Hall, Alison. Free enrichment or hidden indexicals?
2008, Mind and Language 23 (4):426-456.
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Added by: Clotilde Torregrossa, Contributed by: Thomas Hodgson
Abstract: A current debate in semantics and pragmatics is whether all contextual effects on truth-conditional content can be traced to logical form, or 'unarticulated constituents' can be supplied by the pragmatic process of free enrichment. In this paper, I defend the latter position. The main objection to this view is that free enrichment appears to overgenerate, not predicting where context cannot affect truth conditions, so that a systematic account is unlikely (Stanley, 2002a). I first examine the semantic alternative proposed by Stanley and others, which assumes extensive hidden structure acting as a linguistic trigger for pragmatic processes, so that all truth-conditional effects of context turn out to be instances of saturation. I show that there are cases of optional pragmatic contributions to the proposition expressed that cannot plausibly be accounted for in this way, and that advocates of this approach will therefore also have to appeal to free enrichment. The final section starts to address the question of how free enrichment is constrained: I argue that it involves only local development or adjustment of parts of logical form, any global developments being excluded by the requirement for the proposition expressed to provide an inferential warrant for the intended implications of the utterance.Goehr, Lydia. The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music1992, Oxford University Press.-
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Added by: Chris Blake-Turner, Contributed by: Christy Mag Uidhir
Publisher's Note: What is the difference between a performance of Beethoven's Fifth Symphony and the symphony itself? What does it mean for musicians to be faithful to the works they perform? To answer this question, Goehr combines philosophical and historical methods of enquiry. She describes how the concept of a musical work emerged as late as 1800, and how it subsequently defined the norms, expectations, and behavior characteristic of classical musical practice. Out of the historical thesis, Goehr draws philosophical conclusions about the normative functions of concepts and ideals. She also addresses current debates amongst conductors, early-music performers, and avant-gardists.Comment:
Goehr, Lydia. Political music and the politics of music1994, Journal of Aesthetics and Art Criticism 52 (1):99-112.-
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Added by: Chris Blake-Turner, Contributed by: Christy Mag Uidhir
Introduction: On September 24th, 1947, a composer with "an international reputation" became the first Holly wood artist to be called before the Committee on Un-American Activities [HUAC]. The charge against him was that his music had aided the Communist infiltration of the motion-picture industry.' A significant part of his defense con sisted in his claim that he was only a musician and thus not responsible for any part of a Com munist conspiracy. What is peculiar is that he almost got away with this unlikely defense, unlikely because he had spent much of his life developing a political music consistent with the ideals of Communism. In the end, the Commit tee caught him out on technical grounds: it found a history of inaccurate statements in his visa applications. The composer was deported. It was the second exile of his life: the first had been from Germany ten years earlier.Comment:
Gertler, Brie. The relationship between phenomenality and intentionality: Comments on Siewert’s The Significance of Consciousness2001, PSYCHE: An Interdisciplinary Journal of Research On Consciousness 7.-
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Added by: Clotilde Torregrossa, Contributed by: Simon Fokt
Publisher's Note: Charles Siewert offers a persuasive argument to show that the presence of certain phenomenal features logically suffices for the presence of certain intentional ones. He claims that this shows that phenomenal features are inherently intentional. I argue that he has not established the latter thesis, even if we grant the logical sufficiency claim. For he has not ruled out a rival alternative interpretation of the relevant data, namely, that intentional features are inherently phenomenalComment:
Gertler, Brie. The Knowledge Argument2005, In The Encyclopedia of Philosophy. MacMillan.-
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Added by: Clotilde Torregrossa, Contributed by: Simon Fokt
Abstract: The definitive statement of the Knowledge Argument was formulated by Frank Jackson, in a paper entitled 'Epiphenomenal Qualia' that appeared in The Philosophical Quarterly in 1982. Arguments in the same spirit had appeared earlier (Broad 1925, Robinson 1982), but Jackson's argument is most often compared with Thomas Nagel's argument in 'What is it Like to be a Bat?' (1974). Jackson, however, takes pains to distinguish his argument from Nagel's. This entry will follow standard practice in focusing on Jackson's argument, though I will also describe the main points of alleged similarity and dissimilarity between these two arguments.Comment:
1992, Blackwell.-
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Added by: Clotilde Torregrossa
Abstract: Book synopsis: The feminist movement has challenged many of the unstated assumptions on which ethics as a branch of philosophy has always rested - assumptions about human nature, moral agency, citizenship and kinship. The twenty-six readings in this book express the discontent of a succession of fiercely articulate women writers, from Mary Wollstonecraft to the present day, with the masculine bias of `morality'. The editors have contributed an overall introduction, which discusses ethics, feminism and feminist themes in ethics, and have provided introductions to each of the readings, designed to situate in their historical and intellectual context. They have also compiled two lists for further reading: `Ethics: a Feminist Bibliography' and `The Male Tradition'. Ethics: A Feminist Reader is an essential resource for students and teachers of philosophy, political theory and women's studies. For anyone with a stake in progressive sexual politics it is an inspirational guide.Comment:
Friend, Stacie. The pleasures of documentary tragedy2007, British Journal of Aesthetics 47 (2):184-198.-
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Added by: Chris Blake-Turner, Contributed by: Christy Mag Uidhir
Abstract: Two assumptions are common in discussions of the paradox of tragedy: (1) that tragic pleasure requires that the work be fictional or, if non-fiction, then non-transparently represented; and (2) that tragic pleasure may be provoked by a wide variety of art forms. In opposition to (1) I argue that certain documentaries could produce tragic pleasure. This is not to say that any sad or painful documentary could do so. In considering which documentaries might be plausible candidates, I further argue, against (2), that the scope of tragic pleasure is limited to works that possess certain thematic and narrative features.Comment: This is a clearly written paper that can be used in teaching a wide array of topics in aesthetics, especially the literatures on emotional engagement with art, and documentary film. Friend does not presuppose much background knowledge on these issues. As such, this paper would make for an excellent addition to an introduction to aesthetics module, perhaps being used as a main reading for units on emotion and art. A more focused upper-division module on a subject such as philosophy of film could also benefit from this paper's inclusion.
Figdor, Carrie. Neuroscience and the multiple realization of cognitive functions2010, Philosophy of Science 77 (3):419-456.-
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Added by: Clotilde Torregrossa, Contributed by: Carrie FigdorAbstract:
Article: Many empirically minded philosophers have used neuroscientific data to argue against the multiple realization of cognitive functions in existing biological organisms. I argue that neuroscientists themselves have proposed a biologically based concept of multiple realization as an alternative to interpreting empirical findings in terms of one-to-one structure/function mappings. I introduce this concept and its associated research framework and also how some of the main neuroscience-based arguments against multiple realization go wrong.Comment: This is a direct reply to Bechtel and Mundale (1999) and I know some more aware people have paired it with that paper in the classroom. It's philosophy of neuroscience, philosophy of mind.
Farkas, Katalin. What is externalism?2003, Philosophical Studies 112 (3):187-208.-
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Added by: Clotilde Torregrossa, Contributed by: Nora Heinzelmann
Abstract: The content of the externalist thesis about the mind depends crucially on how we define the distinction between the internal and the external. According to the usual understanding, the boundary between the internal and the external is the skull or the skin of the subject. In this paper I argue that the usual understanding is inadequate, and that only the new understanding of the external/internal distinction I suggest helps us to understand the issue of the compatibility of externalism and privileged access
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Feagin, Susan. Feminist Art History and De Facto Significance2010, In Peg Zeglin Brand & Carolyn Korsmeyer (eds.), Feminism and Tradition in Aesthetics. Penn State Press.-
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Added by: Clotilde Torregrossa, Contributed by: Christy Mag Uidhir
Abstract: In her excellent "Feminist Art History and De Facto Significance," for example, aesthetician Susan L. Feagin explains how her initial skepticism about Continental approaches-especially those drawing on Foucault, Marx, Levi-Strauss, Lacan, and "even Derrida and poststructuralist literary theory" - gave way to an appreciation of how these approaches encourage, in a way analytic aesthetics does not, "the trenchant analyses and acute observations that have emerged from feminist art historians" (305). And, indeed, although she goes on to suggest how traditional aesthetics might accommodate feminist and other politically informed analyses, she cautions that "it is too easy to miss the most innovative aspects of another's view if one tries to understand it only in terms of one's own theoretical perspective" (305).(from review by Sally Markowitz, Hypatia Vol. 11, No. 3 (Summer, 1996), pp. 169-172)Comment:
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