Counterfactual narrative explanation

Journal of Aesthetics and Art Criticism

Volumn 67, Issue 1, 2009, Pages 37-47

  Dohrn, Daniel ^a  

^a UNIVERSITY OF KONSTANZ   (Germany)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 61949271944     PISSN: 00218529     EISSN: 15406245     Source Type: Journal    
DOI: 10.1111/j.1540-6245.2008.01333.x     Document Type: Article

References (28)

1. Nelson Goodman, Languages of Art: An Approach to a Theory of Symbols, 2nd ed. (Indianapolis: Hackett, 1976), p. 264.
2. John Gibson, "Interpreting Words, Interpreting Worlds," The Journal of Aesthetics and Art Criticism 64 (2006): 439-450, see pp. 439-440.
3. Compare Marc Lange, "Who Is Afraid of Ceteris-Paribus Laws? Or: How I Learned to Stop Worrying and Love Them," Erkenntnis 57 (2002): 407-423.
4. Ronald de Sousa "Emotions are species of determinate patterns of salience among objects of attention, lines of inquiry, and inferential strategies." The Rationality of Emotion (MIT Press, 1987), p. 196.
5. Willard van Orman Quine, Word and Object (MIT Press, 1960), p. 19;
6. Christopher Hookway, "Affective States and Epistemic Immediacy," Metaphilosophy 34 (2003): 78-96, see p. 81.
7. Hookway, "Affective States and Epistemic Immediacy," p. 90.
8. J. David Velleman, "Narrative Explanation," The Philosophical Review 112 (2003): 1-25.
9. De Sousa, The Rationality of Emotion, p. 182.
10. Denis Dutton "Works of art tend to be designed to utilize a combined variety of human perceptual and intellectual capacities to a full extent," in "A Naturalist Definition of Art," The Journal of Aesthetics and Art Criticism 64 (2006): 367-377, quote from p. 372.
11. Gibson "critical interpretationmarks a process of articulating patterns of salience, value, and significance in the worlds literary works bring to view," in "Interpreting Words, InterpretingWorlds," p. 444.
12. Immanuel Kant, Kritik der Urtheilskraft; Kants Gesammelte Schriften 5 (Berlin: Reimer, 1908), p. 190.
13. Daniel Dohrn, Konzinniẗat und Koḧarenz. Naturscḧonheit und Natursystem in Kants 'Kritik der Urteilskraft' (Berlin: Philo, 2004).
14. Goodman, Languages of Art, pp. 241-245, 251.
15. Timothy Williamson, "Armchair Philosophy, Metaphysical Modality, and Counterfactual Thinking," Proceedings of the Aristotelian Society 105 (2005): 1-23, quotes from pp. 10, 15, respectively.
16. David Lewis, "Truth in Fiction," Philosophical Papers, Vol. 1 (Oxford University Press, 1983), pp. 261-280, quote from pp. 278-279.
17. Tamar Gendler and John Hawthorne, "Introduction: Conceivability and Possibility," in Conceivability and Possibility, ed. Tamar Gendler and John Hawthorne (Oxford: Clarendon Press, 2002), pp. 1-70.
18. Carl Hempel "deductive argumentswhose conclusion is the explanandum sentence; ⋯ and whose premiss-set, the explanans, consists of general laws ⋯ and of other statements ⋯ which make assertions about particular facts." Philosophy of Natural Science (Englewood Cliffs, NJ: Prentice Hall, 1966), p. 51.
19. Paisley Livingston, Art and Intention: A Philosophical Study [Oxford: Clarendon Press, 2005], p. 178).
20. Manuel García-Carpintero, "Fiction-Making as a Gricean Illocutionary Type," The Journal of Aesthetics and Art Criticism 65 (2007): 203-216, p. 212.
21. Paisley Livingston's "Intentional heuristic: in determining what is true in a given fiction, the reader ⋯ should adapt the thoughts and premises that the author(s) of that fiction settled on in creating the work, yet only insofar as these assumptions mesh sufficiently with the features of the utterance," in Livingston, Art and Intention, p. 207.
22. Nöel Carroll, Beyond Aesthetics: Philosophical Essays (Cambridge University Press, 2001), pp. 118-133.
23. Nöel Carroll, "Historical Narratives and the Philosophy of Art," The Journal of Aesthetics and Art Criticism 51 (1993): 313-326, see p. 321.
24. For a thorough elaboration of the notion of a historical narrative, compare Nöel Carroll, "Historical Narratives and the Philosophy of Art," p. 321.
25. Robert Stecker, "Moderate Actual Intentionalism Defended," The Journal ofAesthetics and Art Criticism 64 (2006): 429-438, see p. 431.
26. Arthur C. Danto, The Abuse of Beauty: Aesthetics and the Concept of Art (Chicago: Open Court, 2003), pp. 109-110.
27. Daniel Kaufman: "There is a purely contemplative dimension to our experience of artworks; that one of our primary interests in art is in the states of mind and, especially, the distinctive pleasures that are engendered by its contemplation," in "Family Resemblances, Relationalism, and the Meaning of Art," The British Journal of Aesthetics 47 (2007): 280-297, quote from p. 297.
28. Nöel Carroll, "Aesthetic Experience Revisited," The British Journal of Aesthetics 42 (2002): 145-168, see p. 152.