Vague words, like "tall," "rich," and "old," lack clear boundaries of application: no clear line divides the tall people from the above average, or the old people from the middle-aged. Because they lack clear boundaries, these ordinary words cause logical and semantic problems in various disciplines including philosophy, decision theory, and the law. Philosophers and linguists have proposed several theories of vagueness to handle these difficulties, but none has been widely accepted.
Raffman contends that virtually all previous treatments of vagueness have made two crucial mistakes: they have supposed that a semantic (non-epistemic) theory must abandon bivalence, and they have paid insufficient attention to the character of ordinary speech using vague words. She develops a new theory of vagueness-the multiple range theory-that corrects both of these errors. The new theory begins with the observation that ordinary speakers seem to apply vague words in multiple arbitrarily different but equally competent ways, even when all contextual factors are held fixed. Raffman interprets this feature of their use as evidence of multiple ranges of application in the semantics of vague words, where a range of application is a range of properties whose instances satisfy the word in question; for example, a range of application of "tall" is a range of heights, a range of "old" a range of ages, and so forth. The fundamental idea is that a vague word has multiple ranges of application, and applies to things relative to those ranges, even given a single fixed context. The fact that the ranges of a vague word are arbitrarily different-there is no reason to favor any particular one-is key to solving the notorious sorites paradox.
The multiple range theory preserves bivalence and is more intuitive than other approaches. It is also simpler; for instance, it has no need of a definiteness operator, and it rules out the possibility of higher-order borderline cases, both of which introduce severe complications into other accounts. Some of the evidence Raffman draws upon in constructing her theory comes from a new psychological study of the way ordinary speakers actually use vague words.

Modality, morality and belief are among the most controversial topics in philosophy today, and few philosophers have shaped these debates as deeply as Ruth Barcan Marcus. Inspired by her work, a distinguished group of philosophers explore these issues, refine and sharpen arguments and develop new positions on such topics as possible worlds, moral dilemmas, essentialism, and the explanation of actions by beliefs. Together, this collection honors one of the most rigorous and iconoclastic of philosophical pioneers.

Modality, morality and belief are among the most controversial topics in philosophy and few philosophers have shaped these debates as deeply as Ruth Barcan Marcus. Inspired by her work, a distinguished group of philosophers explore these issues, refine and sharpen arguments and develop fresh positions on such topics as possible worlds, moral dilemmas, essentialism and the explanation of actions by beliefs. This collection honours one of the most rigourous and iconoclastic of philosophical pioneers.

The first cognitivist theory of the nature of ineffable, or verbally inexpressible, musical knowledge. Taking a novel approach to a longstanding problem in the philosophy of art, Diana Raffman provides the first cognitivist theory of the nature of ineffable, or verbally inexpressible, musical knowledge. In the process she also sheds light on central issues in the theory of mind. Raffman invokes recent theory in linguistics and cognitive psychology to provide an account of the content and etiology of musical knowledge that "can not be put into words." Within the framework of Lerdahl and Jackendoff's generative theory of music perception, she isolates three kinds of ineffability attending our conscious knowledge of music-access, feeling, and nuance ineffability-and shows how these arise. Raffman makes a detailed comparison of linguistic and musical understanding, culminating in an attack on the traditional idea that human emotions constitute the meaning or semantic content of music. She compares her account of musical ineffability to several traditional approaches to the problem, particularly those of Nelson Goodman and Stanley Cavell. In the concluding chapter, Raffman explores a significant obstacle that her theory poses to Daniel Dennett's propositional theory of consciousness.