Gilbert Edward Plumer

[Winner of the 2017 AILACT Essay Prize Prize.] I argue against the skeptical epistemological view exemplified by the Groarkes that “all theories of informal argument must face the regress problem.” It is true that in our theoretical representations of reasoning, infinite regresses of self-justification regularly and inadvertently arise with respect to each of the RSA criteria for argument cogency (the premises are to be relevant, sufficient, and acceptable). But they arise needlessly, by confusing an RSA criterion with argument content, usually premise material.

Lately, many have pointed out or proposed ways that arguments may be narrative and narratives may be argumentative. This chapter discusses the six basic possibilities: (1) argument in nonfictional or (2) fictional narrative; (3) nonfictional or (4) fictional narrative in argument; (5) argument by nonfictional or (6) fictional narrative. Possibilities 1-4 indicate a proper subset relation between the argument and narrative, whereas 5 and 6 indicate complete overlap. These possibilities cover such kinds of discourse as anecdotes, thought experiments, fables, and novels. Not all of the possibilities are of equal interest. Possibility 6 is the most intriguing if not suspicious—how can fiction argue for the truth of something?—and so, is accorded the most space.

[Winner of the American Philosophical Association’s 2024 Journal of Value Inquiry Prize.] My thesis is that certain non-verbal paintings such as Picasso’s GUERNICA make (simple) arguments. If this is correct and the arguments are reasonably good, it would indicate one way that non-literary art can be cognitively valuable, since argument can provide the justification needed for knowledge or understanding. The focus is on painting, but my findings seem applicable to comparable visual art forms (a sculpture is also considered). My approach largely consists of identifying pertinent features of viable literary cognitivism and then showing how they or close analogues can be applied to non-verbal painting. The two main features are the requirements, first, that the relevant knowledge is provided significantly in virtue of the distinctive essential feature of literary fictions, i.e., their fictionality, and second, that the knowledge stems primarily from the content of the work, not from what the auditor brings to the work. Some ways that literary fiction has been taken to be argumentative are explained, and striking similarities are found between argumentative literary fiction and argumentative painting. Potential objections are addressed, and I examine a proposed way to express, in a schematized format, both the power of an argumentative painting and its relatively simple associated propositional content.

I show that in our theoretical representations of argument, vicious infinite regresses of self-reference may arise with respect to each of the three usual, informal criteria of argument cogency: the premises are to be relevant, sufficient, and acceptable. They arise needlessly, by confusing a cogency criterion with argument content. The three types of regress all are structurally similar to Lewis Carroll’s famous regress, which involves quantitative extravagance with no explanatory power. Most attention is devoted to the sufficiency criterion, including its relation to the view au courant that inferring necessarily involves the thinker taking her premises to support her conclusion. I contend that this view is mistaken and likewise that arguments make no such assumption or inference claim as that the premises support the conclusion. The core of the positive alternative model I propose is that there is commitment to, but not claiming, the proposition that the premises support the conclusion.

Suppositional reasoning can seem spooky. Suppositional reasoners allegedly (e.g.) “extract knowledge from the sheer workings of their own minds” (Rosa), even where the knowledge is synthetic a posteriori. Can literary fiction pull such a rabbit out of its hat? Where P is a work’s fictional ‘premise’, some hold that some works reason declaratively (supposing P, Q), imperatively (supposing P, do Q), or interrogatively (supposing P, Q?), and that this can be a source of knowledge if the reasoning is good. True, I will argue, although only within the context of judicious critical interpretation. Further evident constraints include that the form of the suppositional reasoning needs to be declarative or imperative, and that the fictional ‘premise’ of the work needs to be a metaphysical counterfactual possibility, not merely a temporal counterfactual and not merely an epistemic possibility or probabilistic supposition.

I question whether the case for “literary cognitivism” has generally been successfully made. As it is usually construed, the thesis is easy to satisfy illegitimately because dependence on fictionality is not built in as a requirement. The thesis of literary cognitivism should say: “literary fiction can be a source of knowledge in a way that depends crucially on its being fictional” (Green’s phrasing). After questioning whether nonpropositional cognitivist views (e.g., Nussbaum’s) meet this neglected standard, I argue that if fictional narratives can impart propositional knowledge in virtue of their fictionality, it would be largely via a suppositional framework. Yet in many cases, such as Huxley’s Brave New World, the key literary supposition could simply be an epistemic possibility (‘suppose X, which for all we know, occurs sometime’), not counterfactual supposition, that is, distinctively fictional supposition. The best general case for literary cognitivism may be the limited one that literary fiction can alert us to nonactual metaphysical possibilities that may be important for understanding actuality. Yet even here, seemingly possible fictions are often impossible.

Some believe that all arguments make an implicit “inference claim” that the conclusion is inferable from the premises (e.g., Bermejo-Luque, Grennan, the Groarkes, Hitchcock, Scriven). I try to show that this is confused. An act of arguing arises because an inference can be attributed to us, not a meta-level “inference claim” that would make the argument self-referential and regressive. I develop six (other) possible explanations of the popularity of the doctrine that similarly identify confusions.

Can fictional narration yield knowledge in a way that depends crucially on its being fictional? This is the hard question of literary cognitivism. It is unexceptional that knowledge can be gained from fictional literature in ways that are not dependent on its fictionality (e.g., the science in science fiction). Sometimes fictional narratives are taken to exhibit the structure of suppositional argument, sometimes analogical argument. Of course, neither structure is unique to narratives. The thesis of literary cognitivism would be supported if some novels exhibit a cogent and special argument structure restricted to fictional narratives. I contend that this is the case for a kind of transcendental argument. The reason is the inclusion and pattern of occurrence of the predicate ‘believable’ in the schema. Believability with respect to fictional stories is quite a different thing than it is with respect to nonfictional stories or anything else.

Rodden writes, “How do stories persuade us? How do they ‘move’—and move us? The short answer: by analogies.” Rodden’s claim is a natural first view, also held by others. This chapter considers the extent to which this view is true and helpful in understanding how fictional narratives, taken as wholes, may be argumentative, comparing it to the two principal (though not necessarily exclusive) alternatives that have been proposed: understanding fictional narratives as exhibiting the structure of suppositional argument, or the structure of a kind of transcendental argument. Three key aspects of understanding a fictional narrative as an argument from analogy are identified. First, the argument will be relativistic or depend in an essential way upon the circumstances or intentions of the auditor or author. Second, in view of the first aspect, the argument will be loose and subjective, and accordingly less likely to yield knowledge. Third, the argument will not exhibit a distinctive structure applicable only to fictional narratives. I find that the third, and sometimes the first and second, of these same three aspects apply to understanding fictional narratives as suppositional arguments. I present considerations that point to a way of establishing that some extended fictions exhibit the structure of a kind of transcendental argument that is neither relativistic nor subjective, is knowledge-generating, and is uniquely applicable to fictional narratives. This supports literary cognitivism—the thesis that “literary fiction can be a source of knowledge in a way that depends crucially on its being fictional.”

This paper attempts to define indexicality so as to semantically distinguish indexicals from proper names and definite descriptions. The widely-accepted approach that says that indexical reference is distinctive in being dependent on context of use is criticized. A reductive approach is proposed and defended that takes an indexical to be (roughly) an expression that either is or is equivalent to ‘here’ or ‘now’, or is such that a tokening of it refers by relating something to the place and/or time that would have been referred to had ‘here’ and ‘now’ been tokened instead. Alternative reductive approaches are criticized.

This paper considers whether universally—for all (known) rational beings—an argument scheme or pattern can go from being cogent (well-reasoned) to fallacious. This question has previously received little attention, despite the centrality of the concepts of cogency, scheme, and fallaciousness. I argue that cogency has vanished in this way for the following scheme, a common type of impersonal means-end reasoning: X is needed as a basic necessity or protection of human lives, therefore, X ought to be secured if possible. As it stands (with no further elaboration), this scheme is committed to the assumption that the greater the number of human lives, the better. Although this assumption may have been indisputable previously, it is clearly disputable now. It is a fallacy or non sequitur to make a clearly disputable assumption without providing any justification. Although this topic raises critical issues for practically every discipline, my primary focus is on logical (as opposed to empirical or ethical) aspects of the case, and on implications for practical and theoretical logic. I conclude that the profile of vanishing cogency of the scheme may be unique and is determined by a peculiar combination of contingent universality and changing conditions.

The dissertation is a study primarily in analytic metaphysics. The emphasis is on time, and the focus, on the whole, is on the notion of Now. In the first chapter I consider Now as it figures in singular demonstrative reference by giving an exposition and partially Kantian refutation of Hegel's argument that such reference is impossible. The ability to so-refer is the ability to mean and express 'this', i.e., what is here and now to me. Hegel's central mistake was to confuse a demonstrative's having general applicability with standing for a generality; so he construes 'this' on the model of a predicable. He would have individuals as properties of Spirit. Thus, this sort of opening move toward absolute idealism is blocked. In ch. II I consider Now within the context of the question of the similarity of space and time. A methodology for constructing spatio-temporal (dis)analogies has recently become widely accepted and utilized, viz., formulating statement pairs with interchanged spatial and temporal terms, and then comparing their truth and logical status. I argue that space and time are quite dissimilar in the course of showing that this methodology, which has never been critically scrutinized, has serious deficiencies and limitations, and is paradox-generating. In part following suggestions from Dewey, in ch. III it is shown how we may acquire the concepts of Now and time without our being able to sense time. I rationally reconstruct these concepts by 'deriving' them from the concepts of required-for and sensed (taken tenselessly). Among other reasons, because activity is explicitly required for succeeding or failing, and because these ubiquitous conditions are sensed, our concept of time is rooted squarely in our experience of these conditions. Lastly, in ch. IV I present a new argument for the objectivity and transitoriness of Now. What's new about it is that it proceeds by considering pertinent issues (like intersubjective agreement) that arise in connection with "the specious present doctrine," which falsely casts the sensory present as a (variable) interval.

Our thesis is that reasoning plays a greater—or at least a different—role in understanding oral discourse such as lectures and speeches than it does in understanding comparatively long written discourse. For example, both reading and listening involve framing hypotheses about the direction the discourse is headed. But since a reader can skip around to check and revise hypotheses, the reader’s stake in initially getting it right is not as great as the listener’s, who runs the risk of getting hopelessly lost. We also consider how representing the content of discourse and dealing with its pragmatic logic differs in reading and listening.

What can make storytelling “evil” in the sense that the storytelling leads to accepting a view for no good reason, thus allowing ill-reasoned action? I mean the storytelling can be argumentatively evil, not trivially that (e.g.) the overt speeches of characters can include bad arguments. The storytelling can be argumentatively evil in that it purveys false premises, or purveys reasoning that is formally or informally fallacious. My main thesis is that as a rule, the shorter the fictional narrative, the greater the potential for argumentative evil. Here, the notion of length is to be understood such that it is generally a proxy for more abstract features such as how complex and nuanced the piece is. In other argumentative contexts, length generally appears to make no comparable difference. This feature would put fictional narrative arguments in a special class beyond what is determined by obvious features, such as the definitional fact that they in some way(s) collapse two of the four traditional types of discourse: exposition, description, narration, and argument. The nonobvious features that distinguish this class have been a source of puzzlement and inquiry.

The paper interprets Kant’s neglected argument at FOUNDATIONS 401 as consisting of these two premises and conclusion: (1) It follows from consequentialism that in a natural paradise people would not be obligated to be morally good. (2) But this is absurd; one ought to be morally good no matter what. Therefore, consequentialism is false. It is shown that this argument is a powerful one, mainly by showing that independent grounds support (2) and that (1) may survive a number of strong possible objections. One that it does not appear to survive, though, is that the paradise envisioned is not logically possible.

In their book EVALUATING CRITICAL THINKING Stephen Norris and Robert Ennis say: “Although it is tempting to think that certain [unstated] assumptions are logically necessary for an argument or position, they are not. So do not ask for them.” Numerous writers of introductory logic texts as well as various highly visible standardized tests (e.g., the LSAT and GRE) presume that the Norris/Ennis view is wrong; the presumption is that many arguments have (unstated) necessary assumptions and that readers and test takers can reasonably be expected to identify such assumptions. This paper proposes and defends criteria for determining necessary assumptions of arguments. Both theoretical and empirical considerations are brought to bear.

If novels can be arguments, that fact should shape logic or argumentation studies as well as literary studies. Two senses the term ‘narrative argument’ might have are (a) a story that offers an argument, or (b) a distinctive argument form. I consider whether there is a principled way of extracting a novel’s argument in sense (a). Regarding the possibility of (b), Hunt’s view is evaluated that many fables and much fabulist literature inherently, and as wholes, have an analogical argument structure. I argue that a better account is that some novels inherently exhibit a transcendental argument structure.

This paper argues that A-determinations (past, present, and future) and B-relations (simultaneity and succession) have the same empirical status in that they are all neither historically discoverable nor sensible, but are detectable and are detectable in the same way. This constitutes a reason for thinking they are in the same class with respect to objectivity, contrary to the Russellian view that “in a world in which there was no experience there would be no past, present, or future, but there might well be earlier and later.” The argument is developed to furnish an explanation of how in fact (and contra McTaggart) we are “immediately certain of the reality of time,” the explanation being that we detect time.