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Showing 1 - 4 of 4 matches in All Departments
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.
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.
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.
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.
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