Andrew McGonigal

The Routledge Companion to Metaphysics is an outstanding, comprehensive and accessible guide to the major themes, thinkers, and issues in metaphysics. The Companion features over fifty specially commissioned chapters from international scholars which are organized into three clear parts: History of Metaphysics Ontology Metaphysics and Science. Each section features an introduction which places the range of essays in context, while an extensive glossary allows easy reference to key terms and definitions. The Routledge Companion to Metaphysics is essential reading for students of philosophy and anyone interested in surveying the central topics and problems in metaphysics from causation to vagueness and from Plato and Aristotle to the present-day

Davidson’s error theory about metaphorical meaning has rightly commanded a lot of critical attention over the last twenty five or so years. Each component of that theory – the case for antirealism about metaphorical meanings, the diagnosis of the mistakes that led theorists to falsely ascribe such semantic properties to words and sentences, the suggested functional replacement of such talk in terms of the effects that metaphorical utterances bring about – has been examined, reformulated and criticised. The evaluation of the theory has been far from uniformly negative. It is widely recognized, even by realists about metaphorical meaning, that the ‘conventional wisdom’ about ‘discerning two senses of the predicate term’ that Beardsley had adverted to three years earlier, was shown to be misguided by the considerations that Davidson’s paper brought to bear.[1] Contemporary recognition of the importance of elucidating the dependence of metaphorical language upon its literal base, and upon its context of utterance, can also be seen to have resulted from sustained critical engagement with Davidson’s article

What makes a certain consideration an aesthetic reason rather than a reason of some other kind? Is it a solely a matter of the kind of attitude or activity that the reason supports? How fundamental or structural are such reasons? Do they contrast in a natural way with epistemic or practical reasons? Is skilled aesthetic achievement, whether interpretative or creative, a matter of recognizing the aesthetic reasons we have for a given response, and correctly according with such reasons? In this paper, I offer a preliminary discussion of these topics. I argue that our account of aesthetic reasons should respect the fact that they play an important regulative role, over and above directly supporting aesthetic response. Such a role allows aesthetic reasons to moderate a wide range of practical and epistemic activities, but not by adding or substituting distinctively aesthetic ends or purposes for such activities. I then go on to argue against the view that skilled aesthetic achievement consists in correct recognition of and accord with aesthetic reasons, adapting a recent argument of Timothy Williamson’s.

The nature of moral facts, and their relationship to rationality, imagination and sentiment, have been central and pressing issues in recent moral philosophy. In this paper, I discuss and criticise a meta-ethical theory put forward by Alison Denham, which views moral facts as being constituted by the responses of ideal, empathetic agents. I argue that Denham’s account is radically unstable, in that she has given us an account of the nature of such agents which is inconsistent with an independently plausible principle relating to concept acquisition. I go on to discuss one line of defence that Denham might employ, but argue that taking such a line entails abandoning what she takes to be an important advantage of her account over rival ideal-observer theories such as Michael Smith’s.

In recent work, Robert Hopkins has argued that aesthetic judgements are autonomous. When a subject finds herself diverging in judgement from a group of others who, while independently applying the same method, have come to some opposing conclusion, then for ordinary empirical matters this is often reason enough for her to suspend judgement, or even to adopt their view, but this happens much more rarely in the case of beauty. Moreover, the opposing view does not act as a defeater to her belief to the same extent as it does in the empirical case. Hopkins argues that this phenomenon, properly understood, poses a distinctive problem for aesthetic cognitivism. Such a result might seem to support a non-cognitivism about aesthetic judgement, but Hopkins argues that one of the most promising such accounts, a particular form of aesthetic quasi-realism, cannot account in a satisfactory way for aesthetic autonomy either. In this paper, I argue that Hopkins's argument is crucially enthymematic. Supplying the relevant premise makes space for an independently motivated explanation of autonomy, which is open to cognitivists and non-cognitivists alike.

David Cooper has argued that any acceptable theory of metaphor should account for ‘indeterminacy’: the sense that many metaphors admit of multiple acceptable interpretations, none of which can be uniquely demonstrated to be correct. He further argues that the ‘speaker's meaning’ model of metaphorical content cannot meet this constraint and, thus, should be rejected. In this paper I argue that Cooper's characterization of the proposed constraint is imprecise as stated and give my own characterization of the problem. There is a general tension between the authority granted to first-person ascriptions of intentions and facts concerning the phenomenology of metaphor production, given that it seems to misrepresent the latter to ascribe to the speaker special access to a cognitive content, which their metaphorical utterance then expresses. I argue that one way of resolving this tension is by following Crispin Wright in viewing facts about intention as essentially response dependent.