The entire third series of the ITV costume drama following the lives and loves of those above and below stairs in an English stately home. With World War One finally over, the 1920s heralds the promise of a new age for those at Downton Abbey. But while the family prepare for the wedding of Lady Mary (Michelle Dockery) and Matthew (Dan Stevens), Lord Grantham (Hugh Bonneville) learns that the future of Downton is in grave jeopardy after the collapse of investments made with his wife (Elizabeth McGovern)'s fortune. With the family beginning to gather for the wedding celebrations, a grand entrance by Cora's thoroughly modern mother, Martha Levinson (Shirley MacLaine), threatens to ruffle a few of the Dowager (Maggie Smith)'s feathers.

Knowledge ascriptions, such as 'Sam knows that Obama is president of the United States', play a central role in our cognitive and social lives. For example, they are closely related to epistemic assessments of action. As a result, knowledge ascriptions are a central topic of research in both philosophy and science. In this collection of new essays on knowledge ascriptions, world class philosophers offer novel approaches to this long standing topic. The contributions exemplify three recent approaches to knowledge ascriptions. First, a linguistic turn according to which linguistic phenomena and theory are an important resource for providing an adequate account of knowledge ascriptions. Second, a cognitive turn according to which empirical theories from, for example, cognitive psychology as well as experimental philosophy should be invoked in theorizing about knowledge ascriptions. Third, a social turn according to which the social functions of knowledge ascriptions to both individuals and groups are central to understanding knowledge ascriptions. In addition, since knowledge ascriptions have figured very prominently in discussions concerning philosophical methodology, many of the contributions address or exemplify various methodological approaches. The editors, Jessica Brown and Mikkel Gerken, provide a substantive introduction that gives an overview of the various approaches to this complex debate, their interconnections, and the wide-ranging methodological issues that they raise.

The essays collected in Jane Austen and the Arts; Elegance, Propriety, and Harmony examine Austen's understanding of the arts, her aesthetic philosophy, and her role as artist. Together, they explore Austen's connections with Edmund Burke, Adam Smith, Johann Wolfgang von Goethe, Madame de Stael, Joanna Baillie, Jean Jacques Rousseau, Mary Anne Schimmelpenninck, and other writers engaged in debates on the sensuous experience and the intellectual judgment of art. Our contributors look at Austen's engagement with diverse art forms, painting, ballet, drama, poetry, and music, investigating our topic within historically grounded and theoretically nuanced essays. They represent Austen as a writer-thinker reflecting on the nature and practice of artistic creation and considering the social, moral, psychological, and theological functions of art in her fiction. We suggest that Austen knew, modified, and transformed the dominant aesthetic discourses of her era, at times ironically, to her own artistic ends. As a result, a new, and compelling image of Austen emerges, a "portrait of a lady artist" confidently promoting her own distinctly post-enlightenment aesthetic system.

The essays collected in Jane Austen and the Arts; Elegance, Propriety, and Harmony examine Austen's understanding of the arts, her aesthetic philosophy, and her role as artist. Together, they explore Austen's connections with Edmund Burke, Adam Smith, Johann Wolfgang von Goethe, Madame de Stael, Joanna Baillie, Jean Jacques Rousseau, Mary Anne Schimmelpenninck, and other writers engaged in debates on the sensuous experience and the intellectual judgment of art. Our contributors look at Austen's engagement with diverse art forms, painting, ballet, drama, poetry, and music, investigating our topic within historically grounded and theoretically nuanced essays. They represent Austen as a writer-thinker reflecting on the nature and practice of artistic creation and considering the social, moral, psychological, and theological functions of art in her fiction. We suggest that Austen knew, modified, and transformed the dominant aesthetic discourses of her era, at times ironically, to her own artistic ends. As a result, a new, and compelling image of Austen emerges, a "portrait of a lady artist" confidently promoting her own distinctly post-enlightenment aesthetic system.

Assertion is a fundamental feature of language. This volume will be the place to look for anyone interested in current work on the topic. Philosophers of language and epistemologists join forces to elucidate what kind of speech act assertion is, particularly in light of relativist views of truth, and how assertion is governed by epistemic norms.

Assertion is a fundamental feature of language. This volume will be the place to look for anyone interested in current work on the topic. Philosophers of language and epistemologists join forces to elucidate what kind of speech act assertion is, particularly in light of relativist views of truth, and how assertion is governed by epistemic norms.

Traditionally, the notion of defeat has been central to epistemology, practical reasoning, and ethics. Within epistemology, it is standardly assumed that a subject who knows that p, or justifiably believes that p, can lose this knowledge or justified belief by acquiring a so-called 'defeater', whether that is evidence that not-p, evidence that the process that produced her belief is unreliable, or evidence that she has likely misevaluated her own evidence. Within ethics and practical reasoning, it is widely accepted that a subject may initially have a reason to do something although this reason is later defeated by her acquisition of further information. However, the traditional conception of defeat has recently come under attack. Some have argued that the notion of defeat is problematically motivated; others that defeat is hard to accommodate within externalist or naturalistic accounts of knowledge or justification; and still others that the intuitions that support defeat can be explained in other ways. This volume presents new work re-examining the very notion of defeat, and its place in epistemology and in normativity theory at large.

What strength of evidence is required for knowledge? Ordinarily, we often claim to know something on the basis of evidence which doesn't guarantee its truth. For instance, one might claim to know that one sees a crow on the basis of visual experience even though having that experience does not guarantee that there is a crow (it might be a rook, or one might be dreaming). As a result, those wanting to avoid philosophical scepticism have standardly embraced "fallibilism": one can know a proposition on the basis of evidence that supports it even if the evidence doesn't guarantee its truth. Despite this, there's been a persistent temptation to endorse "infallibilism", according to which knowledge requires evidence that guarantees truth. For doesn't it sound contradictory to simultaneously claim to know and admit the possibility of error? Infallibilism is undergoing a contemporary renaissance. Furthermore, recent infallibilists make the surprising claim that they can avoid scepticism. Jessica Brown presents a fresh examination of the debate between these two positions. She argues that infallibilists can avoid scepticism only at the cost of problematic commitments concerning evidence and evidential support. Further, she argues that alleged objections to fallibilism are not compelling. She concludes that we should be fallibilists. In doing so, she discusses the nature of evidence, evidential support, justification, blamelessness, closure for knowledge, defeat, epistemic akrasia, practical reasoning, concessive knowledge attributions, and the threshold problem.