Julia Langkau

This paper argues that we should distinguish two different kinds of imaginative vividness: vividness of mental images and vividness of imaginative experiences. Philosophy has focussed on mental images, but distinguishing more complex vivid imaginative experiences from vivid mental images can help us understand our intuitions concerning the notion as well as the explanatory power of vividness. In particular, it can help us understand the epistemic role imagination can play on the one hand and our emotional engagement with literary fiction on the other hand.

Much recent work on concepts has been inspired by and developed within the bounds of the representational theory of the mind often taken for granted by philosophers of mind, cognitive scientists, and psychologists alike. The contributions to this volume take a more encompassing perspective on the issue of concepts. Rather than modelling details of our representational architecture in line with the dominant paradigm, they explore three traditional issues concerning concepts. Is mastery of a language necessary for thought? Do concepts reduce to abilities? Is the analysis of concepts a viable means to ascertain truths from the proverbial armchair? An introductory essay provides a rough geography of key ideas and issues shaping the overall debate on concepts within contemporary philosophy.

This thesis is concerned with the ontology, epistemology, and methodology of intuitions in philosophy. It consists of an introduction, Chapter 1, and three main parts. In the first part, Chapter 2, I defend an account of intuitions as appearance states according to which intuitions cannot be reduced to beliefs or belief-like states. I argue that an account of intuitions as appearance states can explain some crucial phenomena with respect to intuitions better than popular accounts in the current debate over the ontology of intuitions. The second part, Chapters 3 to 5, is a reply to Timothy Williamson’s view on the epistemology and methodology of intuitions. The practice of appealing to the fact that we have an intuition as evidence from thought experiments has recently been criticised by experimental philosophers. Williamson argues that since thought experiments reliably lead to knowledge of the content of our intuition, we can avoid this criticism and the resulting sceptical threat by appealing to the content of the intuition. I agree that thought experiments usually lead to knowledge of the content of our intuition. However, I show that appealing to the fact that we have an intuition is a common and useful practice. I defend the view that for methodological reasons, we ought to appeal to the fact that we have an intuition as initial evidence from thought experiments. The third part, Chapter 6, is devoted to a paradigm method involving intuitions: the method of reflective equilibrium. Some philosophers have recently claimed that it is trivial and could even accommodate scepticism about the reliability of intuitions. I argue that reflective equilibrium is not compatible with such scepticism. While it is compatible with the view I defend in the second part of the thesis, more specific methodological claims have to be made.

In this paper, I first develop desiderata for an ontology of intuitions on the basis of paradigmatic cases of intuitions in philosophy. A special focus lies on cases that have been subject to extensive first-order philosophical debates but have been receiving little attention in the current debate over the ontology of intuitions. I show that none of the popular accounts in the current debate can meet all desiderata. I discuss a view according to which intuitions reduce to beliefs, Timothy Williamson's (2004, 2007) account of intuitions as beliefs or inclinations to believe, and traditional rationalist accounts of intuitions. I then show that a widely ignored account of intuitions as appearance states can meet the desiderata best.

The practice of appealing to intuitions as evidence has recently been criticized by experimental philosophers. While some traditional philosophers defend intuitions as a trustworthy source of evidence, others try to undermine the challenge this criticism poses to philosophical methodology. This paper argues that some recent attempts to undermine the challenge from experimental philosophy fail. It concludes that the metaphilosophical question whether intuitions play a role in philosophy cannot be decided by analyzing our use of the word ‘intuition’ or related terms, and what philosophers rely on may not be manifest on the surface of what they write. The question what intuitions are and what their role is in philosophy has to be settled within the wider framework of a theory of knowledge, justification, and philosophical methodology.

This paper defends a version of aesthetic cognitivism: the truth of statements expressed, implied, or alluded to by a work of fiction matters aesthetically, and bears upon the work’s aesthetic value. Our aim is to explore a route from truth to aesthetic value that claims, roughly, that, if our engagement with a work of fiction is based on truth, it is more vivid than otherwise, and thereby contributes to the aesthetic value of the work. Whether truth increases the vividness of our engagement with fiction is an empirical question. On the assumption that it does, we spell out some consequences for the aesthetic value, and in particular for the literary value of a work, as well as for critical practice.

This paper defends a version of aesthetic cognitivism: the truth of statements expressed, implied, or alluded to by a work of fiction matters aesthetically, and bears upon the work’s aesthetic value. Our aim is to explore a route from truth to aesthetic value that claims, roughly, that, if our engagement with a work of fiction is based on truth, it is more vivid than otherwise, and thereby contributes to the aesthetic value of the work. Whether truth increases the vividness of our engagement with fiction is an empirical question. On the assumption that it does, we spell out some consequences for the aesthetic value, and in particular for the literary value of a work, as well as for critical practice