Did archaic Greek poets think that speech should be factually informative? Studies in the "history of thought" suggest that archaic culture offered no developed alternative to the opposition of truth to falsehood judged in relationship to fact. But the mythic poems display more interest in person-to-person agreement than eye-to-object fidelity. This is seen in the numerous stories where partnerships are negotiated and symbolized through tokens whose impersonal value is flagrantly disregarded. In the Hymn to Hermes, facetious non-truths establish intimacy (...) and cooperation among those who understand them. (shrink)

Narratives are never meant to be neutral in their rhetorical intent. They have power not onlyto reveal realities and prevail worldviews but also to create new realities and new worldviewsby refuting illusions and falsehood, and affirming the truth. The Judith narrative is a goodexample for the exploration of this claim. This article contributes by employing the thematiclevel of analysis, the veridictory square in particular, of the Greimassian approach to narratives,to map out the possible illusions and affirming the truth within (...) the second temple Judaism.The study of the veridictory square as informed by the level of analysis, mentioned above,seems to persuade the reader by first, extracting the truth from illusion and thereafter exposingand shaming falsehood in Judith. Subsequently, the article asserts that Judith is not neutral in itsintent but was designed to deal with illusive ideas that might have been impacting the wellbeingof the second temple Judaism. (shrink)

This book demonstrates instead the writers' use of irony and allegory in struggling against the deceitfulness of their own texts.

In Fiction, Truth and Literature, Lamarque and Olsen argue that if a critic claims or attempts to prove that the outlook of a work of literature is true or false, he is not engaging in literary or aesthetic appreciation. This paper argues against this position by adducing cases where literary critics discuss the truth or falsity of a work’s view, when their opinions are obviously relevant to the work’s aesthetic assessment. The paper considers in detail the way factual (...) errors damage a work’s aesthetic standing, and shows that Lamarque and Olsen’s alternative account of the role of propositional truths in literature only looks plausible because it considers a restricted range of examples. Finally, it considers the role intention, date and genre play in discussions of the aesthetic damage done by literal falsehood. (shrink)

On the basis of careful textual exegesis and philosophical analysis, and contrary to the received view, Mark R. Wheeler demonstrates that Aristotle presents and systematically explicates his definition of the essence of the truth in the Metaphysics. Aristotle states the nominal definitions of the terms "truth" and "falsehood" as part of his arguments in defense of the logical axioms. These nominal definitions express conceptions of truth and falsehood his philosophical opponents would have recognized and accepted in the context (...) of dialectical argument. On the basis of these nominal definitions, Aristotle develops his definitions of the essences of truth and falsehood--his "real" definitions of truth and falsehood. Aristotle's methodical exposition of his essential definitions of truth and falsehood in the Metaphysics serves as a well-developed example of how his philosophical inquiry starts with nominal definitions and ends with real definitions. Wheeler also argues for the novel claim that Aristotle defines the most fundamental kind of truth in terms of accurate measurement. Aristotle's metrical conception of truth serves as the theoretical basis for specifying the truth conditions of various assertions, for identifying the sorts of beings implicated in these truth conditions, and for explaining the nature of approximate truth and falsehood. Far from offering us a minimal account of truth, Wheeler shows how Aristotle offers us a sophisticated and metrical theory of truth. (shrink)

Aristotle's theory of truth, which has been the most influential account of the concept of truth from Antiquity onwards, spans several areas of philosophy: philosophy of language, logic, ontology and epistemology. In this 2004 book, Paolo Crivelli discusses all the main aspects of Aristotle's views on truth and falsehood. He analyses in detail the main relevant passages, addresses some well-known problems of Aristotelian semantics, and assesses Aristotle's theory from the point of view of modern analytic philosophy. In the process (...) he discusses most of the literature on Aristotle's semantic theory to have appeared in the last two centuries. His book vindicates and clarifies the often repeated claim that Aristotle's is a correspondence theory of truth. It will be of interest to a wide range of readers working in both ancient philosophy and modern philosophy of language. (shrink)

"Dishonesty inspires more euphemisms than copulation or defecation. This helps desensitize us to its implications. In the post-truth era we don't just have truth and lies but a third category of ambiguous statements that are not exactly the truth but fall just short of a lie. Enhanced truth it might be called. Neo-truth . Soft truth . Faux truth . Truth lite ." Deception has become the modern way of life. Where once the boundary line between truth and lies was (...) clear and distinct, it is no longer so. In the post-truth era, deceiving others has become a challenge, a game, a habit. High-profile dissemblers compete for news coverage, from journalists like Jayson Blair and professors like Joseph Ellis to politicians (of all stripes), executives, and "creative" accountants. Research suggests that the average American tells multiple lies on a daily basis, often for no good reason. Not a finger-wagging scolding, The Post-Truth Era is a combination of Ralph Keyes's investigative journalism and solid science. The result is a spirited exploration of why we lie about practically everything and the consequences such casual dishonesty has on society. American society has become permeated from top to bottom by deception. Its consequences for the nature of public discourse, media, business, literature, academia, and politics are profound. With dry humor, passionate fervor, and deep understanding, Ralph Keyes takes us on a tour of a world where truth and honesty are no longer absolutes but mutable, fluid concepts. (shrink)

There is a great deal of academic literature, much of it coming from the social sciences and from social epistemology, which presents itself as addressing a very general problem: the problem of excessive falsehood. Falsehood comes in two general forms: false statements and false beliefs. Of course, falsehood, in both these forms, has always been with us, but it is often supposed to be on the rise. I will argue that there is no new or growing (...) problem of excessive falsehood (variously referred to as the problem of “misinformation” or “fake news”). Furthermore, we should reject the very idea that falsehood as such is a problem, and hence we should reject the idea of coming up with public policy responses to this so-called problem. I argue that the idea that falsehood is a problem is a natural consequence of the idea that it is virtuous to love truth and hate falsehood. I argue that, although there are several virtues related to truth (such as the intellectual virtue of curiosity and the moral virtue of honesty), a love of truth and hatred of falsehood are not themselves virtues. (shrink)

Lying in Early Modern English Culture is a major study of ideas of truth and falsehood in early modern England from the advent of the Reformation to the aftermath of the failed Gunpowder Plot. The period is characterised by panic and chaos when few had any idea how religious, cultural, and social life would develop after the traumatic division of Christendom. While many saw the need for a secular power to define the truth others declared that their allegiances belonged (...) elsewhere. Accordingly there was a constant battle between competing authorities for the right to declare what was the truth and so label opponents as liars. Issues of truth and lying were, therefore, a constant feature of everyday life and determined ideas of individual identity, politics, speech, sex, marriage, and social behaviour, as well as philosophy and religion. This book is a cultural history of truth and lying from the 1530s to the 1610s, showing how lying needs to be understood in action as well as in theory. Unlike most histories of lying, it concentrates on a series of particular events reading them in terms of academic theories and more popular notions of lying. The book covers a wide range of material such as the trials of Ann Boleyn and Thomas More, the divorce of Frances Howard, and the murder of Anthony James by Annis and George Dell; works of literature such as Othello, The Faerie Queene, A Mirror for Magistrates, and The Unfortunate Traveller; works of popular culture such as the herring pamphlet of 1597; and major writings by Castiglione, Montaigne, Erasmus, Luther, and Tyndale. (shrink)

Current epistemological dogma has it that the twin goalsof believing truths and avoiding errors exhaust our cognitive aspirations. On such a view, (call it the "TG view") the only evaluations that count as genuinely epistemological are those that evaluate something (a belief, believer, set of beliefs, a cognitive trait or process, etc.) in terms of its connection to these two goods. In particular, this view implies that all the epistemic value of knowledge must be derived from the value of the (...) two goals cited in TG. I argue that this implication is false, and thus that the TG view must be abandoned. I propose a candidate to replace the TG view that makes better sense of the value of knowledge. (shrink)

"The Sophist seems to be concerned with two things: being and nonbeing, on the one hand, and true and false speech, on the other. If speech is either true or false speech, it seems not even plausible for being to be either being or nonbeing, since we would then be compelled to say that nonbeing is as much being as false speech is speech. If nonbeing, however, is being, then nonbeing cannot be nonbeing, for otherwise the falseness of false speech (...) would not consist in its saying 'nonbeing.' And, in turn, if nonbeing is nonbeing, the falseness of' false speech again cannot consist in its saying 'nonbeing,' for it would then not be saying anything. If we then say that nonbeing is appearing, and appearing is not unqualified nonbeing, being is being and appearing, and we want to distinguish between the strict identity which belongs to being and the likeness of' nonbeing to the strict identity of being. We say, then, 'Here is Socrates himself' and 'Here is a likeness of Socrates.' Everything in the likeness of Socrates that is a likeness of' Socrates himself will generate a true speech of Socrates identical to another speech true of Socrates himself. Everything, how ever, in the likeness of Socrates that is not a likeness of Socrates himself yields a false speech of Socrates. Among the false speeches of Socrates would be, for example, the paint on Socrates' portrait but not the color of the paint that is true of Socrates himself. The paint, then, without the color (per impossibile), is not true of Socrates, but it certainly is not a likeness of Socrates either. The paint must be together with its color in order for it to be both a likeness of Socrates and nonbeing, but it seems to be utterly mysterious how by being together it can be that and by being apart it ceases to be anything of the sort. If every thing then is just what it is and nothing else, it is impossible for there to be any speech, either true or false, for speech is impossible unless something can be put together with something else.. (shrink)

The book presents a thoroughly elaborated logical theory of generalized truth-values understood as subsets of some established set of truth values. After elucidating the importance of the very notion of a truth value in logic and philosophy, we examine some possible ways of generalizing this notion. The useful four-valued logic of first-degree entailment by Nuel Belnap and the notion of a bilattice constitute the basis for further generalizations. By doing so we elaborate the idea of a multilattice, and most notably, (...) a trilattice of truth values – a specific algebraic structure with information ordering and two distinct logical orderings, one for truth and another for falsity. Each logical order not only induces its own logical vocabulary, but determines also its own entailment relation. We consider both semantic and syntactic ways of formalizing these relations and construct various logical calculi. (shrink)

Some philosophers argue that false speech and false belief are impossible. In the Sophist, Plato addresses this 'falsehood paradox', which purports to prove that one can neither say nor believe falsehoods. In this book Paolo Crivelli closely examines the whole dialogue and shows how Plato's brilliant solution to the paradox is radically different from those put forward by modern philosophers. He surveys and critically discusses the vast range of literature which has developed around the Sophist over the past (...) fifty years, and provides original solutions to several problems that are so far unsolved. His book will be important for all who are interested in the Sophist and in ancient ontology and philosophy of language more generally. (shrink)

""The Habit of Lying" is a highly original, exceptionally sophisticated, continuously illuminating work of literary and cultural theory, and an intellectual ...

CONTRASTING PREJUDICES TRUTH AND FALSEHOOD How can one say something false? How can one even think such a thing? Since, for example, all men are mortal, ...

This collection of essays considers the political, social, literary and artistic impact of the pervasive dichotomy of truth and lies in the context of French society and culture. A fundamental element of our social existance, the notion of le mensonge underpins how we participate in and respond to all aspects of society, from the political process to the capacity of art, literature and other aesthetic forms to fulfill a representative function. This book explores the ways in which French society (...) and culture is regulated by the overriding oppositional structure of truth and lies, and the impact this has on both collective and individual existence. The theme brings together research from diverse disciplines of the Humanities, from political science to literature, film, music and visual arts, in a work that will be of great relevance to a wide range of students and researchers alike. As such, the theme serves as a means of gaining an insight into the range and scope of research currently being conducted in French studies. The book will be useful as a support text for a range of academic courses including those in the fields of cultural studies, literary studies, political studies and sociology. On a larger scale, it posits the theme's potential to develop as an independent area of study, and offers a starting point for future academic study devoted to the idea of le mensonge. (shrink)

What makes it true when we say that something is not the case? Truthmaker maximalists think that every truth has a truthmaker—some fact in the world—that makes it true. No such facts can be found for the socalled negative truths. If a proposition is true when it has a truthmaker, then it would be false when it has no truthmaker. I therefore argue that negative truths, such as t<p>, are best understood as falsehoods, f<p>.

Current epistemological dogma has it that the twin goalsof believing truths and avoiding errors exhaust our cognitive aspirations.On such a view, (call it the TG view) the only evaluationsthat count as genuinely epistemological are those that evaluatesomething (a belief, believer, set of beliefs, a cognitivetrait or process, etc.) in terms of its connection to thesetwo goods. In particular, this view implies that all theepistemic value of knowledge must be derived from thevalue of the two goals cited in TG. I argue (...) thatthis implication is false, and thus that the TG view must be abandoned. I propose a candidate to replacethe TG view that makes better sense of the value ofknowledge. (shrink)

The logic with independent truth and falsehood operators TFL is proposed. In TFL(→) standard truth-conditions for the implication are adopted. Nevertheless the laws of classical logic are not valid. In this language more then 107 different binary connectives can be defined. So this logic can be treated as universal logic relatively to the class of sentential logics.

Sophists and rhetoricians like Gorgias are often accused of disregarding truth and rationality: their speeches seem to aim only at effective persuasion, and be constrained by nothing but persuasiveness itself. In his extant texts Gorgias claims that language does not represent external objects or communicate internal states, but merely generates behavioural responses in people. It has been argued that this perspective erodes the possibility of rationally assessing speeches by making persuasiveness the only norm, and persuasive power the only virtue, of (...) speech. Against this view, I show how Gorgias’ texts support a robust normativity of language that goes well beyond persuasion while remaining non-representational. Gorgias’ claims that a speech can be persuasive and false, or true and unpersuasive, reveal pragmatic, epistemic, and agonistic constraints on the validity of speech that are neither representational nor reducible to sheer persuasiveness. (shrink)

Sextus Empiricus ascribes to Epicurus a curious account of truth and falsehood, according to which these characteristics belong to things in the world about which one speaks, not to what one says about them. I propose an interpretation that takes this account seriously and explains the connection between truth and existence that the Epicureans also seem to recognise. I then examine a second Epicurean account of truth and falsehood and show how it is related to the first.

A provocative assessment of the nature of love and deception draws on classic works of literature and personal experiences to offer philosophical arguments about the integral experiences of lying in erotic love and marriage. Includes notes. By the author of How to Sell.

Michèle Le Doeuff's "Primal Scene": Prohibition and Confidence in the Education of a Woman My essay begins with Michèle Le Doeuff's singular account of the "primal scene" in her own education as a woman, illustrating a universally significant point about the way in which education can differ for men and women: gender difference both shapes and is shaped by the imaginary of a culture as manifest in how texts matter for Le Doeuff. Her primal scene is the first moment she (...) remembers when, while aspiring to think for herself, a prohibition is placed in her reading of literature. Her philosophyteacher—at a boys' school—told the young Michèle that Kant's Critique of Pure Reason was "too difficult" for her to read. In recalling this scene, the older Michèle—now, a woman philosopher—directs her readers to this text by Kant, in order to demonstrate how knowledge has been constrained by the narrative and imagery in the text of a philosopher; similarly, in the texts of others. She finds the central imagery of Kant's text for setting the limits to human knowledge in his account of "the island of understanding," or "land of truth," surrounded by "a stormy sea" of uncertainty; the latter image also retains a seductive appeal, threatening to destroy the confidence of any knower who ventures out beyond the well-marked out island. Moreover, women have often been associated with the dangers at sea beyond the safety of the island, where falsehood and worse reign. I propose that "text matters" here not only for gender issues, but for the postcolonial theory which Le Doeuff's reading of island imagery enhances in western literature and culture. The suggestion is that women in the history of ideas have been more susceptible than men to prohibitions : women's negative education is against going beyond certain boundaries which have been fixed by a generally colonialist culture on the grounds of gender-hierarchies. I stress the significance of confidence in the production of knowledge. A lack or an inhibition of confidence in one's own ability to think critically risks the damaging exclusions of, for example, colonialism and sexism. My aim is to unearth the political biases evident in textual imagery, while also pointing to new epistemic locations, with island-and-sea imagery that transgresses patriarchal prohibition, liberating subjects for confident reading and writing of texts today. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Peter Lamarque TRUTH AND ART IN IRIS MURDOCH'S THE BLACK PRINCE "Art," writes Bradley Pearson, protagonist and narrator in The Black Prince, "is concerned not just primarily but absolutely with truth." Bradley Pearson is also concerned with truth. And understandably so, as he has just taken the rap, and been imprisoned, for a murder he claims he never committed. There are two rather different concerns here with truth: there (...) is the high-minded concern of the artist and there is the more pragmatic concern of the despised and falsely convicted man writing his "apologia." The careful juxtaposition of these two appeals to truth is a central theme in The Black Prince. The bulk of the novel purports to be a first-person narration of events in the later life of Bradley Pearson. Bradley is a writer who has been waiting patiently and silently for the inspiration, "the dark blaze," to produce a great work of art. This "dark blaze" eventually shows itself as the "black Eros," in a passionate but short-lived love affair with the youngJulian Baffin. Bradley is reflecting on these events from his prison cell, guided by his mentor and fellow prisoner, the "editor" P. Loxias (a witty reference to Apollo, god of truth). He sees his art and his love as stemming "from the same source" (p. 172) and, although sensitive to his shortcomings as an artist, he believes that through a divine inspiration he has attained a kind of Platonic tranquillity in the presence of truth and self-knowledge. However, through the device of "postscripts," purportedly written by other characters, we are presented with another picture of him rather different from his own. His former friends, more down to earth, though variously self-interested, depict him as a pitiful, even contemptible, charlatan lost in fantasy and delusion and a suitable case for psychoanalysis. What, then, is the real Bradley Pearson? Is he the pathetic, fantasy-ridden creature of the "postscripts"? Or is he, as he thinks, the great artist inspired by the gods and by Eros who has seen the revelation of truth? 209 2 1 0 Philosophy and Literature By forcing us to raise these questions about the novel, Iris Murdoch, I suggest, is inviting us to reflect on, and relate, two concerns we might have with truth in works of fiction. The first is with truth internal to the novel, truth-within-fiction, which informs us about the fictional characters and events. In The Black Prince, our attention is focused on unravelling and assessing the "truth" of Bradley's account. The second is with truth proper, as it might be revealed through fiction. This is truth not about the fictional world but about the non-fictional real world. It is often maintained that novels can instruct us in acquiring knowledge of the world. This, I suggest, is the type of truth that Bradley, so grandly and solemnly, and frequently, identifies with art. The nature of such truth is the main topic of this article. II What sense can we make of Bradley's repeated claims to the effect that "good art speaks truth" (p. xi)? One answer, reflecting an obvious feature of literary works, is that propositions about the world are often expressed, explicitly, within a fictional context; they might be uttered by one of the characters or directly by the author. The Black Prince offers many such propositions, some of which, on the nature of art, I shall be considering in detail. Examples are plentiful. Thus, Bradley remarks on marriage: "People who boast of happy marriages are, I submit, usually self-deceivers, if not actually liars. The human soul is not framed for continued proximity..." (p. 64). He meditates on love: "The foreverness of real love is one of the reasons why even unrequited love is a source of joy" (pp. 173-74) and discusses jealousy (p. 207). He also reflects on human consciousness and responsibility (p. 155) and on selfishness and goodness: "The burden of genuine goodness is instinctively appreciated as intolerable, and a desire for it would put out of focus the other and ordinary wishes by which one lives" (p. 149). Such explicit propositions carry us beyond the... (shrink)

A comprehensive, critical evaluation of the ideas of the Italian philosopher Benedetto Croce, including a summary of his life.

In lieu of an abstract, here is a brief excerpt of the content:PARODY AND THE ARGUMENT FROM PROBABILITY IN THE APOLOGY by Thomas J. Lewis Over a century ago James Riddell pointed out that Socrates' defense speech in die Apology closely followed the standard form of Athenian forensic rhetoric. He called the Apology "artistic to the core," and he identified parts of "the subde rhetoric of this defense."1 Since then many scholars have explicated the rhetorical elements in Socrates' defense.2 Their (...) work has led in turn to recent attempts to integrate the rhetorical form into an overall understanding of the meaning and significance of the Apology? The puzzle to be solved is what to make of the fact that Socrates disclaims the ability and the intention to use rhetoric in a speech which is itself a rhetorical masterpiece. R. E. Allen raises the possibility thatby using the techniques ofrhetoric and at the same time denying that he is using them Socrates is dissembling or lying. However, Allen rejects this possibility and interprets Socrates' falsehood as only a surface or apparent falsehood. According to Allen it is ironic parody of a disreputable rhetoric which seeks to convince without concern for the truth.4 For Allen the object of the parody is base rhetoric in general, the type of rhetoric denounced by Socrates in the Gorgias as "rhetoric aiming at gratification and pleasure, and indifferent to truth and the good of the soul."5 Two subsequent articles, one by Kenneth Seeskin, the other by Douglas Feaver andJohn Hare, support the view that Socrates is parodying the debased form of rhetoric. However, they place somewhat different emphasis on the exact object of the parody. They argue that the object of Socrates' rhetorical parody is Gorgias' Pahmedes, rather than pandering rhetoric in general.6 After summarizing the many rhetorical similarities between Gorgias' Palamedes and Socrates' defense speech, Seeskin concludes that "Gorgias' Philosophy and Literature, © 1990, 14: 359-366 360Philosophy and Literature Palamedes is not a masterpiece of world literature; it is a collection of topoi—tried and true devices for winning acquittal... [whereas] despite his disclaimer, Socrates' speech is no amateur performance. On the contrary, he knew all the tricks of the trade and employed them with consummate skill" (p. 97). Seeskin uses Plato's Gorgias to explain how Socrates' rhetoric fits within an overall understanding of the Apology. He notes the two types ofrhetoric presented in the Gorgias: base rhetoric, a species of flattery which aims at gratification; and philosophic or true rhetoric which aims at improving the soul. Then Seeskin makes a crucial point. He insists it is not enough to distinguish between base rhetoric and philosophic rhetoric; there must be a way to identify a given instance of rhetoric as either base rhetoric or as philosophic rhetoric. Moreover, he cautions that distinguishing the one from the other is no easy task. "It is impossible to tell them apart on the basis of technique alone. Base rhetoric is no less polished for its baseness.... Nor can one tell them apart on the basis of their stated goals. Flattery succeeds only to the extent that it can pass itself off as something better" (p. 98). Thus, if Socrates and Palamedes employ the same rhetorical devices, Seeskin wonders how we can tell which type ofrhetoric is in the Apology. "Somewhere in the Apology of Socrates there ought to be a clue which allows one to distinguish his defense from the 'standard' defense composed by Gorgias" (p. 99). Seeskin finds the clue in the exordium, where Socrates denies that he is a skillful speaker: "Unless, of course, by a skillful speaker they mean one who speaks the truth. If that is what they mean, I would agree that I am an orator, though not after their pattern" (17b). Although Palamedes makes a comparable claim, Seeskin argues that Palamedes was concerned with appearance rather than truth, and that the key to appearance is the use of the argument from probability. According to Seeskin, Socrates does not rely on the argument from probability, whereas this argument permeates the Palamedes. "Again and again, the speaker tries to show that it would be implausible to suppose that anyone in his position did what he is accused of doing. How... (shrink)

Our linguistic communication is, in part, the exchange of truths. It is an empirical fact that in daily conversation we aim at truths, not falsehoods. This fact may lead us to assume that ordinary, assertion-based communication is the only possible communicative system for truth-apt information exchange, or at least has priority over any alternatives. This assumption is underwritten in three traditional doctrines: that assertion is a basic notion, in terms of which we define denial; that to predicate truth of a (...) sentence is to assert the content it expresses; and that one should, in the context of radical interpretation, try to maximize the truth of what foreigners believe or utter. However, I challenge this assumption via a thought experiment: imagine a language game in which everyone aims to exchange only falsehoods. I argue that information exchange is possible in this game, and so truth-guided communication and falsity-guided communication are conceptually on a par. As a consequence, we should reject the three doctrines, based as they are on the conceptual priority of assertion-based communication. (shrink)

Nietzsche often gives the impression that all human beliefs are false. Some scholars, like Maudemarie Clark, believe that such a “falsification thesis” is unacceptable and try to limit Nietzsche's commitment to it, claiming that he abandons it in his very last works. Others, like Lanier Anderson and Nadeem Hussain, take it in ways that make it true and locate it in all. I argue that the view that is common to both approaches—that Nietzsche held that thesis in the first place—is (...) unjustified. To that end, I interpret the texts where these scholars claim to find the thesis in a way that shows that they do not commit Nietzsche to it, and I offer some reasons for thinking that this is a more fruitful way of interpreting his views on the importance of truth—and falsehood—and their function in the economy of human life. (shrink)

Umberto Eco's Baudolino (2000) never achieved the success of his first novel, The Name of the Rose (1980), although both are historical fictions that provide literary clothing for philosophical ideas. In Baudolino, Eco again dramatizes the disagreement between rationalists and empiricists regarding the sources of our concepts and knowledge, ideas that came to the fore during the medieval period and which continue to be pertinent questions in epistemology. Propositions of either sense experience or logic and reasoning being the basis for (...) knowledge, offer Eco an opportunity for playing what he calls "a game of ambiguity about truth and lies."1 Historical uncertainties, the holes in the fabric of our knowledge about .. (shrink)

We discuss misinformation about “the liar antinomy” with special reference to Tarski’s 1933 truth-definition paper [1]. Lies are speech-acts, not merely sentences or propositions. Roughly, lies are statements of propositions not believed by their speakers. Speakers who state their false beliefs are often not lying. And speakers who state true propositions that they don’t believe are often lying—regardless of whether the non-belief is disbelief. Persons who state propositions on which they have no opinion are lying as much as those who (...) state propositions they believe to be false. Not all lies are statements of false propositions—some lies are true; some have no truth-value. People who only occasionally lie are not liars: roughly, liars repeatedly and habitually lie. Some half-truths are statements intended to mislead even though the speakers “interpret” the sentences used as expressing true propositions. Others are statements of propositions believed by the speakers to be questionable but without revealing their supposed problematic nature. The two “formulations” of “the antinomy of the liar” in [1], pp.157–8 and 161–2, have nothing to do with lying or liars. The first focuses on an “expression” Tarski calls ‘c’, namely the following. -/- c is not a true sentence -/- The second focuses on another “expression”, also called ‘c’, namely the following. -/- for all p, if c is identical with the sentence ‘p’, then not p -/- Without argumentation or even discussion, Tarski implies that these strange “expressions” are English sentences. [1] Alfred Tarski, The concept of truth in formalized languages, pp. 152–278, Logic, Semantics, Metamathematics, papers from 1923 to 1938, ed. John Corcoran, Hackett, Indianapolis 1983. -/- https://www.academia.edu/12525833/Sentence_Proposition_Judgment_Statement_and_Fact_Speaking_about_th e_Written_English_Used_in_Logic. (shrink)

Judgments of the rationality of beliefs must take the costs of acquiring and possessing beliefs into consideration. In that case, certain false beliefs, especially those that are associated with the benefits of a cohesive community, can be seen to be useful for an agent and perhaps instrumentally rational to hold. A distinction should be made between excusable misbeliefs, which a rational agent should tolerate, and misbeliefs that are defensible in their own right because they confer benefits on the agent. Likely (...) candidates for such misbeliefs are to be found in the realm of nationalism and religion, where the possession costs of true beliefs are high, and where collective beliefs in falsehoods may allow for a cohesive community. We discuss the paradoxes of reflective awareness involved in the idea of deliberately embracing falsehoods. More rigorous, fully reflective concepts of rationality would still disallow false beliefs, but such demanding versions of rationality would commit agents to pay large costs, thereby weakening the motivation for acquiring true beliefs. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reflections on Beardsley's AestheticsProblems in the Philosophy of CriticismDonald Crawford (bio)Monroe Beardsley's Aesthetics was published the year I was a junior philosophy major at the University of California, Berkeley, and by the end of that academic year, I had completed semester courses in the history of ancient as well as modern philosophy, logic, ethics, and the philosophy of religion. The requirements remaining for me in philosophy in my senior (...) year were a course in either epistemology or metaphysics, plus five elective philosophy courses. I had fairly developed interests in literature, especially poetry, classical music, film, and the visual arts, so it seemed natural for me to select a course in aesthetics as one of my remaining electives. Nonetheless, I had no idea what aesthetics was. When I looked up the word in the dictionary, I found the following definition: "The branch of philosophy dealing with beauty or the beautiful, especially in the fine arts." Even today, the Berkeley philosophy course catalog entry for aesthetics simply says, as it did then, "Aesthetics: Visual arts/literature and music. Form, expression, representation, style; interpretation and evaluation."Interpretation and evaluation sounded worth pursuing. At that time I had no doubt that almost any music by Bach was better than that by Offenbach, that Van Gogh's Starry Night was in a different class than Norman Rockwell's covers for the Saturday Evening Post, or that Bergman's The Seventh Seal (1957) was a far better film than Attack of the Crab Monsters of the same year. And I was fully convinced that some poems lent themselves to more interesting and profound readings—that is, interpretations—than others and therefore were better poems. So a course that dealt with the interpretation and evaluation of the visual arts, literature, and music was enticing. The class lectures were rather dull, however, and I began to have regrets for enrolling. Besides, the required text was brand new and had several drawbacks: there were no used copies available so it was expensive ($7.50!), and its 591 pages were bound in hardback and heavy. [End Page 19]Yes, the text was Beardsley's Aesthetics, and my now well-worn copy is complete with my original revealing and indelible underlines that remind me of my naiveté. I recall being immediately struck by the book's epigraph—a quotation from David Hume: "I am uneasy to think I approve of one object, and disapprove of another; call one thing beautiful, and another deform'd; decide concerning truth and falsehood, reason and folly, without knowing upon what principles I proceed." This encouraged me to think that this book and course would teach me the principles that underlay my unreasoned critical comparative evaluations of poems, films, and other works of art. Was this false optimism? After glancing at the table of contents, I quickly turned to chapter 10, "Critical Evaluation," where I read on page 454: "The problems to which we now come have been put off as long as possible in the hope that a circumspect approach would make them more vulnerable." I wasn't quite sure what that meant ("vulnerable" to what?), but it seemed to imply that it was necessary to start at the beginning of the book.1 So I did just that. To my delight, almost immediately, on page 3, Beardsley provided his definition of "aesthetics," saying: "[A]esthetics consists of those principles that are required for clarifying and confirming critical statements. It can be thought of, then, as the philosophy of criticism, or metacriticism" (3-4; emphasis in the original). Unless by "critical statement" Beardsley meant judgments of beauty, this didn't really correspond with either Webster's definition or the course description of aesthetics. Beardsley's concept of a critical statement was much broader than that in common use today, and it reflected the attitude of the founders of the American Society for Aesthetics, who named their journal the Journal of Aesthetics and Art Criticism (JAAC). Beardsley said he would be "using the term 'critical statement,' very broadly, to refer to any statement about a work of art" (3) and that a critical statement "need not be a value judgment at... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Robert C. Solomon L'ETRANGER AND THE TRUTH Lying is not only saying what is not true. It is also and especially saying more than is true and, as far as the human heart is concerned, saying more than one feels. Albert Camus What would it be—not to lie? Perhaps it is impossible. It is not difficult to avoid uttering falsehoods, of course. One can always keep silent. But what (...) if lying is also not seeing the truth? For instance, not seeing the truth about oneself even in the name of "not lying"? What then would it be not to lie?—to see oneself and one's feelings as brute facts, as matters already fixed and settled? The very idea of not lying would then be a lie. The lie—the very heart of French Existentialism. It is the infamy of the human condition for Sartre, the gravest sin for Camus. But where Sartre suspects that the lie—or what he calls mauvaise foi—is inescapable, Camus glorifies his characters—and apparently himself—as men without a lie. Meursault of L'Étranger, Camus tells us in a retrospective interpretation, "refuses to lie... accepts death for the sake of truth." Dr. Rieux of The Plague refuses to release information to Tarrou the reporter unless he reports "without qualification." Clamence of The Fall has been living a lie. He is now in purgatory (the seedy inner circles of Amsterdam), a judge-penitent: a judge, we come to see, of other people's hidden falsehoods, a penitent for his own past lie of a life. In The Myth of Sisyphus, it is "the absurd" that becomes the ascertainable truth, and it is the absurd hero who "keeps the absurd alive" with his defiant recognition of that truth. In the turmoil of French leftist politics through the Algerian crises and the Stalin show trials, Camus portrays himself in hisJournals and in The Rebel as the "independent intellectual," the spokesman for the truth who refuses to accept the necessary political fabrications of the left during a time of crisis and change. Accordingly, Camus has himself been interpreted and 141 1 42Philosophy and Literature praised as the hero and martyr for the truth, as "Saint Just," the absurd hero and existential champion.3 L'Étranger is the best known of Camus's works, and it is on the basis of this early short novel that the interpretations of Camus's philosophy reasonably begin. But virtually every interpretation of this work has resulted in what I shall argue to be a false claim—that Meursault is a totally honest man, the "stranger" who does not lie. In his own interpretation of The Stranger, Camus writes,... the hero of the book is condemned because he doesn't play the game. In this sense he is a stranger to the society in which he lives; he drifts in the margin, in the suburb of private, solitary, sensual life. This is why some readers are tempted to consider him as a waif. You will have a more precise idea of this character, or one at all events in closer conformity with the intentions of the author, if you ask yourself in what way Meursault doesn't play the game. The answer is simple: He refuses to lie. Lying is not only saying what is not true. It is also and especially saying more than is true and, as far as the human heart is concerned, saying more than one feels. This is what we all do every day to simplify life. Meursault, despite appearances, does not wish to simplify life. He says what is true. He refuses to disguise his feelings and immediately society feels threatened. He is asked, for example, to say that he regrets his crime according to the ritual formula. He replies that he feels about it more annoyance than real regret and this shade of meaning condemns him. Meursault for me is then not a waif, but a man who is poor and naked, in love with the sun which leaves no shadows. Far from it being true that he lacks all sensibility, a deep tenacious passion animates him, a passion for the absolute and... (shrink)

The hero of George Orwell's Nineteen Eighty-Four defends a seemingly modest claim: "There was truth and there was untruth."1 It may be incoherent to deny this, but, as the novel shows, those who set no store in truth will not be browbeaten by contradictions. Orwell's last novel reflects his conviction that a commitment to "objective truth" was fast disappearing from the world—a prospect that troubled him more than bombs.2 Truth meant little in this "age of lies" and was neither the (...) aim nor horizon of intellectual debate (CW, 17, p. 11). Standards of rationality were opportunistically enlisted and jettisoned in the service of particular ends. Politics, he concluded, was "a mass of lies, evasions, folly, hatred and .. (shrink)