Structuring Sense explores the difference between words however defined and structures however constructed. It sets out to demonstrate over three volumes, of which this is the first, that the explanation of linguistic competence should be shifted from lexical entry to syntactic structure, from memory of words to manipulation of rules. Its reformulation of how grammar and lexicon interact has profound implications for linguistic, philosophical, and psychological theories about human mind and language. Hagit Borer departs from both language specific constructional (...) approaches and lexicalist approaches to argue that universal hierarchical structures determine interpretation, and that language variation emerges from the morphological and phonological properties of inflectional material. In Name Only applies this radical approach to nominal structure. Integrating research in syntax, semantics, and morphology, the author argues that nominal structure is based on the syntactic realization of semantic notions such as classifier, quantity, and reference. In the process she seeks to do away with lexical ambiguity and type-shifting. Among the topics she considers are the interpretation of proper names, the mass-count distinction, the weak-strong interpretation of quantifiers, partitive and measure phrases, and the structural representation of the definite article. In the process she explores inter-language variation through the properties of the morpho-phonological system. The languages discussed include English, Chinese, Italian, and Hebrew. (shrink)

Structuring Sense explores the difference between words however defined and structures however constructed. It sets out to demonstrate over three volumes, of which this is the second, that the explanation of linguistic competence should be shifted from lexical entry to syntactic structure, from memory of words to manipulation of rules. Its reformulation of how grammar and lexicon interact has profound implications for linguistic, philosophical, and psychological theories about human mind and language. Hagit Borer departs from both language specific constructional (...) approaches and lexicalist approaches to argue that universal hierarchical structures determine interpretation, and that language variation emerges from the morphological and phonological properties of inflectional material. The Normal Course of Events applies this radical approach to event structure. Integrating research results in syntax, semantics, and morphology, the author shows that argument structure is based on the syntactic realization of semantic event units. The topics she addresses include the structure of internal arguments and of telic and atelic interpretations, accusative and partitive case, perfective and imperfective marking, the unaccusative-unergative distinction, existential interpretation and post-verbal subjects, and resultative constructions. The languages discussed include English, Catalan, Finnish, Hebrew, Czech, Polish, Russian, and Spanish. (shrink)

A recalcitrant emotion is an emotion that we experience despite a judgment that seems to conflict with it. Having been bitten by a dog in her childhood, Jane cannot shake her fear of dogs, including Fido, the cute little puppy that she knows to be in no way dangerous. There is something puzzling about recalcitrant emotions, which appear to defy the putatively robust connection between emotions and judgments. If Jane really believes that Fido cannot harm her, what is she afraid (...) of? This article seeks to show how recalcitrant emotion is possible. I argue that reductive theories that identify emotions with judgments, desires, or some combination thereof, cannot explain the possibility of emotional irrationality without contradiction. I then show that the appeal to sui generis attitudes also fails to solve the puzzle of recalcitrant emotions, and diagnose this failure as stemming from a misleading analogy between emotions and perceptions, and in particular, between recalcitrant emotions and perceptual illusions. The solution can be found in a different analogy: between emotions and actions; more specifically, between recalcitrant emotions and weakness of the will, akrasia. Like akratic actions, recalcitrant emotions entail responding to reasons, but to inferior reasons. Irrational but non-contradictory emotions are possible just as weakness of will is possible. (shrink)

Incorporating the complete, corrected text of The Corded Shell, Kivy brings his earlier arguments up to date in light of recent work in the field, and discusses ...

The purpose of the present work is to analyze Hegel's Unhappy Consciousness in light of the psychoanalytic conceptualization of the relation Subject-Other. The analysis will investigate unhappiness on two counts: its relation to Hegelian dialectic and the possibility of its coming to an end. Examining Hegelian unhappiness through the prism of psychoanalytic thought will allow us to formulate a crucial distinction between the philosophical (Hegelian) and psychoanalytic (Freudian, Lacanian) approaches to unhappiness as they relate to the arch-concepts of knowledge, possibility, (...) negation, and end.The first part of this work will be dedicated to the investigation of these arch-concepts through two main and opposing .. (shrink)

This paper distinguishes two different uses of the analogy between colors and values, the projectivist and the objectivist. The projectivist use of the analogy has a long history, which goes back to Hume. The objectivist use of the analogy is a fairly recent addition. The core contention of this paper is that the projectivist’s use fails, and that only the objectivist offers a genuine use for the analogy between colors and values.

Mark Johnston argues that the identity between water and H2O generates a puzzle: Ice is related to H2O just as water is related to H2O. If water is identical to H2O, so is ice, and we end up with an absurdity: water is ice. This paper suggests a way to preserve the identity between water and H2O without this absurd result.

Name der Zeitschrift: Der Islam Jahrgang: 92 Heft: 2 Seiten: 507-513.

Peter Kivy is the author of many books on the history of art and, in particular, the aesthetics of music. This collection of essays spans a period of some thirty years and focuses on a richly diverse set of issues: the biological origins of music, the role of music in the liberal education, the nature of the musical work and its performance, the aesthetics of opera, the emotions of music, and the very nature of music itself. Some of these (...) subjects are viewed as part of the history of ideas, others as current problems in the philosophy of art. A particular feature of the volume is that Kivy avoids the use of musical notation so that no technical knowledge at all is required to appreciate his work. The essays will prove enjoyable and insightful not just to professionals in the philosophy of art and musicologists, or to musicians themselves, but also to any motivated general reader with a deep interest in music. (shrink)

Proponents of the explanatory gap claim that consciousness is a mystery. No one has ever given an account of how a physical thing could be identical to a phenomenal one. We fully understand the identity between water and H2O but the identity between pain and the firing of C-fibers is inconceivable. Mark Johnston [Journal of philosophy , 564–583] suggests that if water is constituted by H2O, not identical to it, then the explanatory gap becomes a pseudo-problem. This is because all (...) “manifest kinds”—those identified in experience—are on a par in not being identical to their physical bases, so that the special problem of the inconceivability of ‘pain = the firing of C-fibers’ vanishes. Moreover, the substitute relation, constitution, raises no explanatory difficulties: pain can be constituted by its physical base, as can water. The thesis of this paper is that the EG does not disappear when we substitute constitution for identity. I examine four arguments for the EG, and show that none of them is undermined by the move from constitution to identity. (shrink)

The argument from causal overdetermination is considered to be the shortest route to token monism. It only assumes that:1.Efficacy: Mental events are causes of physical events.2.Closure: Every physical event has a sufficient physical cause.3.Exclusion: Systematic Causal Overdetermination is impossible: if an event x is a sufficient cause of an event y then no event x* distinct from x is a cause of y.4.Identity: Therefore, mental events are physical events.Exclusion does not deny the possibility of two gunmen that fi re at (...) a victim at the same time. But event-dualism is like a systematic fi ringsquad case — whenever I want to raise my arm, my arm is raised, and that is intolerable. (shrink)

This chapter contains section titled: Introduction A Little Ontology A Little More Ontology Early Experiences of Literature Reading to Yourself Not Moving Your Lips Other People's Mail A Theory of Language Productions in the Mind The Effect of Words A Musical Interlude Telling Stories Predecessors The Ion Within The Eloquence of Silence Radio Plays Silent Interpretation The Critic's Role Readings as Art The Transparency of the Reading Performance Read it again, Sam Silent Soundings and Silent Performances The Other Ion Literature (...) and Truth The Banality of Literary Truth Gaps and the Afterlife Another Take on the Gaps Doubts Semantic Quibbles Unuttered Conversation And for those without Voices Sight and Sound Parsimony More Parsimony? Reading as Act. (shrink)

'May one be pardon’ d and retain the offence?’ asks King Claudius in his tormented monologue in Hamlet. Forgiveness appears incompatible with the retention of the offence, both in the sense of enjoying its consequences and in the sense of the subsistence of the attitude which underlay the offensive act. There are, however, views which allow for, even admire, an attitude of forgiveness towards people who have ‘retained’ their offense in some way. This idea of forgiveness is harder to justify, (...) since no change has taken place in the agent. We suggest that the concept of toleration can serve as an illuminating clue in such an analysis. The tolerant attitude involves a certain kind of reconciliation with people who not only have done something wrong in the past, but insist on sticking to their objectionable conduct in the present and the future. Tolerance, in other words, is not conditioned by repentance or by commitment to behavioral transformation; it is a kind of unconditional ‘forgiveness’ in advance. (shrink)

Books reviewed in this article:Peter Kivy, The Possessor and the Possessed: Handel, Mozart, Beethoven, and the Idea of Musical GeniusKirk Pillow, Sublime Understanding: Aesthetic Reflection in Kant and HegelWilliam Irwin, Intentionalist Interpretation: A Philosophical Explanation and DefenseAllen Carlson, Aesthetics and the Environment: The Appreciation of Nature, Art, and ArchitectureElizabeth Grosz, Architecture from the OutsideDavid Leatherbarrow, Uncommon Ground: Architecture, Technology, and TopographyCaroline Joan S. Picart, Thomas Mann and Friedrich Nietzsche: Eroticism, Death, Music, and LaughterCaroline Joan S. Picart, Resentment and the (...) “Feminine” in Nietzsche's Politico–Aesthetics. (shrink)

Peter Kivy presents a fascinating critical examination of the two rival ways of understanding instrumental music. He argues against 'literary' interpretation in terms of representational or narrative content, and defends musical formalism. Along the way he discusses interpretations of a range of works in the canon of absolute music.

In De Gustibus Peter Kivy deals with a question that has never been fully addressed by philosophers of art: why do we argue about art? We argue about the 'facts' of the world either to influence people's behaviour or simply to get them to see what we take to be the truth about the world. We argue over ethical matters, if we are ethical 'realists,' because we think we are arguing about 'facts' in the world. And we argue about (...) ethics, if we think matters of ethics are simply matters of 'attitude,' to influence the behaviour of others. But why should we argue about works of art? There are no 'actions' we wish to motivate. Whether I think Bach is greater than Beethoven and you think the opposite, why should it matter to either of us to convince the other? Kivy claims here that we argue over taste because we think, mistakenly or not, that we are arguing over matters of fact. (shrink)

What does bodily pain have in common with mental pain? According to “evaluativism,” both are representations of something bad. This paper puts forward three claims. First, that evaluativism vis-à-vis bodily pain is false for it renders it irrational to take painkillers. Second, that evaluativism vis-à-vis mental pain is true. Third, that this difference between bodily and mental pain stems from the fact that only the latter is normative, that is, based on reasons. The normative difference between bodily and mental pain (...) implies that mental pains are not bad, while bodily pains are not representations. (shrink)

Recently it has been argued that we cannot intend at will. Since intentions cannot be true or false, our involuntariness cannot be traced to “the characteristic of beliefs that they aim at truth”, as Bernard Williams convincingly argues. The alternative explanation is that the source of involuntariness is the shared normative nature of beliefs and intentions. Three analogies may assimilate intentions to beliefs vis-à-vis our involuntariness: first, beliefs and intentions aim at something; second, beliefs and intentions are transparent to the (...) true and the good respectively; third, beliefs and intentions are answers to questions other than that of whether to endorse them. The purpose of this paper is to argue that attempts to ground involuntariness in normativity rather than truth imply that we cannot act at will. I assume that actions are the paradigm case of doing something at will, and utilize this assumption as a restriction on any account of our inability to believe at will: it should not be possible to generalize it to actions. Any account of doxastic involuntarism that implies that we cannot act at will is false—if we cannot act at will, what can we do at will? I close by offering a notion of doing something at will that is based on Williams’ insight that truth—rather than reason—matters to our inability to believe at will. (shrink)

Philosophy of music has flourished in the last thirty years, with great advances made in the understanding of the nature of music and its aesthetics. Peter Kivy has been at the center of this flourishing, and now offers his personal introduction to philosophy of music, a clear and lively explanation of how he sees the most important and interesting philosophical issues relating to music. Anyone interested in music will find this a stimulating introduction to some fascinating questions and ideas.

Peter Kivy presents a selection of his new and recent writings on the philosophy of music--an area to which he has been one of the most eminent contributors. In his distinctively elegant and informal style, Kivy explores such topics as musicology and its history, the nature of musical works, and the role of emotion in music, and does so in a way that will attract the interest of philosophical and musical readers alike. Most works are published here for (...) the first time, each one unique and accessible, making this collection a delight both to followers of Kivy's work and to first-time readers. (shrink)

Primitivism is the view that colors are sui generis properties of physical objects. The basic insight underlying primitivism is that colours are as we see them, i.e. they are categorical properties of physical objects—simple, monadic, constant, etc.—just like shapes. As such, they determine the content of colour experience. Accepting the premise that colours are sui generis properties of physical objects, this paper seeks to show that ascribing primitive properties to objects is, ipso facto, ascribing to objects irreducible dispositions to look (...) coloured, and that anything that primitive redness can do, the non-reductive disposition to look red can do just as well. What makes primitivism suspect is not the commitment to sui generis properties, but instead the claim that colours are more than dispositions. Since, as I show, whatever primitivism appeals to for the purpose of arguing that colours are more than dispositions—objectivity, explanation, causation, phenomenology, constancy, etc.—can also be invoked... (shrink)

_The Performance of Reading_ argues that there are distinct analogies between "silent" reading and artistic performance, and so fashions the new role of the reader as performer. An original and insightful exploration of the act of reading by the leading scholar in the field. Discusses the history of reading and the transitions from reading aloud to reading silently, and the changing role of literature as communal, active experience to a more private endeavor.

"In his latest book on the aesthetics of music, Peter Kivy presents an argument not for authenticity but for authenticities of performance, including ...

Drawing comparisons with other art forms, this book examines the role of aesthetic features in silent reading, such as narrative structure, and the core experience of reading a novel as a story rather than a scholarly exercise. Focuses on the experience of the art form known as the novel Uses the more common perspective of a reader who reads to be told a story, rather than for scholarly or critical analysis Draws comparisons with experience of the other arts, music in (...) particular Explores the different effects of a range of narrative approaches. (shrink)

The controversy over the interpretative issue—is Thomas Reid a perceptual direct realist?—has recently had channelled into it a host of imaginative ideas about what direct perception truly means. Paradoxically enough, it is the apparent contradiction at the heart of his view of perception which keeps teasing us to review our concepts: time and again, Reid stresses that the very idea of any mental intermediaries implies scepticism, yet, nevertheless insists that sensations are signs of objects. But if sensory signs are not (...) mental intermediaries, what are they? Hasn't Reid merely swapped the common ‘sensation’ for the notorious ‘idea’, ending up with indirect realism?1 Current imaginative strategies answer negatively: Reid's sensory sign does not contradict direct perception, and those who think otherwise merely fail to understand what it means. (shrink)

Since the beginning of the eighteenth century the philosophy of art has been engaged on the project of trying to find out what the fine arts have in common and, thus, how they might be defined. Peter Kivy's purpose in this accessible and lucid book is to trace the history of that enterprise and argue that the definitional project has been unsuccessful. He offers a fruitful change of strategy: instead of engaging in an obsessive quest for sameness, let us (...) explore the differences between the arts. He presents five case studies, three from literature, two from music. With its combination of historical and analytic approaches this is a book for a wide range of readers in philosophy, literary studies, music, and non-academic readers with interests in the arts. (shrink)

On Lewis’s reading, fallibilism is the contradictory view that it is possible that S knows that p, even though S cannot eliminate some remote scenarios in which not-p. The pragmatic strategy is to make the alleged contradiction a mere pragmatic implicature, which is explained by false conversational expectations. I argue that the pragmatic strategy fails.

The analogy between colors and values is strongly interlinked with the idea that these properties are by nature dispositions or response-dependent properties. Indeed, that colors are essentially visible, and values are inherently motivational, cries out for a dispositional or a response-dependent account. Recently, Primitivism has challenged the viability of the dispositional account of colors, taking the apple, for instance, to be “gloriously, perfectly, and primitively red.” Unsurprisingly, the attack on the dispositional account of colors has found a moral analogue in (...) the view that values are sui generis irreducibly primitive properties. The question this article addresses is whether given Primitivism the analogy between colors and values is preserved; or in other words, whether Primitivism breaks the bond between the dispositional account and the analogy between colors and values. (shrink)

Two-dimensional semantics aims to eliminate the puzzle of necessary a posteriori and contingent a priori truths. Recently many argue that even assuming two-dimensional semantics we are left with the puzzle of necessary and a posteriori propositions. Stephen Yablo (Pacific Philosophical Quarterly, 81, 98–122, 2000) and Penelope Mackie (Analysis, 62(3), 225–236, 2002) argue that a plausible sense of “knowing which” lets us know the object of such a proposition, and yet its necessity is “hidden” and thus a posteriori. This paper answers (...) this objection; I argue that given two-dimensional semantics you cannot know a necessary proposition without knowing that it is true. (shrink)