John MacFarlane debates how we might make sense of the idea that truth is relative, and how we might use this idea to give satisfying accounts of parts of our thought and talk that have resisted traditional methods of analysis. Although there is a substantial philosophical literature on relativism about truth, going back to Plato's Theaetetus, this literature (both pro and con) has tended to focus on refutations of the doctrine, or refutations of these refutations, at the expense of saying clearly what the doctrine is. In contrast, Assessment Sensitivity begins with a clear account of what it is to be a relativist about truth, and uses this view to give satisfying accounts of what we mean when we talk about what is tasty, what we know, what will happen, what might be the case, and what we ought to do. The book seeks to provide a richer framework for the description of linguistic practices than standard truth-conditional semantics affords: one that allows not just standard contextual sensitivity (sensitivity to features of the context in which an expression is used), but assessment sensitivity (sensitivity to features of the context from which a use of an expression is assessed). The Context and Content series is a forum for outstanding original research at the intersection of philosophy, linguistics, and cognitive science. The general editor is Francois Recanati (Institut Jean-Nicod, Paris).

Introductory logic is generally taught as a straightforward technical discipline. In this book, John MacFarlane helps the reader think about the limitations of, presuppositions of, and alternatives to classical first-order predicate logic, making this an ideal introduction to philosophical logic for any student who already has completed an introductory logic course. The book explores the following questions. Are there quantificational idioms that cannot be expressed with the familiar universal and existential quantifiers? How can logic be extended to capture modal notions like necessity and obligation? Does the material conditional adequately capture the meaning of 'if'-and if not, what are the alternatives? Should logical consequence be understood in terms of models or in terms of proofs? Can one intelligibly question the validity of basic logical principles like Modus Ponens or Double Negation Elimination? Is the fact that classical logic validates the inference from a contradiction to anything a flaw, and if so, how can logic be modified to repair it? How, exactly, is logic related to reasoning? Must classical logic be revised in order to be applied to vague language, and if so how? Each chapter is organized around suggested readings and includes exercises designed to deepen the reader's understanding. Key Features: An integrated treatment of the technical and philosophical issues comprising philosophical logic Designed to serve students taking only one course in logic beyond the introductory level Provides tools and concepts necessary to understand work in many areas of analytic philosophy Includes exercises, suggested readings, and suggestions for further exploration in each chapter

Introductory logic is generally taught as a straightforward technical discipline. In this book, John MacFarlane helps the reader think about the limitations of, presuppositions of, and alternatives to classical first-order predicate logic, making this an ideal introduction to philosophical logic for any student who already has completed an introductory logic course. The book explores the following questions. Are there quantificational idioms that cannot be expressed with the familiar universal and existential quantifiers? How can logic be extended to capture modal notions like necessity and obligation? Does the material conditional adequately capture the meaning of 'if'-and if not, what are the alternatives? Should logical consequence be understood in terms of models or in terms of proofs? Can one intelligibly question the validity of basic logical principles like Modus Ponens or Double Negation Elimination? Is the fact that classical logic validates the inference from a contradiction to anything a flaw, and if so, how can logic be modified to repair it? How, exactly, is logic related to reasoning? Must classical logic be revised in order to be applied to vague language, and if so how? Each chapter is organized around suggested readings and includes exercises designed to deepen the reader's understanding. Key Features: An integrated treatment of the technical and philosophical issues comprising philosophical logic Designed to serve students taking only one course in logic beyond the introductory level Provides tools and concepts necessary to understand work in many areas of analytic philosophy Includes exercises, suggested readings, and suggestions for further exploration in each chapter

John MacFarlane debates how we might make sense of the idea that truth is relative, and how we might use this idea to give satisfying accounts of parts of our thought and talk that have resisted traditional methods of analysis. Although there is a substantial philosophical literature on relativism about truth, going back to Plato's Theaetetus, this literature (both pro and con) has tended to focus on refutations of the doctrine, or refutations of these refutations, at the expense of saying clearly what the doctrine is. In contrast, Assessment Sensitivity begins with a clear account of what it is to be a relativist about truth, and uses this view to give satisfying accounts of what we mean when we talk about what is tasty, what we know, what will happen, what might be the case, and what we ought to do. The book seeks to provide a richer framework for the description of linguistic practices than standard truth-conditional semantics affords: one that allows not just standard contextual sensitivity (sensitivity to features of the context in which an expression is used), but assessment sensitivity (sensitivity to features of the context from which a use of an expression is assessed). The Context and Content series is a forum for outstanding original research at the intersection of philosophy, linguistics, and cognitive science. The general editor is Francois Recanati (Institut Jean-Nicod, Paris).

Prince Siegfried chances upon a flock of swans while out hunting. When one of the swans turns into a beautiful woman, Odette, he is enraptured. But she is under a spell that holds her captive, allowing her to regain her human form only at night. _x000D_ The evil spirit Von Rothbart, arbiter of Odette’s curse, disguises his daughter Odile as Odette to trick Siegfried into breaking his vow of love. Fooled, Siegfried declares his love for Odile, and so dooms Odette to suffer under the curse forever. _x000D_ Swan Lake was Tchaikovsky’s first score for the ballet. Given its status today as arguably the best-loved and most admired of all classical ballets, it is perhaps surprising that at its premiere in 1877 Swan Lake was poorly received. It is thanks to the 1895 production by Marius Petipa and Lev Ivanov that Swan Lake has become part of not only ballet consciousness but also wider popular culture. That success is secured not only by the sublime, symphonic sweep of Tchaikovsky’s score but also by the striking choreographic contrasts between Petipa’s royal palace scenes and the lyric lakeside scenes created by Ivanov. _x000D_ Swan Lake has had a special role in the repertory of The Royal Ballet since 1934. Since then there has been a succession of productions, the most recent of which was overseen by Anthony Dowell. This 2019 Season sees a new production with additional choreography by ROH Artist-in-Residence Liam Scarlett. Scarlett, while remaining faithful to the Petipa-Ivanov text, will bring fresh eyes to the staging of this classic ballet, in collaboration with his long-term designer John Macfarlane. _x000D_ This beautifully produced new Royal Ballet branded book with photographs by Bill Cooper is a collection of exclusive photographs which shines the spotlight on Swan Lake. These exquisite photos feature some of the finest dancers on stage today and give an exclusive insight into the Royal Ballet’s work.