Diversity Reading List

Introduction: Western philosophers at least as far back as Plato and Aristotle have been interested in question concerning narrative art: what it is, why it engages us, and how engagement with it affects us. An important part of the philosophical discussion has focused on the relationship between narrative art and emotion, for many have thought the power and influence of anarrative art comes primarily form its ability to arouse strong emotions. In this paper I focus on one type of narrative art: narrative fiction film. In many ways the film viewing experience is ideal for the purpose of promoting emotional engagement. Due to the nature of narrative fiction film and the structure of the viewing experience, watching and experiencing film puts us in a unique position to become cognitively and emotionally engaged while remaining aware of the fact that the object of our engagement is fictional...

Abstract: Cognitive theories of emotions have provided us with explanations of how we emotionally engage with fiction, when we are aware that what is depicted is fictional. However, these theories left an important question unanswered: namely, what kinds of emotional responses to fiction are warranted responses. The main focus of this paper is how our emotional responses to fiction can be aesthetically warranted - that is, how emotions directed to fiction can be warranted given the fact that its object is an artwork. I consider three possible explanations of this phenomenon: the real-life principle, a correspondence model, and a functional model. I argue that the real-life principle and the correspondence model fall short of explaining how our emotional responses to film are aesthetically warranted, and instead I argue that a functional model provides such an explanation. In this paper, I will primarily focus on fiction films, although I will address novels and other art forms where necessary.

Abstract: Recently, philosophers have discovered that they have a lot to learn from, or at least to ponder about, fiction. Many metaphysicians are attracted to fiction as a model for our talk about purported objects and properties, such as numbers, morality, and possible worlds, without embracing a robust Platonist ontology. In addition, a growing group of philosophers of mind are interested in the implications of our engagement with fiction for our understanding of the mind and emotions: If I don't believe that Anna Karenina exists, can I really pity her, or hope or desire that she extricate herself from her tragic situation? And why is there no 'morality fiction,' analogous to science fiction? I suspect that philosophers have been especially comfortable thinking about fiction because it seems, at least prima facie, to employ the imagination in a way that conforms to a standard model of the mind. Specifically, contemporary philosophers tend to think of imagination as a form of mental pretense. Mental pretense can take two main forms: a cognitive attitude of supposing a set of propositions to be true (make-believe) or else an experiential state of imaging a scenario as if it were before one (imaging). Much of our pretense intertwines the cognitive and experiential modalities, of course. But both share a crucial common feature: all of one's imaginative effort is invested in pretending that certain contents obtain. In this sense, we can understand imagination as the 'offline' simulation of actual beliefs and perceptions (and perhaps other attitudes as well), where we analyze these in the normal way, as states individuated by their attitude and representational content. While I share the burgeoning interest in fiction, I want to suggest that we also have a lot to learn from poetry, and in particular from poetic metaphor. I will argue..

Publisher's Note: The emphasis on duly in Kant's ethics is widely held to constitute a defect. Marcia W. Baron develops and assesses the criticism, which she sees as comprising two objections: that duty plays too large a role, leaving no room for the supererogatory, and that Kant places too much value on acting from duty. Clearly written and cogently argued, Kantian Ethics Almost without Apology takes on the most philosophically intriguing objections to Kant's ethics and subjects them to a rigorous yet sympathetic assessment.

Abstract: Human language is not the only naturally occurring symbol system. There are many animals other than human beings that communicate by means of signs or signals; vervet monkeys, for example, have specialized warning cries for different kinds of predators. And some animal-communication systems even have a rudimentary syntax: the dances performed by certain honey bees have structural elements that tell other bees the direction and distance from the hive of a nectar source. But what's distinctive of human language - and the feature that Descartes was highlighting - is that the syntax of human language permits us to take parts of signs and recombine them with parts of other signs.

Abstract: In his Problems of Philosophy, Bertrand Russell distinguished knowledge by acquaintance and knowledge of truths. This paper argues for a new interpretation of the relationship between these two species of knowledge. I argue that knowledge by acquaintance of an object neither suffices for knowledge that one is acquainted with the object, nor puts a subject in a position to know that she is acquainted with the object. These conclusions emerge from a thorough examination of the central role played by attention in Russell's theory of knowledge. Attention bridges the gap between knowledge by acquaintance and our capacity to form judgements about the objects of acquaintance.

Abstract: I propose a number of criteria for the adequacy of an account of pictorial realism. Such an account must: explain the epistemic significance of realistic pictures; explain why accuracy and detail are salient to realism; be consistent with an accurate account of depiction; and explain the features of pictorial realism. I identify six features of pictorial realism. I then propose an account of realism as a measure of the information pictures provide about how their objects would look, were one to see them. This account meets the criteria I have identified and is superior to alternative accounts of realism.

Introduction: What is wisdom? Remarkably few contemporary analytic philosophers have proposed an answer to this ancient question. I think the question is interesting and deserves some careful attention. In this paper, I will present and evaluate several analyses of wisdom. I will then defend my own analysis of wisdom.

Abstract: This book is a defence of a form of realism which stands closest to that upheld by the Nyaya-Vaid'sesika school in classical India. The author presents the Nyaya view and critically examines it against that of its traditional opponent, the Buddhist version of phenomenalism and idealism. His reconstruction of Nyaya arguments meets not only traditional Buddhist objections but also those of modern sense-data representationalists

Abstract: According to Conceptualism, philosophy is an independent discipline that can be pursued from the armchair because philosophy seeks truths that can be discovered purely on the basis of our understanding of expressions and the concepts they express. In his recent book, The Philosophy of Philosophy, Timothy Williamson argues that while philosophy can indeed be pursued from the armchair, we should reject any form of Conceptualism. In this paper, we show that Williamson's arguments against Conceptualism are not successful, and we sketch a way to understand understanding that shows that there is a clear sense in which we can indeed come to know the answers to (many) philosophical questions purely on the basis of understanding.