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

The subject of this essay is the way in which literature, by engaging our emotions, contributes to our emotional intelligence. In reading works of literature, we are almost constantly called upon—or mandated—to mobilize our emotions in the process of understanding the text. In this way, the literary text ineludibly guides us through a rehearsal of the pertinent portions of our affective repertoire.For example, we do not fully understand Iago unless we despise him, nor do we understand Dorothea Brooke adequately without (...) being saddened by the way in which she is entrapped in her marriage to that stick, Casaubon—that is, unless we lament "what a waste." Moreover, in order to be absorbed in a plot, we need to align... (shrink)

James Shelley has raised the important question of whether it is possible to have aesthetic experiences of imperceptible artworks. This issue is important for determining whether or not the aesthetic theory of art can deal with certain cases of conceptual art. Shelley has argued that it is possible to have aesthetic experiences of imperceptibilia. And in this article, I concur with him, though for reasons different from his. Nevertheless, I go on to argue that this still fails to vindicate the (...) aesthetic theory of art. (shrink)

This paper presents a unified framework that explains and extends the already successful applications of the Leibniz operator, the Suszko operator, and the Tarski operator in recent developments in abstract algebraic logic. To this end, we refine Czelakowski’s notion of an S-compatibility operator, and introduce the notion of coherent family of S-compatibility operators, for a sentential logic S. The notion of coherence is a restricted property of commutativity with inverse images by surjective homomorphisms, which is satisfied by both the Leibniz (...) and the Suszko operators. We generalize several constructions and results already existing for the mentioned operators; in particular, the well-known classes of algebras associated with a logic through each of them, and the notions of full generalized model of a logic and a special kind of S-filters. We obtain a General Correspondence Theorem, extending the well-known one from the theory of protoalgebraic logics to arbitrary logics and to more general operators, and strengthening its formulation. We apply the general results to the Leibniz and the Suszko operators, and obtain several characterizations of the main classes of logics in the Leibniz hierarchy by the form of their full generalized models, by old and new properties of the Leibniz operator, and by the behaviour of the Suszko operator. Some of these characterizations complete or extend known ones, for some classes in the hierarchy, thus offering an integrated approach to the Leibniz hierarchy that uncovers some new, nice symmetries. (shrink)

At present, one of the most recurrent views in the philosophy of history claims that historical writing is interpretive and that a primary form that this interpretation takes is narration. Furthermore, narration, according to this approach, is thought to possess an inevitably fictional element, viz., a plot, and, in this regard, the work of the narrative historian is said to be more like that of the imaginative writer than has been admitted heretofore. The upshot of this philosophically, moreover, is the (...) assertion that historical narrations, qua narrative interpretations, are to be assessed, in large measure, in terms of the kind of criterion of truth that is appropriate to literary works. And a subsidiary, though far less tendentious, consequence is that our understanding of historical interpretation can profit from literary or “discourse” analysis. (shrink)

This essay offers a critique of environmental ethics and argues that a post-environmental ethics may be unavoidable. It does so by exposing and questioning the ontological assumptions common to otherwise different modalities of environmental ethics. These modalities, it is argued, rest upon an implicit or explicit 'material essentialism'. Such essentialism entails the belief that putatively 'environmental' entities have discrete and relatively enduring properties. These properties 'anchor' ethical claims and permit the objects of ethical considerability to be named. Against this, it (...) is argued that a non-essentialist ontology is preferable. This ontology presumes neither that environmental phenomena are simply environmental nor that their properties can be 'fixed' under some determinate description. Drawing on recent 'hybrid' research in human geography and elsewhere, it is suggested that the motility and mutability of ostensibly environmental entities be recognised. This recognition, I conclude, desta bilises conventional environmental ethics and calls for a more supple mode of ethical reasoning. (shrink)

In this essay, I am concerned with the representation of groups in popular culture. My interest has to do with the politics of representing people. The couplet beauty/nonbeauty (or, more specifically, beauty/ugliness) frequently figures importantly in the representation of groups, including most notably, for my purposes, ethnic and racial minorities. This couplet can be politically significant because beauty is often associated in our culture with moral goodness. . . . Thus, beauty and non beauty can serve as a basis for (...) political rhetoric. . . . If one concept of human beauty (which is connected to ideas of goodness) sees beauty as the instantiation or near approximation of the concept human being, then the related idea of human ugliness (which is connected with ideas of moral degradation) is rooted in problematic exemplifications of the concept of the human. These "problematic exemplifications" can take many forms. The two that will preoccupy me in this essay are the imperfect exemplifications of the human found in the popular genres of horror and humor. (shrink)

: Its promises to the contrary notwithstanding, bioethics is plural. There is a diversity of content-full moral understandings of the good and the right. Moreover, there is no secular means in principle to set this diversity aside without begging the question. This moral diversity exists both as a sociological condition and as a moral epistemological constraint. Without succumbing to a metaphysical scepticism or moral relativism, the bioethics of the future, if it is to be honest, should learn how to live (...) with robust moral diversity. (shrink)

The question of the function of reasoning is drawing increased attention. One suggestion is that the function of reasoning is argumentative: to find arguments to convince others and to evaluate others’ arguments. Darmstadter offers an alternative. According to this pragmatic theory the function of reasoning is to minimally adjust our beliefs so that they remain sound guides for action. This theory is similar to the classical view, which sees reasoning as a way of improving the reasoner's beliefs and decisions. The (...) pragmatic theory shares the classical view's flaws as a theory of the function of reasoning: it does not define reasoning strictly enough, it does not offer a convincing evolutionary rationale for reasoning's existence, it does not make predictions based on this rationale, and it does not properly test these predictions. Darmstadter also points out the importance of the phenomenon of deliberation failures. While I argue that documented deliberation failures are compatible with the argumentative theory of reasoning, Darmstadter's work usefully draws attention to the importance of studying reasoning outside the laboratory and in particular in argumentative situations. (shrink)

In _Comedy Incarnate_, Noël Carroll surveys the characteristics of Buster Keaton’s unique visual style, to reveal the distinctive experience of watching Keaton’s films. Bold and provocative thesis written by one of America’s foremost film theorists Takes a unique look at the philosophies behind Keaton’s style Weighs visual elements over narrative form in the analysis of the Keaton’s work Provides a fresh vantage point for analysis of film and comedy itself.

Das über das Bekanntmachen der von David Friedrich Strauss verfassten Glyptotheksepigramme hinauswachsende Buch schildert die Zeitumstände um die Mitte des 19. Jahrhunderts in Süddeutschland und insbesondere in dem unter Ludwig I. aufblühenden München. Es veranschaulicht in exemplarischer Weise das über das eigentliche Fach des Verfassers, die Klassische Archäologie, hinausgehende breite Spektrum seines Schaffens.

TO BE A THEIST, THE AUTHOR ARGUES, IS TO CONSTRUE THE WORLD AS A WHOLE ON THE MODEL OF A RATIONAL AGENT’S ACTIVITIES. CHRISTIAN THEISM IS CHARACTERISED BY PARTICULAR CLAIMS AS TO MATTERS OF FACT: GOD IS (A) THAT WHICH IS SAID TO MAKE ALL THINGS, (B) THE OBJECT OF RELIGIOUS EXPERIENCE, (C) THAT WHICH WILL ULTIMATELY BRING ABOUT A STATE OF JUSTICE, (D) THAT WHICH BROUGHT IT ABOUT THAT JESUS LIVED, DIED AND ROSE FROM THE DEAD. MEYNELL CONTENDS THAT (...) THIS IS A LOGICALLY COHERENT IDEA AND SHOWS WITH REFERENCE TO THE DEPENDENT CONCEPTS OF GRACE, EVIL, PRAYER, PROVIDENCE, MIRACLE AND THE AFTER-LIFE THAT THE CHRISTIAN FAITH HAS ESCHATOLOGICAL TRUTH-CONDITIONS. (BP). (shrink)

An English eccentric and an agitated dean -- Mr. McGregor's garden -- I banish you -- Vultures and ostriches -- Post mortem.