Catherine Elgin

Exemplification is the relation of an example to whatever it is an example of. Goodman maintains that exemplification is a symptom of the aesthetic: although not a necessary condition, it is an indicator that symbol is functioning aesthetically. I argue that exemplification is as important in science as it is in art. It is the vehicle by which experiments make aspects of nature manifest. I suggest that the difference between exemplars in the arts and the sciences lies in the way they exemplify. Density and repleteness are characteristic of aesthetic exemplars but not of scientific ones.

Testimony consists in imparting information without supplying evidence or argument to back one's claims. To what extent does testimony convey epistemic warrant? C. J. A. Coady argues, on Davidsonian grounds, that (1) most testimony is true, hence (2) most testimony supplies warrant sufficient for knowledge. I appeal to Grice's maxims to undermine Coady's argument and to show that the matter is more complicated and context‐sensitive than is standardly rocognized. Informative exchanges take place within networks of shared, tacit assumptions that affect the scope and strength of our claims, and the level of warrant required for their responsible assertion. The maxims explain why different levels of warrant are transferred in different contexts.

Se considera que la ciencia es el espejo de la naturaleza, mientras que el arte imita la vida. De ser así, las representaciones en ambas disciplinas deberían asemejarse a sus objetos. En contra de tales teorías miméticas, argumento que la ejemplificación y no la simple semejanza es crucial. Explico en qué consiste la ejemplificación: una relación referencial de un ejemplar con alguna de sus características. Puesto que la ejemplificación es selectiva, un ejemplar puede diferir de su referente en aspectos no ejemplificados. Ésta es la razón por la cual una idealización, que estrictamente es falsa, puede ofrecer comprensión del fenómeno que le concierne. A partir de analogías con las representaciones pictóricas, muestro cómo un modelo ejemplifica características que comparte con su objeto, pone de relieve la importancia de tales características y con ello proporciona comprensión del sistema en cuestión

Philosophy long sought to set knowledge on a firm foundation, through derivation of indubitable truths by infallible rules. For want of such truths and rules, the enterprise foundered. Nevertheless, foundationalism's heirs continue their forbears' quest, seeking security against epistemic misfortune, while their detractors typically espouse unbridled coherentism or facile relativism. Maintaining that neither stance is tenable, Catherine Elgin devises a via media between the absolute and the arbitrary, reconceiving the nature, goals, and methods of epistemology. In Considered Judgment, she argues for a reconception that takes reflective equilibrium as the standard of rational acceptability. A system of thought is in reflective equilibrium when its components are reasonable in light of one another, and the account they comprise is reasonable in light of our antecedent convictions about the subject it concerns.Many epistemologists now concede that certainty is a chimerical goal. But they continue to accept the traditional conception of epistemology's problematic. Elgin suggests that in abandoning the quest for certainty we gain opportunities for a broader epistemological purview--one that comprehends the arts and does justice to the sciences. She contends that metaphor, fiction, emotion, and exemplification often advance understanding in science as well as in art. The range of epistemology is broader and more variegated than is usually recognized. Tenable systems of thought are neither absolute nor arbitrary. Although they afford no guarantees, they are good in the way of belief.

If understanding is factive, the propositions that express an understanding are true. I argue that a factive conception of understanding is unduly restrictive. It neither reflects our practices in ascribing understanding nor does justice to contemporary science. For science uses idealizations and models that do not mirror the facts. Strictly speaking, they are false. By appeal to exemplification, I devise a more generous, flexible conception of understanding that accommodates science, reflects our practices, and shows a sufficient but not slavish sensitivity to the facts.

In “Hume and Julius Caesar,” G.E.M. Anscombe argues that some historical claims, such as “Julius Caesar was assassinated,” serve as touchstones for historical knowledge. Only Cartesian doubt can call them into question. I examine her reasons for thinking that the discipline of history must be grounded in claims that it is powerless to discredit. I argue that she is right to recognize that some historical claims are harder to dislodge than others, but wrong to contend that any are invulnerable to non-Cartesian doubt.

Scientific realism holds that scientific representations are utterly objective. They describe the way the world is, independent of any point of view. In Scientific Representation, van Fraassen argues otherwise. If science is to afford an understanding of nature, it must be grounded in evidence. Since evidence is perspectivai, science cannot vindicate its claims using only utterly objective representations. For science to do its epistemic job, it must involve perspectivai representations. I explicate this argument and show its power

Truth is standardly considered a requirement on epistemic acceptability. But science and philosophy deploy models, idealizations and thought experiments that prescind from truth to achieve other cognitive ends. I argue that such felicitous falsehoods function as cognitively useful fictions. They are cognitively useful because they exemplify and afford epistemic access to features they share with the relevant facts. They are falsehoods in that they diverge from the facts. Nonetheless, they are true enough to serve their epistemic purposes. Theories that contain them have testable consequences, hence are factually defeasible.

Jonathan Bennett (1974) maintains that Huckleberry Finn’s deliberations about whether to return Jim to slavery afford insight into the tension between sympathy and moral judgment; Miranda Fricker (2007) argues that the trial scene in To Kill a Mockingbird affords insight into the nature of testimonial injustice. Neither claims merely that the works prompt an attentive reader to think something new or to change her mind. Rather, they consider the reader cognitively better off for her encounters with the novels. Nor is her cognitive improvement restricted to acquiring new justified true beliefs about the works themselves. What the reader gleans is supposed to enhance her knowledge or understanding of the ..

Nelson Goodman was one of the soaring figures of twentieth century philosophy. His work radically reshaped the subject, forcing fundamental reconceptions of philosophy’s problems, ends, and means. Goodman not only contributed to diverse fields, from philosophy of language to aesthetics, from philosophy of science to mereology, his works cut across these and other fields, revealing shared features and connecting links that narrowly focused philosophers overlook. That the author of The Structure of Appearance also wrote Languages of Art is not in the end surprising.