What are words? What makes two token words tokens of the same word-type? Are words abstract entities, or are they (merely) collections of tokens? The ontology of words tries to provide answers to these, and related questions. This article provides an overview of some of the most prominent views proposed in the literature, with a particular focus on the debate between type-realist, nominalist, and eliminativist ontologies of words.

Words form a fundamental basis for our understanding of linguistic practice. However, the precise ontology of words has eluded many philosophers and linguists. A persistent difficulty for most accounts of words is the type-token distinction [Bromberger, S. 1989. “Types and Tokens in Linguistics.” In Reflections on Chomsky, edited by A. George, 58–90. Basil Blackwell; Kaplan, D. 1990. “Words.” Aristotelian Society Supplementary Volume LXIV: 93–119]. In this paper, I present a novel account of words which (...) differs from the atomistic and platonistic conceptions of previous accounts which I argue fall prey to this problem. Specifically, I proffer a structuralist account of linguistic items, along the lines of structuralism in the philosophy of mathematics [Shapiro, S. 1997. Philosophy of Mathematics: Structure and Ontology. Oxford University Press], in which words are defined in part as positions in larger linguistic structures. I then follow Szabò [1999. “Expressions and Their Representations.” The Philosophical Quarterly 49 (195): 145–163] and Parsons [1990. “The Structuralist View of Mathematical Objects.” Synthese 84: 303–346] in further defining words as quasi-concrete objects according to a representation relation. This view aims for general correspondence with contemporary generative linguistic approaches to the study of language. (shrink)

Words are indispensable linguistic tools for beings like us. However, there is not much philosophical work done about what words really are. In this paper, I develop a new ontology for words. I argue that words are abstract artifacts that are created to fulfill various kinds of purposes, and words are abstract in the sense that they are not located in space but they have a beginning and may have an end in time given (...) that certain conditions are met. What follows from this two-fold argument is that words, from an ontological point of view, are more like musical works, fictional characters or computer programs, than numbers or sets. (shrink)

The essay tries to blend diverse strands of thought. First comes a criticism of Quine's view(s) on quotation. This develops, somehow, into an ontology for linguistic items. Out of this, again, grows some more general reflections on the notions of speaker and speaking the same language: the identification of someone as a speaker becomes a central task, and the recognition of someone as speaking is of crucial importance in the acknowledgement that something is said. Running through it all, more (...) as ghost then spirit, is the seam of holism. (H. Johannessen, Universitetet i Trondheim; now at the University of Bergen). (shrink)

Reading The Phenomenology of Spirit through a linguistic lens, Jeffrey Reid provides an original commentary on Hegel's most famous work. Beginning with a close analysis of the preface, where Hegel himself addresses the book's difficulty and explains his tortured language in terms of what he calls the “speculative proposition”, Reid demonstrates how every form of consciousness discussed in The Phenomenology involves and reveals itself as a form of language. Elucidating Hegel's speculative proposition, which consists of the reversal of the roles (...) of the subject and predicate in such a way that the copula of the proposition becomes the lively arena of dialogical ambiguity and hermeneutical openness, this book offers new onto-grammatical readings of every chapter of The Phenomenology. Not only does this bring a new understanding to Hegel's foundational text, but the linguistic approach further allows Reid to unpack its complexity by relating it to contemporary contexts that share the same language structures that we discover in Hegel. Amongst many others, this includes Hegel's account of sense-certainty and the critique of the immediacy of consumer culture today. There's a YouTube interview on the book, under Professor Jeffrey Reid. (shrink)

ABSTRACT The idea that two words can be instances of the same word is a central intuition in our conception of language. This fact underlies many of the claims that we make about how we communicate, and how we understand each other. Given this, irrespective of what we think words are, it is common to think that any putative ontology of words, must be able to explain this feature of language. That is, we need to provide (...) criteria of identity for word-types which allow us to individuate words such that it can be the case that two particular word-instances are instances of the same word-type. One solution, recently further developed by Irmak, holds that words are individuated by their history. In this paper, I argue that this view either fails to account for our intuitions about word identity, or is too vague to be a plausible answer to the problem of word individuation. (shrink)

I argue that a two-dimensional model of social objects is uniquely positioned to deliver explanations for some of the puzzling metaphysical features of words. I consider how a type-token model offers explanations for the metaphysical features of words, but I give reasons to find the model wanting. In its place, I employ an alternative model from social ontology to explain the puzzling data and questions that are generated from the metaphysical features of words. In the end (...) I chart a new path that foregrounds the agent-dependence and social conditions for word kinds. (shrink)

It has been a common assumption that words are substances that instantiate or have properties. In this paper, I question the assumption that our ontology of words requires posting substances by outlining a bundle theory of words, wherein words are bundles of various sorts of properties (such as semantic, phonetic, orthographic, and grammatical properties). I argue that this view can better account for certain phenomena than substance theories, is ontologically more parsimonious, and coheres with claims (...) in linguistics. (shrink)

This essay considers the two-way relation between critical realism and psychoanalysis. Critical realism vindicates and deepens our understanding of ontology by drawing on the sciences for which it...

In this paper, I will attempt to formulate some observations about the limits of a traditional ontology that is in its essence a judicative one. The main goal is to explore the possibility of constructing a pre-judicative ontology; in other words, to describe the cognitive and affective elements that are “under” the main ontological judgments, related naturally to being. The arguments in favor of a pre-judicative ontology offer a new perspective on judicative ontology itself. This (...) pre-judicative ontology is nevertheless a kind of judicative ontology that covers a nonspecific realm of values. The paper has three parts: 1) a description of the main characteristics of traditional ontology from a judicative perspective; 2) the formulation of some logical conditions of possibility for a pre-judicative ontology; and 3) the outline of a pre-judicative ontology as an ontology of values. (shrink)

The article analyzes ontological possibilities of the meaning of information setting. For this, a modern approach of information technologies is considered in relation to setting the meaning of textual information. At the same time, the problem of setting the meaning of number and the meaning of word is formulated, which is discussed from the perspective of an ontological approach based on the solution of the problem of being, where the ontology of semantics is the result of such a solution. (...) As the ontology itself, a relational ontology is chosen, the initial position of which is the thesis: “to be” means “to be distinctive”. Based on this, information is defined as the result of ontological distinction, which allows mathematical formalization through the operation of subtraction, which expresses the essence of ontological distinction. This in turn allows to build constantly a numerical order of the meanings of any information, including textual, while the meaning of the information is its place in such a numerical range. Such a method, called Relational method, leads to an exact numerical specification of the meaning of any information, and by dignity of this numerical form, the meanings of any information can be easily input into a computer with subsequent processing and operation of these senses. (shrink)

In this paper, we examine the meta-ontology of AI systems with human-level intelligence, with us denoting such AI systems as AI E. Meta-ontology in philosophy is a discourse centered on ontology, ontological commitment, and the truth condition of ontological theories. We therefore discuss how meta-ontology is conceptualized for AI E systems. We posit that the meta-ontology of AI E systems is not concerned with computational representations of reality in the form of structures, data constructs, or (...) computational concepts, while the ontological commitment of AI E systems is directed toward what exists in the outside world. Furthermore, the truth condition of the ontology (which is meta-ontological assumption) of AI E systems does not require consistency with closed conceptual schema or ontological theories but rather with reality, or in other words, “what is the world” (Smith, 2019, p.57). In addition, the truth condition of AI E systems is verified through operational success rather than by coherence with theories. This work builds on ontological postulates about AI systems that were formulated by Brian Cantwell Smith (2019). (shrink)

Typically, literature is defined ontologically as linguistically-fixed texts consisting of specific words and word order. However, some have noted that this condition is too strict for linguistically-fluid works such as the Iliad where the words and word order differ in their various instances. I argue that it is not strict enough for some works of literature, such as pattern poetry and the novels of Irvin Welsh and Mark Z. Danielewski, that have a further ontological condition. In that the (...) graphic features play an artistic role in these works, those graphic features must be reproduced in an authentic copy. Using exemplars in both poetry and prose, I define these works as graphically-fixed literature and identify a sufficient condition of such works specific to their graphic features. Finally, I examine copies of graphically-fixed works that omit their graphic features as well as audiobook and Braille editions that necessarily lack graphic components. (shrink)

This essay works towards a rough explication of the ontic-ontological difference as it emerges in the early chapters of Heidegger’s Being and Time. It then goes on to use that difference to open up a possible ontology of culture. If the cultural disciplines are both ontically oriented and cannot “see” the ontic–ontological difference—and Heidegger tells us this in so many words—what alternative version of culture becomes available to an ontologically-oriented investigation that is aware of the difference?

Corcoran, John. 2005. Meanings of word: type-occurrence-token. Bulletin of Symbolic Logic 11(2005) 117. -/- Once we are aware of the various senses of ‘word’, we realize that self-referential statements use ambiguous sentences. If a statement is made using the sentence ‘this is a pronoun’, is the speaker referring to an interpreted string, a string-type, a string-occurrence, a string-token, or what? The listeners can wonder “this what?”. -/- John Corcoran, Meanings of word: type-occurrence-token Philosophy, University at Buffalo, Buffalo, NY 14260-4150 E-mail: (...) [email protected] The four-letter written-English expression ‘word’, which plays important roles in applications and expositions of logic and philosophy of logic, is ambiguous (multisense, or polysemic) in that it has multiple normal meanings (senses, or definitions). Several of its meanings are vague (imprecise, or indefinite) in that they admit of borderline (marginal, or fringe) cases. This paper juxtaposes, distinguishes, and analyses several senses of ‘word’ focusing on a constellation of senses analogous to constellations of senses of other expression words such as ‘expression’, ‘symbol’, ‘character’, ‘letter’, ‘term’, ‘phrase’, ‘formula’, ‘sentence’, ‘derivation’, ‘paragraph’, and ‘discourse’. Consider, e.g., the word ‘letter’. In one sense there are exactly twenty-six letters (letter-types or ideal letters) in the English alphabet and there are exactly four letters in the word ‘letter’. In another sense, there are exactly six letters (letter-repetitions or letter-occurrences) in the word-type ‘letter’. In yet another sense, every new inscription (act of writing or printing) of ‘letter’ brings into existence six new letters (letter-tokens or ink-letters) and one new word that had not previously existed. The number of letter-occurrences (occurrences of a letter-type) in a given word-type is the same as the number of letter-tokens (tokens of a letter-type) in a single token of the given word. Many logicians fail to distinguish “token” from “occurrence” and a few actually confuse the two concepts. Epistemological and ontological problems concerning word-types, word-occurrences, and word-tokens are described in philosophically neutral terms. This paper presents a theoretical framework of concepts and principles concerning logicography, including use of English in logic. The framework is applied to analytical exposition and critical evaluation of classic passages in the works of philosophers and logicians including Boole, Peirce, Frege, Russell, Tarski, Church and Quine. This paper is intended as a philosophical sequel to Corcoran et al. “String Theory”, Journal of Symbolic Logic 39(1974) 625-637. https://www.academia.edu/s/cdfa6c854e?source=link -/- . (shrink)

This article presents a formal ontology which accounts for the general nature of artefacts. The objective is to help structure application ontologies in areas where specific artefacts are present - in other words, virtually any area of activity. The conceptualization relies on recent philosophical and psychological research on artefacts, having resulted in a largely consensual theoretical basis. Furthermore, this ontology of artefacts extends the foundational DOLCE ontology and supplements its axiomatization. The conceptual primitives are as follows: (...) artificial entity, intentional production of entities, (state of) capacity, capacity to play a role in actions of a given type, function and functional object. These primitives enable artefacts in general to be characterized as intentionally and successfully produced entities, and isolate an important subclass of “technical” artefacts to which a function is ascribed. Lastly, we emphasize the novelty of this ontology by comparing it with other works with similar objectives. (shrink)

While the terrorism studies literature speaks of a shape of terrorism unique to modernity, the exact nature of modern terrorism, let alone the nature of modernity or its starting point, remain much in dispute. In this article we suggest that the confusion and conflict within the literature arises from a tendency to focus on certain outward or inessential features associated with modernity. In order to truly answer the question of what makes modern terrorism modern, the question needs to be set (...) on a new footing, one which inquires into the necessary and not instrumental relationship between modernity and terrorism—i.e., that inquires into the possibility of an inner dynamic which can take us from the nature of modernity itself to terrorism. In this article we suggest that the intellectual resources for an understanding of modern terrorism in the fullest sense can be found within the preeminent nineteenth-century philosopher of the birth of the modern, G.W.F. Hegel. More specifically, through a reconstruction of Hegel’s account of the French Revolution we can uncover the possibility of understanding modern terrorism as an ontological rather than a temporal category. In other words, we can uncover resources that help us grasp what modern terrorism is, rather than in what age—with its instrumental possibilities given by, say, technology or ideology—it is found. What makes modern terrorism truly modern, we will argue, is a particular shape of self-consciousness that, Hegel shows us, stands as the deep structure of early modernity, and which contains within it an inner dynamic towards a uniquely modern shape of terrorism. While all terrorism that occurs within modernity is not modern, a truly modern terrorism can be identified. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:FÉLIX MaRTÍNEZ-?????? TOWARDS A FORMAL ONTOLOGY OF FICTIONAL WORLDS In this discussion ' I propose a few concepts for the description and classification of fictional "worlds." The variety of fictional systems of"reality" can be understood, I diink, as an aspect ofthe phenomenon of style in literary imagination.2 But styles of imagination or of vision, and die style of literary works, are more than simply kinds of fictional worlds. (...) To put in some perspective my attempt at classification of literary works according to their systems of reality, I will make first a few remarks on the notion of style. It is a well-known preliminary problem when speaking of style diat this word seems to have more than one meaning in ordinary usage. I think that some ofits current meanings are rich and important, and that literary knowledge would profit if we could reconstruct them in abstract and defined concepts, so that the notions involved were somewhat clarified. I doubt diat diis is possible with current conceptual tools. We can see what is meant, say, when we hear diat a certain person we know "has style"; and we certainly distinguish diis attribute from others such as elegance, good manners, character, taste, originality, mannerisms, or idiosyncracies. Thus, we occasionally perceive in personal behavior a phenomenon called style. A conceptual description or a satisfactory definition of such a given, however, seems very difficult. Speaking of matters of art and literature, "style" has been used, among other things, to designate both the conventional forms of traditional expression (as in "manuals of style") and the anomalous, convention-breaking forms of highly individuated creation (as in die classic conception of Vosslerian-Spitzerian Stylistics, or in Buffon's "Le style c'est l'homme même," as usually understood). Style, dien, as conformity and style as singularity and deviance; style as impersonal decorum and as presence of a unique personal essence in the work. This perplexing ambiguity may be reducible though. Whether conventional and common or personal and innovative, style appears to be a form that characterizes and holds together a creation or a phenomenal entity. Indeed, the fact that 182 Félix Martínez-Bonati183 singular innovations of style often become the common trait of a school or current and sometimes a part of general tradition seems to indicate that neither singularity nor general acceptance are the most basic elements of die notion of style. On first reflection, we may conceive of style as a formal principle that consistently determines the constitution of die pertinent objects. Nonetíieless, constitutive form is too weak a definition for style, since it would also apply to what is called "technique" and even to genre. We must look for a more specific determination. There is anodier ambiguity in everyday uses of die word "style" diat deserves attention. We speak often of "good style" and "bad style." But sometimes we speak as if no style is bad and the thing that matters is to have style at all and as much of it as possible. Thus, we condemn a work because of its having no style or only a weak one. This contradiction probably derives from the confusion of a particular normative, a general normative, and a merely descriptive notion of style. We should keep, if possible, to a merely descriptive notion. Still another uncertainty of usage, in literary matters, relates to the (not universally accepted) restriction of the notion of style to a linguistic one; style, in this restricted usage, is seen as primarily an attribute of diction. The most numerous of literary studies of die style of singular works have been, so far as I can see, descriptions of idiolects. In many cases, the linguistic peculiarity is taken as an index of the world-view or die style of imagination diat is supposed to have produced the work. Alternative to this approach, indeed complementary, is the study of literary style as an attribute of die fictional entities to which literary discourse refers. We find the latter kind of approach mostly in characterizations of genres or of periods ("the naturalist novel," "romance," "classicism," etc.). One may suppose that an exhaustive analysis of the idiolect of a work... (shrink)

Some tattoos are artworks. This paper claims that art-tattoos have an interesting ontological feature: their artistic properties are partially determined by the people they are tattooed on. In other words, tattoos are artistically contextualized by their recipients. I further suggest that this contextualization is ongoing: that the artistic properties of a tattoo aesthetically change over time as the tattoo recipient changes. I present an ontology of tattoos that focuses on this feature of tattoos. The argument in this paper (...) notably rests on an inference from aesthetic intuitions and art-historical facts about tattoos to claims about their ontological features. (shrink)

Normal 0 false false false EN-US X-NONE X-NONE MicrosoftInternetExplorer4 The nature and the role of sensation sit at the heart of classic enlightenment debates about the nature of knowledge. While these debates, in their modern form, came into being several hundred years ago, many key words from them remain with us today. As a result, a number of culturally particular assumptions also remain as part of the semantic composition of these words. In the following, we examine such assumptions, (...) particularly in relation to sensoriality. We contrast the classic empiricist and rationalist views on sensation, including their broader epistemological stakes, and bring forth a third account through Peircean semiotics. We suggest that the classic debate between rationalists and empiricists can be re-examined by asking how repetition exists in the world. By thinking about the ontology of repetition, and by highlighting some of the basic semiotic principles of this, we suggest that sensoriality needs to be recognized as a dynamical system rather than a system that exists for the documenting of "what there is". In this account, neither sensoriality nor the nature of existence, including the physical world, are anchored toward absolutes on any level. This point, however, does not lead us toward rationalist claims about the non-importance of senses or the body, but toward recognition that while patterns and stability play a significant role in living systems, there is always room for plasticity and open-endedness. It is in this space between stability and change, where meaning is brought into being. Normal 0 false false false EN-US X-NONE X-NONE. (shrink)

I argue that the principal roles standardly envisaged for abstract propositions can be discharged to the sentences themselves (and similarly for the meanings or senses of words). I discuss: (1) Cognitive Value: Hesperus-Phosphorus; (2) Indirect Sense and Propositional Attitudes; (3) the Paradox of Analysis; (4) the Picture Theory of the Tractatus; (5) Syntactical Diagrams and Meaning; (6) Quantifying-in. (7) Patterns of Use. I end with comparisons with related views of the territory.

This article approaches the notion of engagement from the perspective of critical ontology. With language as the starting point of its hermeneutic task, it commences with an etymological analyses of diverse Indo-European words gravitating around the semantic field of the notion of engagement. From these introductory insights obtained by an exercise in comparative linguistics, devotion and commitment are mapped as two opposite, yet inseparable, modes of being of engagement. Both of these modes seem to condition engagement in an (...) ontologically disparate manner. While examining their fundamental structures, some of the canonical concepts of history of philosophy such as being, existence, subjectivity, or world - and also some of its constitutive binary oppositions such as body/mind, individual/collective, transcendence/immanence, light/darkness and sacred/secular - will be reconsidered through the prism of different ontological dispositions that devotion and commitment impose respectively on engagement. The overall aim of this investigation is to bring forth the main existential characteristics of being-engaged, by interpreting the roles of who, where, and what of engagement, and in order to provide a fundamental conceptual apparatus for a critical ontology of engagement. (shrink)

The present paper has a negative aim and a positive aim, both limited in the present context to a sketch or outline. The negative aim, today less controversial, is to show that Aristotle’s theory of final causality has little or nothing to do with the teleology rejected by modern science and that, therefore, far from having been rendered obsolete, it has yet to be fully understood. This aim will be met through the identification and brief discussion of some key points (...) on which Aristotle’s theory differs from teleology as still commonly understood. The positive aim is more controversial as it proposes that we take an ontology of life as the proper context for understanding the significance and nature of final causation in Aristotle. The argument for final causation, in other words, is that, without it, we would lose the phenomenon of life and, indeed, of nature altogether, reducing nature to the inanimate and mechanical. (shrink)

As it stands, Derrida’s protest is deficient in any sense of how the discourses of South African racism have been at once historically constituted and politically constitutive. For to begin to investigate how the representation of racial difference has functioned in South Africa’s political and economic life, it is necessary to recognize and track the shifting character of these discourses. Derrida, however, blurs historical differences by conferring on the single term apartheid a spurious autonomy and agency: “The word concentrates separation…. (...) By isolating being apart in some sort of essence or hypostasis, the word corrupts it into a quasi-ontological segregation” . Is it indeed the word, apartheid, or is it Derrida himself, operating here in “another regime of abstraction” , removing the word from its place in the discourse of South African racism, raising it to another power, and setting separation itself apart? Derrida is repelled by the word, yet seduced by its divisiveness, the division in the inner structure of the term itself which he elevates to a state of being.The essay’s opening analysis of the word apartheid is, then, symptomatic of a severance of word from history. When Derrida asks, “Hasn’t apartheid always been the archival record of the unnameable?” , the answer is a straightforward no. Despite its notoriety and currency overseas, the term apartheid has not always been the “watchword” of the Nationalist regime. . It has its own history, and that history is closely entwined with a developing ideology of race which has not only been created to deliberately rationalize and temper South Africa’s image at home and abroad, but can also be seen to be intimately allied to different stages of the country’s political and economic development. Because he views apartheid as a “unique appellation” , Derrida has little to say about the politically persuasive function that successive racist lexicons have served in South Africa. To face the challenge of investigating the strategic role of representation, one would have to part ways with him by releasing that pariah of a word, apartheid, from its quarantine from historical process, examining it instead in the context of developing discourses of racial difference. Anne McClintock is a Ph.D. candidate in English at Columbia University. She is working on a dissertation on race and gender in British imperial culture and is the author of a monograph on Simon de Beauvoir. Rob Nixon, in the same program at Columbia, is working on the topic of exile and Third World-metropolitan relations in the writing of V. S. and Shiva Naipaul. (shrink)

This long paper (19 pages; about 7,000 words) is a trenchant critique of the first half of David Norton’s 1982 book David Hume: Common Sense Moralist, Sceptical Metaphysician. Norton claims that both Hutcheson and Hume were ‘moral realists’, and imputes to them an inflated moral ontology at sharp variance with what they actually wrote. Indeed, Norton’s interpretation is sustainable only when the texts are grossly misrepresented by paraphrases which say the opposite of what the authors actually wrote. The (...) paper concludes: I agree that Hutcheson and Hume were opposed to nihilistic scepticism, but maintain that their conception of morality was essentially a psychological one, free from metaphysical postulates of any supra-sensory or non-natural moral reality. Therefore, to call them moral realists is misleading. In view of the misunderstandings, misrepresentations, ambiguities, and contradictions which pervade Norton’s arguments, his attempt to establish that there were moral realists must be counted unsuccessful. (shrink)

The condition of explicit theoretically discursive cognitive performance, as it culminates in scientific activity, is, I claim, the life world. I contrast life world and scientific world and argue that the latter arises from the first and that contrary to the prevailing views the scientific world (actually, worlds, since the classical world is substantially different from the quantum world) finds its completion in the life world and not the other way around. In other words: the closure we used to (...) search in a complete and comprehensive scientific description of all aspects of experience by referring it back to underlying atoms, genes and other scientific objects and the covering laws ruling them, should be sought in a reintegrating and occasionally dissolving of the abstract scientific model in the self-organizational fluidity and superposition-like indeterminateness and non-locality of the life world: “We have to acknowledge the indeterminate as a positive phenomenon” (Merleau-Ponty in his The Phenomenology of Perception). (shrink)

In this paper, I read Jean-Luc Nancy's work on community in relation to Jacques Derrida's uneasiness with both the word "community" and the thing itself. in doing so, I underline a key difference, maybe even an opposition, in their way of thinking the singular plural, the singular in the plural, or the plurality of singularities. As a result, I oppose what I call Derrida’s politics of sacrifice to Nancy’s ontology of offering.

This essay explores the ontological movement of poetry, its language and words, by establishing a dialogue with the thought of three Japanese thinkers, Ki no Tsurayuki, Motoori Norinaga and Fujitani Mitsue, and the German philosopher Martin Heidegger. The overall purpose, as we progress from one to the other, is to present, explore and disclose a horizon where poetry gradually becomes the locus of a philosophy of language that places it at the genesis of mutual understanding, ethics and, thus, of (...) community. (shrink)

Words appear to be denizens of the external world or, at any rate, not wholly mental, unlike our pains. It is the norm for philosophical accounts of words to reflect this appearance by offering various socio-cultural conditions to which an adequate account of wordhood must cleave. The paper argues, to the contrary, that an adequate account of word phenomena need avert to nothing other than individual psychology along with potential external factors that in-themselves do not count as linguistic. (...) My principal leverage will be that, by everyone’s lights, whatever words are, they are syntactically combinable and possess structural properties. But such conditions cannot be externally realised; instead, they are aspects of our internally realised cognitive capacity. It will also be argued, however, that the position is consistent with much of our common lore about words, albeit sans an externalist linguistic ontology. (shrink)

Searle’s theory on the ontology of the social world affords reasons to explain the existence of such things as “laws” and “rights” without the assumption that there are any “natural” rights. In this article, I intend to point out some consequences Searle’s theory has in the field of philosophy of law. As I intend to show, it is possible to describe Searle’s theory as a version of legal positivism. Key words: Searle, law, legal positivism, social ontology, human (...) rights. (shrink)

What are the meanings of number expressions, and what can they tell us about questions of central importance to the philosophy of mathematics, specifically 'Do numbers exist?' This Element attempts to shed light on this question by outlining a recent debate between substantivalists and adjectivalists regarding the semantic function of number words in numerical statements. After highlighting their motivations and challenges, I develop a comprehensive polymorphic semantics for number expressions. I argue that accounting for the numerous meanings and how (...) they are related leads to a strengthened argument for realism, one which renders familiar forms of nominalism highly implausible. (shrink)

Recent scholarship has inquired into the socio-historical, discursive genesis of trauma. Trauma and the Ontology of the Modern Subject, however, seeks what has not been actualized in trauma studies - that is, how the necessity and unassailable intensity of trauma is fastened to its historical emergence. We must ask not only what trauma means for the individual person's biography, but also what it means to be the historical subject of trauma. In other words, how does being human in (...) this current period of history implicate one's lived possibilities that are threatened, and perhaps framed, through trauma? Foucauldian sensibilities inform a critical and structural analysis that is hermeneutically grounded. Drawing on the history of ideas and on Lacan's work in particular, John L. Roberts argues that what we mean by trauma has developed over time, and that it is intimately tied with an ontology of the subject; that is to say, what it is to be, and means to be human. He argues that modern subjectivity - as articulated by Heidegger, Levinas, and Lacan - is structurally traumatic, founded in its finitude as self-withdrawal in time, its temporal self-absence becoming the very conditions for agency, truth and knowledge. The book also argues that this fractured temporal horizon - as an effect of an interrupting Otherness or alterity - is obscured through the discourses and technologies of the psy-disciplines (psychiatry, psychology, and psychotherapy). Consideration is given to social, political, and economic consequences of this concealment. Trauma and the Ontology of the Modern Subject will be of enduring interest to psychoanalysts and psychotherapists as well as scholars of philosophy and cultural studies. (shrink)

The title of John Heil’s book From an Ontological Point of View is, of course, an adaptation of the title of Quine’s influential collection of essays From a Logical Point of View, published fifty years earlier in 1953. Quine’s book marked the beginning of a sea change in philosophy, away from ordinary language, armchair philosophising involving introspective examination of concepts, towards a more rigorous, analytical and scientific approach to answering philosophical questions. Heil’s book will, I think, mark the beginning of (...) another sea change in philosophy, this time, away from a focus on language, and towards a focus on ontology. For that reason, the replacement of ‘Logical’ with ‘Ontological’ in Heil’s title is apposite. This is not to deny that Quine, and analytic philosophy in his wake, was interested in ontology. Some of the most fundamental philosophical questions that have vexed philosophers in the last fifty years are ontological questions: Are there numbers? Are there properties? Are there events? And if there are any of these kinds of things, what is their nature? But post-Quinean philosophers often set about answering these questions by looking at the language we use when we talk about numbers, properties and events. For example, philosophers engaged in the debate between realists and nominalists about universals would ask whether talk of redness could be adequately paraphrased by talk of red things. If so, the nominalist concluded that we are not committed to the existence of universals. If not, the realist concluded that we cannot escape commitment to them. Heil recommends that we abandon this methodology, for it leads us up blind alleys and conceals more acceptable positions from us. We should instead turn our attention directly onto ontological matters. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Production Determines CategoryAn Ontology of ArtMichael Weh (bio)1. Are There Singular Artworks?It is a mainstream view within the ontology of art that there are singular as well as multiple artworks, but it is also a view that is contested. In what follows, I will investigate whether the singular/multiple distinction can be sustained and will argue for a new way to determine the category to which an artwork (...) belongs. Though this seems to be an enterprise of rather theoretical concern, it has a direct practical dimension to it as well. Whether we are right to distinguish between singular and multiple artworks, and on what grounds such a distinction could be made, is of course affecting our treatment of artworks and our whole practice of exhibiting, selling, and appreciating works of art because it is based on the assumption that certain works are unique (and thus exhibited in museums and sold for considerable prices), whereas others exist in several instances (which make them widely available and not to be identified with a single object of appreciation). I hope to show that our practice of categorizing art is mostly appropriate but for different reasons than it has been suggested before.The first question to consider is, What defines a singular artwork? The most obvious characteristic is that it is singular—that is, it exists in only one instance. There is only one Mona Lisa, and there cannot be multiple instances of the Mona Lisa, whereas there can be multiple instances of Ulysses. But a little more precision is advisable. The criterion to decide whether a given work is singular cannot be if there actually is just one instance of the work.1 There might be a multiple artwork, say the novel x, of which there is only one instance—the manuscript. But this does not make x a singular artwork because there could be many copies of x, and they would all be instances of x if they fulfilled the necessary identity criteria between type and token.A copy of the Mona Lisa, on the other hand, would not—according to the common understanding of "singular artworks"—be an instance of the [End Page 84] painting but just that: a copy of the Mona Lisa. Thus, a singular artwork can only exist in one exemplar, and it is impossible that there is more than one. There can only be copies, reproductions, posters, forgeries, facsimiles, or pictures of the Mona Lisa but not an exemplar of the Mona Lisa other than the original. Talking of one exemplar or instance of the Mona Lisa might even be slightly misleading, as it is not supposed to suggest that there is some abstract entity Mona Lisa of which Leonardo's painting is the one and only possible instance. The claim is rather that in the case of singular artworks, there is no type the painting would be a token of at all but only the original physical object. The original is the work.The view that paintings and sculptures are singular artworks that are to be identified with physical objects is held by many ontologists of art, including Richard Wollheim, Jerrold Levinson, and Nicholas Wolterstorff. The view is not unchallenged, however, and some people think that what would normally be considered as singular artworks can—at least in principle—exist in several instances as well. In other words, there are no singular artworks at all. And if there could be several instances of the Mona Lisa, this not only means that the Mona Lisa is not a singular work of art but also that it is not a physical object; rather, it is an abstract object like a literary or musical work.2 This view is defended by, amongst others, Gregory Currie, Maria Reicher, and Peter Strawson.But let us first look at some reasons why one might want to insist that some artworks are concrete particulars. To begin with, this is how we deal with and think about paintings and sculptures. The assumption that, say, paintings are singular artworks is implied in our social practices concerning paintings. We put the originals in museums and not copies of them. We buy and... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Realm of Mimesis in Plato: Orality, Writing, and the Ontology of the Image by Mariangela EspositoDoug Al-MainiESPOSITO, Mariangela. The Realm of Mimesis in Plato: Orality, Writing, and the Ontology of the Image. Boston: Brill, 2023. xiv + 173 pp. Cloth, $143.00This manuscript grew out of the author’s original interest in Platonic aesthetics, itself developing into a more particularized examination of Plato’s account of beauty. Plato’s (...) interest in the arts is famously bound up in a broad criticism of their imitative nature; the relation between the original and the imitation, or the eidos and the eidolon, is the core topic of this book. When this binary nature of mimesis is emphasized, it is difficult not to see the two poles as opposed to each other, and indeed there are several passages in the Platonic corpus that tell us directly to value the eidos over the eidolon. “The critique of the arts, in general terms, is based on the assumption that they produce multiple, false, sensorial images (eidola ) that are far removed from the truth, while the truth is a process through which multiplicities are gathered together into an intellectual unity (eidos).” While this duality shows up in the dialogues in numerous ways, Esposito seeks to show a method that transcends it, a method that depends on the experience of [End Page 347] beauty. Beauty is the entity that allows for a transition from the sensual to the intellectual, a point Plato makes in both the Symposium and the Phaedrus, and thereby supports the view that the binary pair of image and original are not so discrete as we might originally believe.Esposito’s analysis of the relation between image and original is made concrete through its application to writing and speech. The book is divided into an introduction, three chapters, and a conclusion that track the progress of our ascent to the eidos, with the first chapter devoted to Plato’s critique of writing, the second to the critique of speech, and the third to an analysis of how beauty facilitates going beyond their opposition. The main sources for the critique of writing are the Phaedrus and the Seventh Letter; Socrates in the Phaedrus explicitly declares writing to be an imitation of speech and the Seventh Letter supports this position. Esposito follows Derrida’s famous essay, Plato’s Pharmacy, stating, “In Derrida’s account of the Phaedrus, this is the main charge against the written word: first, it imitates the original, and then—its second crime—substitutes itself for the original.” The ability of the copy to substitute itself for the original shows a sensitivity on Derrida’s part to the kind of project that Esposito wants to engage in, and indeed a major theme of Derrida’s work was his use of the concept of the pharmakon as something that transgressed a boundary between seemingly discrete opposites; the term pharmakon could refer to either a poison or a cure. But Esposito claims that focusing on the opposition between speech and writing ensures that it will never be overcome, and so this criticism of writing (as an imitation) must be demoted in importance. Esposito therefore ultimately distances herself from Derrida and also spends time taking on the importance of the so-called Unwritten Doctrines, especially as outlined by the Tübingen School. The Tübingen School straightforwardly accepts the criticism of writing in comparison to speech and so develops a theory of unwritten doctrines that Plato would only transfer orally. Given her project of synthesizing the tension between writing and speech, it is unsurprising that Esposito would be hostile to the project of the Tübingen School, “which this work does not consider sustainable.”In the second chapter Esposito moves on to the critique of speech. Here the core of her analysis is given to the Sophist, which provides us with “the best ontological expression of the criticism of image making.” The wider criticism of the Sophist is centered on the observation that appearances are bound up with nonbeing itself; “the biggest challenge posed by the sophist and the main danger of the mimetic mechanism is revealed: both allow the pseudos... (shrink)

Programming artificial intelligence to make fairness assessments of texts through top-down rules, bottom-up training, or hybrid approaches, has presented the challenge of defining cross-cultural fairness. In this paper a simple method is presented which uses vectors to discover if a verb is unfair or fair. It uses already existing relational social ontologies inherent in Word Embeddings and thus requires no training. The plausibility of the approach rests on two premises. That individuals consider fair acts those that they would be willing (...) to accept if done to themselves. Secondly, that such a construal is ontologically reflected in Word Embeddings, by virtue of their ability to reflect the dimensions of such a perception. These dimensions being: responsibility vs. irresponsibility, gain vs. loss, reward vs. sanction, joy vs. pain, all as a single vector. The paper finds it possible to quantify and qualify a verb as fair or unfair by calculating the cosine similarity of the said verb’s embedding vector against FairVec—which represents the above dimensions. We apply this to Glove and Word2Vec embeddings. Testing on a list of verbs produces an F1 score of 95.7, which is improved to 97.0. Lastly, a demonstration of the method’s applicability to sentence measurement is carried out. (shrink)

In the recent literature on the ontology and metaphysics of words, Jerrold J. Katz’ type-realist or ‘Platonist’ view is often mentioned but never spelt out in detail. This is perhaps understandable in light of the fact that his most developed statements on this matter are effectively offshoots of his main discourse in Realistic Rationalism (Katz, 1998a). His direct statements about the metaphysics of words are few and far between and are scattered across the text. This situation has (...) often led to misunderstandings or misconstruals about the exact nature of his view, some of which is buried in footnotes, and some of which must be reconstructed. Hence, criticisms of Katz’ approach have been wide of the mark or otherwise unproductive. In this article, I provide a remedy for this situation by drawing together and abstracting the relevant material regarding the metaphysics of words from its context and reconstructing the theory. I also develop the view further through resolving some potential problems and omissions, and by responding to recent criticism that the approach has received in the burgeoning literature on the philosophy of words. I hope that this will help to clarify the theory and lead to further debate and development on all sides of the discussion. (shrink)

This essay begins with a puzzle in metaphysics, the unity dilemma . The enduring debate between monists and pluralists can be understood in terms of a single problem, the supposed impossibility of including the bulk of our naive ontology in a single, all-embracing ontological category. Either one insists, as the monist does, on a unified ontology at the cost of surrendering much of our naive ontology to reduction or non-existence, or one accommodates the bulk of our naive (...) ontology by accepting more than one fundamental ontological category. ;For a suggestion of how we might resolve the dilemma, we turn to the case of photography. Because photographs---like symphonies, novels, words, and species---have occurrences, there is a temptation to think they must belong to a different ontological category from paintings and other central members of our ontology. I investigate a received view about such 'multiple' works of art, that they should be understood within the framework of types and tokens. I argue that the type approach fails to correctly account for photographs precisely because it ignores a sustained analogy between photographs and paintings. Unlike types, both photographs and paintings are temporal items, subjects of change and modal possibility, and are ontologically grounded in the physical world. ;I then generalize the lessons of photography and formulate a distinction between real and idealized objects. Real objects are genuinely historical objects, those which exist temporally, are subject to temporal and modal alteration, are susceptible to causal interaction, and are ontologically grounded in the physical world. Idealized objects lack one or more of these features, either because they lack a genuine history or because their existence is cut loose from any ontological grounding in this world. I argue that this distinction is independent of traditional distinctions between physical and mental, concrete and abstract, and particular and universal, and suggest that there are examples of real objects in all these categories. The category of the real is a promising candidate for resolving the unity dilemma because it shows us how seemingly disparate members of our naive ontology turn out to category-matcs after all. (shrink)

In this paper I address three problems posed by modern medical technology regarding comatose dying patients. The first is that physicians sometimes hide behind the tests for whole-brain death rather than make the necessary human decision. The second is that the tests themselves betray a metaphysical judgment about death that may be ontologically faulty. The third is that discretion used by physicians and patients and/or family in deciding to cease treatment when the whole-brain death criteria may not be met are (...) sometimes open to challenge. In each of these problems I find that the operative concept of death relates to life itself. This point is expanded by examining the uses of the word death in our language and culture. From these I formulate an initial ontology of death. In it, death is described through a relationship with life, rather than as an absence of life, of consciousness, awareness, or sensation. This ontology then leads to a proposal for an ethics of discretion about the discontinuation of treatment for comatose patients. (shrink)

Reference to persons with personal pronouns raises the issue of the primary referent and its nature. “I” does not refer to a property or cluster of properties. This contrasts with our identifying grasp of persons. A person is a radical singularity and thus stands in contrast to a kind or sortal term. The individuation of persons is not adequately grasped by “definite descriptions” or “eidetic singularities.” In spite of the seeming possibility of persons being wholly identical in terms of properties, (...) in other words, “doubles,” the core referent of reference to persons is not to what is individuated merely by mere numerical differences or spatial-temporal, and essential-eidetic determinations. Rather we have to do with a “non-sortal unique essence.” What “I” refers to is a self-individuating substance. This raises questions for the proper referent of “love.” What is it that love intends or loves if persons are basically radical singularities. What does one love and why does one love if whom one loves is most essentially non-sortal? The question of the ontological status of persons requires integrating the status of being transcendental I’s, and thus being non-temporal, non-spatial, non-sortal, simple substances and thus not homogenous with the experienced world. (shrink)

‘Postmodern’ is a concept now deposited in the word banks of both highbrow cinephilesand lowbrow arbiters of popular filmic taste. How these two groups of critics deploy theterm, however, widely differs. Critiquing Wes Anderson’s The Life Aquatic with SteveZissou , for instance, Entertainment Weekly’s Owen Glieberman writes: ‘Once again,[Anderson] creates a hermetic, glassed-in movie world of postmodern anachronisms thatcharms and distances in equal measure’ . Characteristic of most reviewers of LifeAquatic, Glieberman uses ‘postmodern’ in a purely aesthetic sense. Although this (...) apoliticaluse of the term is endemic to the business of popular film criticism, part of the reasoncritics deployed ‘postmodern’ bereft of all cultural and political connotations in the case ofLife Aquatic can be chalked up to the film itself. Any overtly political meaning in the film ismediated by what Todd Gilchrist calls the film’s ‘fantastic, just-left-of-realityuniverse.’ Anderson’s idiosyncratic filmmaking style – his penchant for what Josh Bell calls‘empty collections of quirks’ and ‘irrelevant eccentricities’ which prize ‘false clevernessover story and content’ – exacerbates the problem of politicizing Life Aquatic’spostmodernism . A growing cult of the author begets the faciledismissal or deification of Life Aquatic based on tenuously apolitical criteria. (shrink)

John Searle has recently developed a theory of reasons for acting that intends to rescue the freedom of the will, endangered by causal determinism, whether physical or psychological. To achieve this purpose, Searle postulates a series of "gaps" that are supposed toendowthe self with free will. Reviewing key steps in Searle's argument, this article shows that such an undertaking cannot be successfully completed because of its solipsist premises. The author argues that reasons for acting do not have a subjective, I- (...) class='Hi'>ontology but a first-person plural, Weontology that better accounts for agency and responsibility. Key Words: free will • agency • reasons for acting • ontology. (shrink)

This work presents two theoretical challenges to Conceptual Metaphor Theory (CMT). The first argument shows CMT’s foundational _Conceptual Claim—_that abstract concepts are necessarily structured by concrete concepts—entails the blurring of the literal–figurative distinction, which calls into question the legitimacy of standard methods of metaphor identification used in CMT. The second argument aims at the _Linguistic Claim—_that conceptual metaphors are necessary for metaphorical language—by showing that conceptual metaphors are neither necessary nor sufficient for linguistic metaphors and that, therefore, the existence of (...) conceptual metaphors cannot be validly inferred from the presence of their linguistic counterparts. In light of the arguments put forward, the CMT theorist is forced to accept one of four options: (A) hold on to both the Conceptual Claim and Linguistic Claim, by adequately addressing problems presented here, (B) discard the Conceptual Claim and give up the theory, (C) discard both claims and give up the theory, or (D) accept the Conceptual Claim but reject the Linguistic Claim and abandon the methods of discovering conceptual metaphors through analysis of figurative language. I argue that the only tenable option is D. (shrink)

Jacqueline Fawcett's nursing metaparadigm—the domains of person, health, environment, and nursing—remains popular in nursing curricula, despite having been repeatedly challenged as a logical philosophy of nursing. Fawcett appropriated the word “metaparadigm” (indirectly) from Margaret Masterman and Thomas Kuhn as a devise that allowed her to organize then‐current areas of nursing interest into a philosophical “hierarchy of knowledge,” and thereby claim nursing inquiry and practice as rigorously “scientific.” Scholars have consistently rejected the logic of Fawcett's metaparadigm, but have not yet proposed (...) a substantially agreed‐upon alternative. Through an analysis of articles introducing and critiquing Fawcett's metaparadigm, I argue for a re‐conceptualized metaparadigm that articulates nursing's ontology. What exists for the nursing discipline are not already‐demarcated metaparadigm domains, but rather interdependent, dynamic relations that constitute people, including nurses, in their health/environment circumstance. The nursing discipline aims to skillfully access this dynamic relationality as the basis for action and reflection to produce both positive health trajectories and knowledge that facilitates future action and reflection. Further inquiry into the onto‐epistemology of nursing will produce a more robust understanding of nursing practice, science, and philosophy, and clarify its unique contribution to health and healthcare. (shrink)

In this work author analyses names with the period of existence greater than zero. The whole body of names is divided into 1) “long-timed words” and 2) “singular words”. It is shown that in Peirce Triangle the name itself, its denotation and meaning may last in different combinations. Typology of “long-timed words” and “singular words” is described. New notion describing the world of possible and real objects is introduced - Ontological Space or Writing Sample. Tetrahedron of (...) Propis is also introduced with meaning rather than name as its apex. It is shown than neither “name” nor “denotate” can exist without sense whilst sense can exist without “name” or “denotate”. The fact that Writing Sample consists of “segments-streaks” is justified. It is also shown that “long-timed words” do correspond to these “segments-streaks” of the Propis. Analysis of the Propis led to formulating fourteen axioms that its “segments-streaks” and “long-timed words” obey. (shrink)

Ontologies are created to describe and reason over the knowledge of a domain of interest. This requires deep understanding of the domain, and therefore, the input and collaboration of the domain’s...