Peter Lamarque

It is a truth universally acknowledged that great works of literature have an impact on people's lives. Well known literary characters—Oedipus, Hamlet, Faustus, Don Quixote—acquire iconic or mythic status and their stories, in more or less detail, are revered and recalled often in contexts far beyond the strictly literary. At the level of national literatures, familiar characters and plots are assimilated into a wider cultural consciousness and help define national stereotypes and norms of behaviour. In the English speaking world, Shakespeare's plays or the novels of Jane Austen, the Bronte sisters, Dickens, and Trollope, provide imaginative material that reverberates in people's lives every bit as much as do the great historical figures, like Julius Caesar, Elizabeth I, Horatio Nelson, or Winston Churchill. What is striking is how often fictional characters from the literary tradition—like the well-loved Elizabeth Bennett, Jane Eyre, Oliver Twist, Pip, Tess of the d'Ubervilles—enter readers' lives at a highly personal level. They become, as Martha Nussbaum puts it, our ‘friends’, and for many readers the lives of these characters become closely entwined with their own. Happy and unhappy incidents in the fictional worlds are held up against similar incidents in the real lives of readers and such readers take inspiration from the courage, ingenuity, or good fortune of their fictional heroines and heroes. Nowhere is it more true that life imitates art.

This anthology provides comprehensive coverage of the major contributions of analytic philosophy to aesthetics and the philosophy of art, from the earliest beginnings in the 1950’s to the present time. Traces the contributions of the analytic tradition to aesthetics and the philosophy of art, from the 1950’s to the present time. Designed as a comprehensive guide to the field, it presents the most often-cited papers that students and researchers encounter. Addresses a wide range of topics, including identifying art, ontology, intention and interpretation, values of art, aesthetic properties, fictionality, and the aesthetics of nature. Explores particular art forms, including pictorial art, literature, music, and the popular arts

The paper discusses the principle by which we reason to what is ‘true in fiction’. The focus is David Lewis's article ‘Truth in Fiction’ (1978) which proposes an analysis in terms of counterfactuals and possible worlds. It is argued thatLewis's account is inadequate in detail and also in principle in that it conflicts radically with basic and familiar tenets of literary criticism. Literary critical reasoning about fiction concerns not the discovery of facts in possible worlds but the recovery of meanings in interpretative frameworks. The model theoretic approach fails to account for common literary or rhetorical devices like unreliable narration, connotation and point of view. And in explaining indeterminacy of content in terms of truth-value gaps it gives too simplistic an account of critical reasoning about character motivation and thematic development. A more adequate account of content-indeterminacy can be provided through a comparison of the interpretation of fiction with the interpretation of human action. A broader motif in the paper is the underlying tension between what is required for the logic of fiction and what is required for the aesthetics of fiction

The paper considers what kinds of things are musical, literary, pictorial and sculptural works, how they relate to physical objects or abstract types, and what their identity and survival conditions are. Works are shown to be cultural objects with essential intentional and relational properties. These essential properties are connected to conditions of production and conditions of reception, of both a generic and work-specific kind. It is argued that work-identity is value-laden, whereby essential to the survival of a work is the quality of the experience the work affords. However, the overall stance is realist, defending the view that works are real, perceivable, and objectively characterisable

The paper offers a mildly deflationary account of narrative, drawing attention to the minimal, thus easily satisfied, conditions of narrativity and showing that many of the more striking claims about narrative are either poorly supported or refer to distinct classes of narrative—usually literary or fictional—which provide a misleading paradigm for narration in general. An enquiry into structural, referential, pragmatic, and valuebased features of narrative helps circumscribe the limits of narration and the test case of the narrative definition of the self is examined and shown to yield rather less that is often claimed

Philosophers have had an interest in language from the earliest times but the twentieth century, with its so-called 'linguistic turn' in philosophy, has seen a huge expansion of work focused specifically on language and its foundations. No branch of philosophy has been unaffected by this shift of emphasis. It is timely at the end of the century to review and assess the vast range of issues that have been developed and debated in this central area. The distinguished international contributors present a clear, accessible guide to the fundamental questions raised by the philosophers about language. Contributions include Graeme Forbes on necessity, Susan Haack on deviant logics, Paul Horwich on truth, Charles Travis on Wittgenstein, L.J. Cohen on linguistic philosophy, Ruth Kempson on semantics and syntax and Christopher Hookway on ontology, to name but a few. A wide range of topics are covered from the metaphysics and ontology of language, language and mind, truth and meaning, to theories or reference, speech act theory, philosophy of logic and formal semantics. There are also articles on key figures from the twentieth century and earlier. Based on the foundation provided by the award-winning Encyclopedia of Language and Linguistics this single volume provides a collection of articles that will be an invaluable reference tool for all those interested in the area of philosophy of language, and also to those in cognitive science and psychology. All the articles have been thoroughly revised and updated. This volume gives a unique survey of topics that are at the very core of contemporary philosophy.

This paper looks at some of the principles behind restoration and conservation applied to ancient artefacts and architecture. A number of case studies are discussed, from medieval stained glass to buildings that have been damaged by fire. The paper ends with some remarks about the conservation of ruins. Underlying the discussion are questions about the kinds of obligations—both ethical and aesthetic—that might constrain the practices of restoration: what ought and ought not to be done in particular cases and how such decisions might be made. A broad conclusion is that different principles seem to operate in different cases and accordingly that different obligations obtain. Consideration is given to what grounds such principles and obligations.

The paper offers an overview of, and critical comments on, Michael Krausz’s Limits of Rightness. It focuses on three key aspects of the book’s intellectual framework: the ideals of interpretation, the objects of interpretation, and the ontological commitments of interpretation. The paper discusses how exactly these aspects are related Krausz’s views on constructive realism, in particular its relation to objects of interpretation, become crucial. His comments on Paul Thom’s theory of interpretations provide a context for examining the role of ‘construction’ in objects per se and in works of art and a tripartite distinction between object, work and interpretation is proposed.

Various aspects of poetic meaning are discussed, centred on the relation of form and content. A C Bradley's thesis of form-content identity, suitably reformulated, is defended against criticisms by Peter Kivy. It is argued that the unity of form-content is not discovered in poetry so much as demanded of it when poetry is read 'as poetry'. A shift of emphasis from talking about 'meaning' in poetry to talking about 'content' is promoted, as is a more prominent role for 'experience' in characterising responses to poetry and its value. It is argued that the key to poetic meaning lies less in a theory of meaning, more in a theory of poetry, where what matters are modes of reading poetry. Content-identity in poetry is said to be 'interest-relative' such that no absolute answer, independent of the interests of the questioner, can determine when a poem and a paraphrase have the same content. Interpretation of poetry need not focus exclusively on meaning, but on ways in which the experience of a poem can be heightened.