The Oxford Handbook of Assertion explores philosophical themes pertaining to the speech act of assertion: the nature of assertion, assertion's place among the speech acts, empirical issues in theories of assertion, assertion's role in semantics and metasemantics, the place of assertion in the epistemology of testimony, and the social and ethical dimensions of assertion.
Assertions belong to the family of speech acts that make claims regarding how things are. They include statements, avowals, reports, expressed judgments, and testimonies - acts which are relevant across a host of issues not only in philosophy of language and linguistics but also in subdisciplines such as epistemology, metaphysics, philosophy of mind, ethics, and social and political philosophy. Over the past two decades, the amount of scholarship investigating the speech act of assertion has increased dramatically, and the scope of such research has also grown. The Oxford Handbook of Assertion explores various dimensions of the act of assertion: its nature; its place in a theory of speech acts, and in semantics and meta-semantics; its role in epistemology; and the various social, political, and ethical dimensions of the act. Essays from leading theorists situate assertion in relation to other types of speech acts, exploring the connection between assertions and other phenomena of interest not only to philosophers but also to linguists, psychologists, anthropologists, lawyers, computer scientists, and theorists from communication studies.
Presents an account of the speech act of assertion and defends the view that it is answerable to a constitutive norm and is suited to explaining assertions connections to other philosophical topics.
Assertion is a term frequently used in linguistics and philosophy but rarely defined. This in-depth study surveys and synthesizes a range of philosophical, linguistic and psychological literature on the topic, and then presents a detailed account of the cognitive processes involved in the interpretation of assertions.
This handbook brings together past and current research on all aspects of lying and deception, from the combined perspectives of linguistics, philosophy, and psychology. It will be an essential reference for students and researchers in these fields and will contribute to establishing the vibrant new field of interdisciplinary lying research.
Some of the world's specialists provide in this handbook essays about what kinds of things there are, in what ways they exist, and how they relate to each other. They give the word on such topics as identity, modality, time, causation, persons and minds, freedom, and vagueness.
Animals have played a fundamental role in shaping human history, and the study of their remains from archaeological sites - zooarchaeology - has gradually been emerging as a powerful discipline and crucible for forging an understanding of our past. This Handbook offers a cutting-edge, global compendium of zooarchaeology that seeks to provide a holistic view of the role played by animals in past human cultures. Case studies from across five continents explore ahuge range of human-animal interactions from an array of geographical, historical, and cultural contexts, and also illuminate the many approaches and methods adopted by different schools and traditions instudying these relationships.
"Nearly four hundred and fifty years in, ballet still resonates-though the stages have become international, and the dancers, athletes far removed from noble amateurs. While vibrations from the form's beginnings clearly resound, much has transformed. Nowadays ballet dancers aspire to work across disciplines with choreographers who value a myriad of abilities. Dance theorists and historians make known possibilities and polemics in lieu of notating dances verbatim, and critics do the daily work of recording performance histories and interviewing artists. Ideas circulate, questions arise, and discussions about how to resist ballet's outmoded traditions take precedence. In the dance community, calls for innovation have defined palpable shifts in ballet's direction and resultantly we have arrived at a new moment in its history that is unquestionably recognized as a genre onto its own: Contemporary Ballet. An aspect of this recent discipline is that its dancemakers, more often than not, seek to reorient the viewer by celebrating what could be deemed vulnerabilities, re-construing ideals of perfection, problematizing the marginalized/mainstream dichotomy, bringing audiences closer in to observe, and letting the art become an experience rather than a distant object preciously guarded out of reach. Hence, the practice of ballet is moving to become a less-mediated and more active process in many circumstances. Performers and audiences alike are challenged, and while convention is still omnipresent, choices are being made. For some, this approach has been drawn on for decades, and for others it signifies a changing of the guard, yet however we arrive there, the conclusion is the same: Contemporary Ballet is not a style. That is to say, it is not a trend, phase, or fashionable term that will fade, rather it is a clear period in ballet's time deserved of investigation. And it is into this moment that we enter"--
