including the mind-reading profiles of individual writers and their readers. The cognitive "limits" thus present us with creative openings rather than with a promise of stagnation and endless replication of established forms. This realization marks the possibility of a genuine interaction between cognitive psychology and... (shrink)

In the very last section of his 2001 interview with Elisabeth Roudinesco titled “In Praise of Psychoanalysis,” Jacques Derrida assumes the mantle of “friend of psychoanalysis.” This expression refers back, most immediately, to Roudinesco's allusion to Sandor Ferenczi's “beautiful idea” of founding a Society of Friends of Psychoanalysis that would bring together writers, artists, philosophers, and jurists interested in psychoanalysis. If Derrida modifies and transforms Roudinesco's expression, if he does not refer back to the plural phrase she has used, it (...) is because he is inflecting the phrase otherwise (he is not simply mentioning it, he is also altering it). In other words, the quotation marks around the phrase “friend of psychoanalysis” are what are called in English “scare quotes.”. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Making the "One" ImpossibleJane Gallop (bio)The last paragraph of the first chapter of Mother Tongues presents the book's argument. "What I hope to argue in this book," writes Johnson, "is that the plurality of languages and the plurality of sexes are alike in that they both make the 'one' impossible" [25]. While I am not convinced that Mother Tongues actually demonstrates the similarity between the plurality of languages and (...) the plurality of sexes, my reading nonetheless does find its thesis in this sentence. I would say that Johnson's project in this book is to "make the 'one' impossible," that throughout this book, Johnson continually and consistently argues against the "appeal" of "the 'one'"—repeatedly locates herself in, and exhorts us to join her in, resistance to the powerful seductions of "the 'one.'"In the sentence I just quoted, the word "one" is in quotation marks because the word is not quite the proper name for what Johnson is talking about. When I use the phrase "the 'one'" here, as I do in my title ("Making the 'One' Impossible"), and as I will do throughout this paper, the word "one" will always be in quotation marks, scare quotes.In Mother Tongues, "the 'one'" goes by a number of different names. In the last paragraph of the first chapter, for example, where we found our thesis, it is called "universality." Under that guise, we might recognize the politics of this resistance to "the 'one'" (a politics we are, at this point in critical history, all more than ready to climb on board for). Johnson's resistance to "the 'one'" in Mother Tongues, however, usually appears—I'm happy to say—in other, less politic, more perverse guises.The most widespread elaboration of Mother Tongues's resistance to "the 'one'" is through its active interest in the practice of translation. The theory and practice of translation elaborated in this book is one I'd like to call insubordinate translation. At a number of places, Johnson looks at multiple translations of a text along with the original, not in order to determine which is closer to the original, but in order to enlarge the network of meaning. At times, Johnson productively follows meanings which appear in a translation but are not in the original.The first time this occurs is in the first chapter, in a section entitled "Translation." Johnson is looking at two different English translations of Kafka's The Trial: an "old translation" she "happened to have on hand" and "a more recent edition" in which the old translation "had been revised." Studying the first sentence of the novel in the original and the two translations, Johnson seizes on the word traduce, which she finds in the old translation but not the revision and proclaims: "The translation... is thus even better than the original" [16, emphasis added].The next chapter of Mother Tongues gives us a sense of where, theoretically, this insubordination comes from: "the theory that transformed literary studies utterly transformed the practice of translation. Translating Derrida or Lacan became an art in itself" [32]. "An art in itself" suggests a primary creation, not secondary. (We would certainly want to recall here that Johnson herself translated Derrida's Dissemination). [End Page 77]In the third chapter, "The Task of the Translator," we find Johnson comparing an English translation of Benjamin's "The Task of the Translator" to the German original. At one point she ponders the associations of "light" in the word lightly, which is translating the German fluchtig, associations that are not in the original. She concludes: "We have no way of talking about these creations ex nihilo of translation" [57]. Like the earlier "an art in itself," the phrase "creations ex nihilo" again makes translation a primary rather than secondary art. We may have "no way of talking about" these creations, but Mother Tongues does talk about them, regularly, throughout the book.The fifth chapter opens with an epigraph from a letter Benjamin wrote to Horkheimer, or rather an English translation of that letter. The conclusion to the first section of the chapter returns to the word apprehend, which appears in this epigraph: "the psychological... (shrink)

This paper employs Critical Discourse Analysis to examine resistance discourses as created by the Ahmadiyya followers – a self-defined sect of Islam – to argue against negative discourses undermining them in Indonesia. In some legal proclamations and statements delivered by state officials and the representatives of majority Muslims in the country, the followers of the sect, especially those affiliated to the JAI (Jemaat Ahmadiyya Indonesia) are excluded from Islamic community. By using Van Dijk’s ideological square, this study aims at identifying (...) resistance discourses created by the JAI followers as the defence strategies to oppose negative discourses presenting them as the non-believers of Islam. The resistance discourses are apparent in both written and spoken texts, such as books, articles, speeches, and public debates created by the sect. The finding reveals that the JAI followers create discourses of victim, defender of Islam, imperialism, illegitimacy, and discourse of public deception using various discourse strategies namely victimization, scare tactics, positive attribution, quotation, power delegitimising and negative portraits of misbehaving. (shrink)

When did historians begin to put quotation marks around the wordreal? There are many examples of this habit and some of them will be set forth as evidence in what follows. But before doing so we might ask a preliminary question: What are the quotation marksthemselvessupposed to mean? Today we find them so familiar they hardly need to be written and they are more frequently consigned to the everyday repertoire of silent gesture: two fingers on either hand clutch (...) at the air as if they meant to tickle the flanks of the invisible beast between them. The popular term is “scare-quotes,” a pun on the word “scarecrow.” Its etymology is revealing: just as a mere representation of a body in a field may scare off birds, so too scare-quotes permit someone to deploy a word without sincere commitment to what it normally means. But further reflection tells us that the effects are not so similar after all: To use a term without sincerity robs it of its original meaning and holds up its lifeless corpse to ridicule. The more knowing sort of crow can settle on the shoulder of the figure on the pole precisely because it recognizes that such a sorry excuse for a man can in fact harm no one. Similarly when one putsrealityin quotation marks we are put in mind of the living concept but we are immediately alerted to the fact that, for the user at least, the new term enjoys no metaphysical prestige. How did this happen? When and why did the single most privileged word in the entire lexicon of metaphysics begin to lose its authority such that in certain spheres of intellectual sophistication its sincere use would only seem an embarrassment and a sign of naïveté? (shrink)

When did historians begin to put quotation marks around the wordreal? There are many examples of this habit and some of them will be set forth as evidence in what follows. But before doing so we might ask a preliminary question: What are the quotation marksthemselvessupposed to mean? Today we find them so familiar they hardly need to be written and they are more frequently consigned to the everyday repertoire of silent gesture: two fingers on either hand clutch (...) at the air as if they meant to tickle the flanks of the invisible beast between them. The popular term is “scare-quotes,” a pun on the word “scarecrow.” Its etymology is revealing: just as a mere representation of a body in a field may scare off birds, so too scare-quotes permit someone to deploy a word without sincere commitment to what it normally means. But further reflection tells us that the effects are not so similar after all: To use a term without sincerity robs it of its original meaning and holds up its lifeless corpse to ridicule. The more knowing sort of crow can settle on the shoulder of the figure on the pole precisely because it recognizes that such a sorry excuse for a man can in fact harm no one. Similarly when one putsrealityin quotation marks we are put in mind of the living concept but we are immediately alerted to the fact that, for the user at least, the new term enjoys no metaphysical prestige. How did this happen? When and why did the single most privileged word in the entire lexicon of metaphysics begin to lose its authority such that in certain spheres of intellectual sophistication its sincere use would only seem an embarrassment and a sign of naïveté? (shrink)

Scare Tactics, the first book on the subject, provides a theory of the structure of reasoning used in fear and threat appeal argumentation. Such arguments come under the heading of the argumentum ad baculum, the `argument to the stick/club', traditionally treated as a fallacy in the logic textbooks. The new dialectical theory is based on case studies of many interesting examples of the use of these arguments in advertising, public relations, politics, international negotiations, and everyday argumentation on all kinds (...) of subjects. Many of these arguments are amusing, once you see the clever tactic used; others are scary. Some of the arguments appear to be quite reasonable, while others are highly suspicious, or even outrageously fraudulent. In addition to the examples taken from logic textbooks, other cases treated come from a variety of sources, including political debates, legal arguments, and arguments from media sources, like magazine articles and television ads. The purpose of this book is to explain how such arguments work as devices of persuasion, and to develop a method for analyzing and evaluating their reasonable and fallacious uses in particular cases. The book shows how such arguments share a common structure, revealing several distinctive forms of argument nested within each other. Based on its account of this cognitive structure, the new dialectical theory presents methods for identifying, analyzing, and evaluating these arguments, as they are used in specific cases. The book is a scholarly contribution to argumentation theory. It is written in an accessible style, and uses many colorful and provocative examples of fear and threat appeal arguments that are suitable for classroom discussions. The matters treated will be of interest to professionals and students in law, critical thinking, advertising, speech communication, informal logic, cognitive science, rhetoric, and media studies. (shrink)

Quotation exhibits characteristics of both use and mention. I argue against the recently popular pragmatic reductions of quotation to mere language use (Recanati 2001), and in favor of a truly hybrid account synthesizing and extending Potts (2007) and Geurts and Maier (2005), using a mention logic and a dynamic semantics with presupposition to establish a context-driven meaning shift. The main advantages are an account of error neutralization and shifted indexicality under quotation. The current paper addresses the problematic (...) data involving quoted non-constituents. (shrink)

Every theory of pure quotation embraces in some form or another the intuitively obvious thesis that pure quotations refer to their quoted expressions. However, they all remain vague about the nature of these latter. This paper proposes to take seriously the fact that quoted items are semantic, not syntactic objects, and to develop therefrom a semantics for pure quotation that retains the basic intuitions and at the same time circumvents standard problems.

Sometimes form-meaning mappings in language are not arbitrary, but iconic: they depict what they represent. Incorporating iconic elements of language into a compositional semantics faces a number of challenges in formal frameworks as evidenced by the lengthy literature in linguistics and philosophy on quotation/direct speech, which iconically portrays the words of another in the form that they were used. This paper compares the well-studied type of iconicity found with verbs of quotation with another form of iconicity common in (...) sign languages: classifier predicates. I argue that these two types of verbal iconicity can, and should, incorporate their iconic elements in the same way using event modification via the notion of a context dependent demonstration. This unified formal account of quotation and classifier predicates predicts that a language might use the same strategy for conveying both, and I argue that this is the case with role shift in American Sign Language. Role shift is used to report others’ language and thoughts as well as their actions, and recently has been argued to provide evidence in favor of Kaplanian “monstrous” indexical expressions. By reimagining role shift as involving either quotation for language demonstrations or “body classifier” predicates for action demonstrations, the proposed account eliminates one major argument for these monsters coming from sign languages. Throughout this paper, sign languages provide a fruitful perspective for studying quotation and other forms of iconicity in natural language due to their lack of a commonly used writing system which is otherwise often mistaken as primary data instead of speech, the rich existing literature on iconicity within sign language linguistics, and the ability of role shift to overtly mark the scope of a language report. In this view, written language is merely a special case of a more general phenomenon of sign and speech demonstration, which accounts more accurately for natural language data by permitting more strict or loose verbatim interpretations of demonstrations through the context dependent pragmatics. (shrink)

In this article we examined Ben-Gurion’s scare rhetoric reflected in the antithesis relation as a device used to bolster the fighting and pioneering spirit of the Jewish people. We tried to show how Ben-Gurion strove to skew and manipulate the political discourse in order to raise the soldiers’ fighting morale, promote ideological positions on Zionist pioneering, and the Jewish people’s psychological fortitude, and, thus amplify its fighting spirit based on the belief that it would be the soldiers’ fighting spirit (...) and faith in the justness of the war that would ultimately determine the outcome. (shrink)

Some emotional representations seem to be unreliable. For instance, we are often afraid when there is no danger present. If emotions such as fear are so unreliable, what function do they have in our representational system? This is a problem for representationalist theories of emotion. I will argue that seemingly unreliable emotional representations are reliable after all. While many mental states strike an optimal balance between minimizing inaccurate representations and maximizing accurate representations, some emotional representations only aim at maximizing accuracy. (...) They detect important phenomena such as danger based on little evidence, which will lead to a lot of false alarms. When it matters, however, these emotional representations will detect danger and other important phenomena. Often, one is better scared (and wrong) than sorry. (shrink)

Starting from the familiar observation that no straightforward treatment of pure quotation can be compositional in the standard (homomorphism) sense, we introduce general compositionality, which can be described as compositionality that takes linguistic context into account. A formal notion of linguistic context type is developed, allowing the context type of a complex expression to be distinct from those of its constituents. We formulate natural conditions under which an ordinary meaning assignment can be non-trivially extended to one that is sensitive (...) to context types and satisfies general compositionality. As our main example we work out a Fregean treatment of pure quotation, but we also indicate that the method applies to other kinds of context, e.g. intensional contexts. (shrink)

The term 'covert mixed quotation' describes cases in which linguistic material is interpreted in the manner of mixed quotation — that is, used in addition to being mentioned — despite the superficial absence of any commonly recognized conventional devices indicating quotation. After developing a novel theory of mixed quotation, I show that positing covert mixed quotation allows us to give simple and unified treatments of a number of puzzling semantic phenomena, including the projective behavior of (...) conventional implicature items embedded in indirect speech reports and propositional attitude ascriptions, so-called 'c-monsters,' metalinguistic negation, metalinguistic negotiation, and 'in a sense' constructions. (shrink)

The study of threat and fear appeal arguments has given rise to a sizeable literature. Even within a public health context, much is now known about how these arguments work to gain the public’s compliance with health recommendations. Notwithstanding this level of interest in, and examination of, these arguments, there is one aspect of these arguments that still remains unexplored. That aspect concerns the heuristic function of these arguments within our thinking about public health problems. Specifically, it is argued that (...) threat and fear appeal arguments serve as valuable shortcuts in our reasoning, particularly when that reasoning is subject to biases that are likely to diminish the effectiveness of public health messages. To this extent, they are rationally warranted argument forms rather than fallacies, as has been their dominant characterization in logic. (shrink)

BackgroundAll hospital trusts in Norway have clinical ethics committees. Some of them invite next of kin/patients to be present during the discussion of their case. This study looks closer at how parents of seriously ill children have experienced being involved in CEC discussions.MethodsTen next of kin of six seriously ill children were interviewed. Their cases were discussed in two CECs between April of 2011 and March of 2014. The main ethical dilemma was limitation of life-prolonging treatment. Health care personnel who (...) could elucidate the case were also present in the discussion. The interviewer observed each discussion and then interviewed the next of kin shortly after the meeting, following a structured interview guide.ResultsAll next of kin emphasized that it had been important for them to be present. They stressed the important role of the CEC chair and appreciated that their case was discussed in a systematic way. Some next of kin appreciated that the child’s impending death was discussed openly, and believed that this would facilitate their future grieving. Having had an opportunity to hear all the arguments behind the decision to be made would probably help them to accept the road ahead.All of them felt that they were taken seriously and listened to. They felt that they had added vital information to the discussion. All but one couple did not want any decision-making responsibility, some of them even worried that they might have influenced the discussion too much.ConclusionsNone of the next of kin felt that being present during the CEC discussion had been too heavy a burden. On the contrary, they claimed that their presence in a CEC discussion may add vital information to the discussion and may improve the quality of the decision. It is important that the CEC’s role is explained to them so they are well prepared for what to expect. They need to be followed up after the discussion. (shrink)

It appears that in mixed quotations like the following, the quoted expression is used and mentioned at the same time: (1) George says Tony is his ``bestest friend''. Most theories seek to account for this observation by assuming that mixed quotations operate at two levels of content at once. In contradistinction to such two-dimensional theories, we propose that quotation involves just a single level of content. Quotation always produces a change in meaning of the quoted expression, and if (...) the quotation is mixed the shift is, to a first approximation at least, from '...' to ``what x calls '...''', where x is a variable whose value is determined by the context. We argue that quotation is generally context dependent in various ways, and that some of these ways are presuppositional in nature; we present a detailed analysis of the presuppositions in question. (shrink)

In a novel move against Russellianism, Heck (2014) has argued that reports of the form S believes that p are semantically opaque on the grounds that there are no other means in English to report psychologically individuated beliefs, such as those Lois Lane reports using the names ‘Superman’ and ‘Clark Kent.’ I show that there are several other ways to meet this need. I focus on quotational reports of the form S believes “p,” which philosophers have overlooked or mischaracterized. I (...) argue that reports of this form are no more metalinguistic than those using the complementizer that. In both, the meaning of the report depends on the meaning, not the form, of the complement. Some distinguishing features of non-metalinguistic quotational reports are that their complements force “deictic shift” and have no transparent interpretation. Free direct speech and thought bubbles have the same properties. The “q-ascriptions” McCullagh (2017a) proposed to defend Russellianism against Heck are not in common use and on his account are unsuitably metalinguistic. The fact that quotational belief reports are opaque without being metalinguistic makes the Russellian thesis that the meaning of a name is its referent untenable, thereby undermining Russellianism about belief reports. (shrink)

A common framing has it that any adequate treatment of quotation has to abandon one of the following three principles: (i) The quoted expression is a syntactic constituent of the quote phrase; (ii) If two expressions are derived by applying the same syntactic rule to a sequence of synonymous expressions, then they are synonymous; (iii) The language contains synonymous but distinct expressions. In the following, a formal syntax and semantics will be provided for a quotational language which adheres to (...) all three principles. The point here is not merely to provide a “possibility proof”, but to reveal the hard constraints on the theory of quotation, and to highlight certain assumptions at the syntax/semantics/post-semantics interfaces. (shrink)

Scare Quotes from Shakespeare argues that moments of allusion to the supernatural in Shakespeare are occasions where Karl Marx and John Maynard Keynes register the perseverance of haunted structures in modern culture. This 'reenchantment', at the heart of modernity and of literary and political works central to our understanding of modernity, is the focus of this book. The author shows that allusion to supernatural moments in Shakespeare ('scare quotes') allows writers to both acknowledge and distance themselves from the (...) supernatural phenomena that challenge their disenchanted understanding of the social world. He also uses these modern appropriations of Shakespeare as provocations to re-read some of his works, notably Hamlet and Macbeth. (shrink)

Pure quotation, as in ‘cat’ has three letters, is a linguistic device designed for referring to linguistic expressions. I present a uniform recon struction of the four classic philosophical accounts of the phenomenon: the proper name theory, the description theory, the demonstrative theory, and the disquotational theory. I evaluate the strengths and weaknesses of each proposal with respect to fundamental semantic properties like compositionality, productivity, and recursivity.

Some emotional representations seem to be unreliable. For instance, we are often afraid when there is no danger present. If emotions such as fear are so unreliable, what function do they have in our representational system? This is a problem for representationalist theories of emotion. I will argue that seemingly unreliable emotional representations are reliable after all. While many mental states strike an optimal balance between minimizing inaccurate representations and maximizing accurate representations, some emotional representations only aim at maximizing accuracy. (...) They detect important phenomena such as danger based on little evidence, which will lead to a lot of false alarms. When it matters, however, these emotional representations will detect danger and other important phenomena. Often, one is better scared (and wrong) than sorry. (shrink)

Starting with Frege, the semantics (and pragmatics) of quotation has received a steady flow of attention over the last one hundred years. It has not, however, been subject to the same kind of intense debate and scrutiny as, for example, both the semantics of definite descriptions and propositional attitude verbs. Many philosophers probably share Davidson's experience: ‘When I was initiated into the mysteries of logic and semantics, quotation was usually introduced as a somewhat shady device, and the introduction (...) was accompanied by a stern sermon on the sin of confusing the use and mention of expressions’ (Davidson 1979, p. 79). Those who leave it at that, however, miss out on one of the most difficult and interesting topics in the philosophy of language. (shrink)

I argue that free indirect discourse should be analyzed as a species of direct discourse rather than indirect discourse. More specifically, I argue against the emerging consensus among semanticists, who analyze it in terms of context shifting. Instead, I apply the semantic mechanisms of mixed quotation and unquotation to offer an alternative analysis where free indirect discourse is essentially a quotation of an utterance or thought, but with unquoted tenses and pronouns.

Due to their reliance on constitutive higher-order representing to generate the qualities of which the subject is consciously aware, I argue that the major existing higher-order representational theories of consciousness insulate us from our first-order sensory states. In fact on these views we are never properly conscious of our sensory states at all. In their place I offer a new higher-order theory of consciousness, with a view to making us suitably intimate with our sensory states in experience. This theory relies (...) on the idea of ‘quoting’ sensory qualities, so is dubbed the ‘quotational higher-order thought theory’. I argue that it can capture something of the idea that we are ‘acquainted’ with our conscious states without slipping beyond the pale for naturalists, whilst also providing satisfying treatments of traditional problems for higher-order theories concerning representational mismatch. The theory achieves this by abandoning a representational mechanism for mental intentionality, in favour of one based on ‘embedding’. (shrink)

My general aim in commenting on Băltuță’s paper is to elucidate the metaphor of a dialogue she uses to characterize the general, methodological framework of her undertaking. For this purpose, I turn to a certain strand of the contemporary discussion of the role of the historian of philosophy. According to Băltuță, the determination of the limits of such a dialogue is a matter of degree, not of principle. I agree with her. My concern is that the determination of the limits (...) of the dialogue is thwarted if the central, contemporary notion that is taken to be applicable to the historical account in question is used equivocally. In my view, there is a serious concern that Băltuță’s account equivocates on the term “intentional,” making it difficult to determine the limits of the dialogue between contemporary and medieval views on the intentionality of pain. My specific aim in this comment is to show that although Băltuță equivocates on the term “intentional,” her analysis of Kilwardby’s account can be adjusted such that her argument succeeds in showing that pain is in fact an intentional state for Kilwardby. (shrink)

The phenomenon of mixed quotation exhibits clear signs of both the apparent transparency of compositional language use and the opacity of pure quotation. I argue that the interpretation of a mixed quotation in- volves the resolution of a metalinguistic presupposition. The leading idea behind my proposal is that a mixed-quoted expression, say, “has an anomalous feature”, means what x referred to with the words ‘has an anomalous feature’. To understand how this solves the paradox, I set up (...) a precise grammatical framework, explicitly connecting various levels of linguistic analysis: phonological forms, categorial syntax, and a dynamic picture of the semantics–pragmatics interface. In this framework I formalize and evaluate a presuppositional account of mixed quotation. Finally, I address the phenomenon of unquotation and argue that it is an essential ingredient for empirically adequate analysis of mixed quotation in natural language. (shrink)

In his paper “Quotation”, Donald Davidson contrasts three theories about how quotation marks do their work, that is, about how tokens like this one: "sheep” refer to the type of which the following is a token: sheep. He rejects the “proper name” and “spelling” theories, and propounds and defends a new account of quotation which he calls the “demonstrative theory”. I shall argue that the truth about how quotation works has points of resemblance with both the (...) spelling and demonstrative theories, though it is not a mere combination of elements from those two. It is closer to Davidson’s theory than to the other, and I have reached it by developing the pioneering start that he provided. (shrink)

Most existing theories of quotation are restricted, sometimes implicitly, to certain aspects of quotation mark usage. In this paper, we have the somewhat ambitious aim of outlining an all-encompassing theory of quotation in (written) natural language. We first provide a naïve but neutral definition of quotation – quotation is everything between a pair of quotation marks – followed by a brief typology. Then, we develop an account of quotation which relies mainly on pragmatic (...) mechanisms in order to explain what role quotation marks play in achieving communicative ends of writers. Quotation marks, we argue, are best understood as minimal pragmatic markers that block the stereotypical interpretation of the expression they enclose. They thereby indicate that some alternative interpretation ought to be inferred. We then address some worries about our view in order to clarify the aim and scope of our proposal as well as some deep-rooted philosophical preconceptions about quotation. Finally, we present the results of a small corpus study which we consider a confirmation of the predictions our account makes. (shrink)

The issues addressed in philosophical papers on quotation generally concern only a particular type of quotation, which I call ‘closed quotation’. The other main type, ‘open quotation’, is ignored, and this neglect leads to bad theorizing. Not only is a general theory of quotation out of reach: the specific phenomenon of closed quotation itself cannot be properly understood if it is not appropriately situated within the kind to which it belongs. Once the distinction between (...) open and closed quotation has been drawn and properly appreciated, it is tempting to consider that only closed quotation is relevant to semantics. Open quotation is more a matter of pragmatics: it is a matter of what people do with words, rather than a matter of content and truth-conditions. In this way one can provide the beginning of a justification for the neglect of open quotation in current semantic theorizing. There is some truth in this view, yet the phenomenon of ‘mixed quotation’, investigated at length in this paper, is interesting precisely because it shows that things are not so simple. Important issues concerning the interface between semantics and pragmatics will thus be raised. (shrink)

In "Demonstratives or Demonstrations", Marga Reimer argues that quotation marks are demonstrations and that expressions enclosed with them are demonstratives. In this paper, I argue against her view. There are two objections. The first objection is that Reimer''s view has unattractive consequences: there is more ambiguity, there are more demonstratives, and there are more English expressions than we thought. The second objection is that, unlike other ambiguous expressions, some expressions that are ambiguous on Reimer''s view can''t be disambiguated by (...) using subscripts. This suggests that, contrary to her view, those expressions aren't really ambiguous. (shrink)