Peter Alward

Peter Alward’s rigorous introductory text functions as a roadmap for students, laying out the key issues, positions, and arguments of academic philosophy. The book covers central topics in metaphysics, epistemology, ethics, and political philosophy. An introductory chapter presents the foundations of philosophical discourse and offers a primer on the basics of logic. Those argumentative tools are then employed to address classic philosophical issues such as the relationship between body and mind, skepticism, the possibility of free will, and the existence of God. Later chapters engage issues of morality, justice, and liberty, as well as moral questions concerning abortion and the practice of punishment. Throughout, Alward aims for clarity, providing summaries, diagrams, and reflective questions to assist the student reader.

RésuméJe défends une solution référentielle anti-réaliste au problème de l'identité intentionnelle. Je développe la solution réaliste référentielle de Nathan Salmon — selon laquelle les objets mythiques existent et que nous pouvons y faire référence en utilisant des noms d'objets mythiques — et je considère les objections de David Braun à son égard. Je soutiens que la solution de Salmon donne l'identité réelle des objets des pensées de plusieurs sujets, plutôt que leur identité intentionnelle. Je développe enfin une variante référentielle anti-réaliste du point de vue de Salmon qui évite cette inquiétude — selon laquelle les objets mythiques n'existent pas et ne sont pas réels par ailleurs, bien que nous puissions néanmoins nous y référer.

In this paper, I develop a novel account of musical works according which they are situated heir lines, consisting of actual and possible work-versions that are situated in specific musical-historical contexts. And I argue that this account offers a better explanation of three core phonenomena - musical multiplicity, musical flexibility, and musical audibility - than its competitors. Finally, I introduce the broader category of musical lineages - sequences of work-versions each of which has evolved in certain ways from its predecessors - and argue that musical works can be viewed as lineages that are initiated by the requisite sorts of compositional intentions and whose constituent work-versions must satisfy standards of similarity from their original contexts of composition.

Everett (2005) has argued that fictional realism runs into insuperable difficulties when faced with fictional stories in which there are indeterminate identities. By appeal to a principle linking the individuation of characters within stories and without, Everett argues that such stories entail that there are indeterminate identities outside of fiction on the fictional realist picture. And although indeterminate identities are perfectly acceptable within fiction, they are intolerable in the (nonfictional) world itself. In this paper, I develop the “extended-game” model of fiction according to which fictional characters are props—and, hence, potential objects of reference—in authorized games of make-believe for fictional works in which they appear but do not originate but are neither props nor potential objects of reference in authorized games for works in which they do originate. And I argue that this entails that Everett’s linking principle, on which his argument depends, simply fails to apply.

What mysteries lie at the heart of fiction's power to enchant and engage the mind? Empty Revelations considers a number of philosophical problems that fiction raises, including the primary issue of how we can think and talk about things that do not exist. Peter Alward covers thought-provoking terrain, exploring fictional truth, the experience of being "caught up" in a story, and the boundaries between fiction and non-fiction. At the centre of Alward's argument is a figure known as the "narrative informant" who mediates the reader's encounter with fictional events through - sometimes unreliable - reporting. Developing a theory in which the author is a sculptor who constructs works of fiction out of words, Alward demonstrates that much of the confusion about fiction stems from a failure to properly distinguish between writing fiction and telling stories. Combining clarity, philosophical sophistication, ingenuity, and originality, Empty Revelations is a rewarding read for both scholars of philosophy and anyone interested in the complex ways that fiction works.

In the paper, I develop what I call the “Neo-Hintikkan theory” of belief sentences. What is characteristic of this approach is that the meaning of an ascription is analyzed in terms of the believer’s “epistemic alternatives”: the set of worlds compatible with how the believer takes the world to be. The Neo-Hintikkan approach proceeds by assuming that (1) individuals in believers’ alternatives can share spatio-temporal parts with actual individuals, and (2) ascribers can refer to individuals in believer’s alternatives in virtue of their perceptual or causal interaction with the spatio-temporal parts these “believed individuals” share with actual individuals. The guiding idea underlying this view is that the source of substitutivity failure in certain central cases is that believers have put the spatio-temporal parts of the objects they have encountered together in the wrong way.

A central motivation for the type-token model of music works is its ability to explain musical multiplicity—the fact that musical works are capable of having multiple performances through which they can be experienced and which cannot be individually identified with the works themselves. The type-token model explains multiplicity by identifying musical works with structural types and taking performances to be tokens of those types. In this paper, I argue that musical works are flexible in ways which permit performances which are tokens of distinct structural types to be performances of the same musical work. And I argue that various attempts to reconcile the type-token model with musical flexibility are ultimately unsuccessful.

Nathan Salmon has defended what might be called “weak modal anti-realism”—the view that possible-object names can refer to possible objects that neither exist nor are otherwise real. But rather than adopting a similar view in the fictional case, he instead defends fictional creationism—the view that fictional characters are existent but abstract entities created by authors of fiction. In this paper, I first argue that if weak modal antirealism is defensible then weak fictional antirealism is defensible as well. Second, I argue that there is no reason to prefer fictional creationism over weak fictional antirealism but there is very good reason to prefer the latter over the former. And third, I defend weak fictional antirealism against the charge that it cannot provide a satisfactory account of statements that prima facie involve reference to or quantification over fictional characters.

People respond to moral criticism of their speech by claiming that they were joking. In this paper, I develop a speech act analysis of the humor excuse consisting of a negative stage, in which the speaker denies he or she was making an assertion, and a positive stage, in which the speaker claims she or he was engaged in non-serious/humorous speech instead. This analysis, however, runs afoul of the group identity objection, according to which there is a moral distinction between jokes targeting members of vulnerable groups made by members of those groups and similar jokes made by non-members. In order to avoid this objection, I offer a revision to the speech act analysis that draws upon Perry’s distinction between beliefs and belief-states.

RÉSUMÉLes œuvres musicales sont à la fois multiples et audibles. Dans le domaine de l'ontologie musicale, deux des principaux modèles conçus pour expliquer ces caractéristiques des œuvres musicales sont le modèle type/instanciation et le modèle étape/continuité. Julian Dodd a soutenu que le modèle type/instanciation a un avantage sur le modèle étape/continuité, car il peut offrir une explication directe de l'audibilité des œuvres musicales en termes de catégorie ontologique. Je défends le modèle étape/continuité contre l'argument de Dodd en invoquant une relation de continuité qui unifie l’œuvre.

According to certain models of the musical work-performance relationship, musical works persist through time. Dodd and Thomasson argue that perdurantist accounts of musical persistence—according to which musical works persist by having temporal parts at every time they exist—are untenable, and Tillman argues that musical endurantism—according to which persisting works are wholly present at each time they exist—avoids Dodd’s worries. In this paper, I argue that both Dodd’s and Thomasson’s arguments—and Tillman’s response—rely on assumptions linking theories of persistence to common-sense views about musical works and, moreover, that these assumptions are unwarranted. As a result, only an attitude of neutrality towards questions about the nature of musical persistence is warranted.

In this paper, I defend a contextualist account of the role of authors’ intentions in interpretation, according to which their role depends on readers’ interpretive interests. In light of a general discussion of intentions and responsibility, I argue that insofar as readers are interested in attributing authorial responsibility for interpretations of fictional works, authors’ intentions need to play a central role in those interpretations. And I investigate the implications of this account for ‘accidental authorship’, cases in which interpretations of a work are neither intended nor reasonably foreseen by the author.

Une œuvre de fiction contient une mise en suspens si elle se termine au moment où un personnage central se retrouve dans des circonstances périlleuses. Le but de cet article est d’établir que les intentions narratives des auteurs déterminent ce qui se passe ensuite dans les œuvres qui se terminent par des mises en suspens et pour lesquelles aucune suite n’est produite. À cette fin, j’argumente à partir de l’idée qu’une suite écrite par l’auteur original résoudrait de façon unique une œuvre de fiction qui aboutit à une mise en suspens; je conclus que les intentions narratives de l’auteur servent de vérifacteur pour des affirmations sur ce qui arrive ensuite en l’absence d’une telle suite.

Peter Alward’s rigorous introductory text functions as a roadmap for students, laying out the key issues, positions, and arguments of academic philosophy. The book covers central topics in metaphysics, epistemology, ethics, and political philosophy. An introductory chapter presents the foundations of philosophical discourse and offers a primer on the basics of logic. Those argumentative tools are then employed to address classic philosophical issues such as the relationship between body and mind, skepticism, the possibility of free will, and the existence of God. Later chapters engage issues of morality, justice, and liberty, as well as moral questions concerning abortion and the practice of punishment. Throughout, Alward aims for clarity, providing summaries, diagrams, and reflective questions to assist the student reader.

The problems that arise for analyses of belief ascriptions pose one of the greatest impediments to an adequate semantic theory. My dissertation offers a novel solution to these well-known problems. What I have developed is a version of the believed-world approach to the semantics of propositional attitude ascriptions. Believed-world theories make use of the notion of a person's associated believed world, or a set of worlds compatible with what a person believes, in their semantic theories. Typically, semantic content of ascription 'that'-clauses is determined by the reference or denotation of complement sentence expressions in the believed worlds associated with the believer in question, according to such theories. The first half of my dissertation presents an argument in support of the believed world approach to the semantics of propositional attitude ascriptions. I argue that any adequate semantic theory must imply that the semantic content of ascription 'that'-clauses is a function of who belief is ascribed to. This conclusion undermines many of the linguistic theories that have been defended in the literature. Moreover, I argue that linguistic theories which can accommodate this result, such as the view recently defended by Crimmins, run into serious modal difficulties. The second half of my dissertation presents a novel version of the believed world approach to semantics, which, I argue, is superior to competing believed world theories. The advantage of my theory lies in the account I give of the nature of believed worlds and my explanation of how actual token occurrences of expressions can have referents in believed worlds. On my view, objects in believed worlds can share spatio-temporal parts with actual objects. Moreover, if we suppose, as I do, that reference to an object is achieved by means of a causal relation between a spatio-temporal part of the object and a referring expression, reference to objects in believed worlds becomes manageable. It can proceed by means of causal relations between referring expressions and those spatio-temporal parts common to actual objects and objects in believed worlds.