18 ideas
| 10121 | Contradiction is not a sign of falsity, nor lack of contradiction a sign of truth [Pascal] |
| 16405 | To understand a name (unlike a description) picking the thing out is sufficient? [Stalnaker] |
| 16407 | Possible worlds allow separating all the properties, without hitting a bare particular [Stalnaker] |
| 16397 | If it might be true, it might be true in particular ways, and possible worlds describe such ways [Stalnaker] |
| 16398 | Possible worlds allow discussion of modality without controversial modal auxiliaries [Stalnaker] |
| 16399 | Possible worlds are ontologically neutral, but a commitment to possibilities remains [Stalnaker] |
| 16396 | Kripke's possible worlds are methodological, not metaphysical [Stalnaker] |
| 16408 | Rigid designation seems to presuppose that differing worlds contain the same individuals [Stalnaker] |
| 16406 | If you don't know what you say you can't mean it; what people say usually fits what they mean [Stalnaker] |
| 16404 | In the use of a name, many individuals are causally involved, but they aren't all the referent [Stalnaker] |
| 16403 | 'Descriptive' semantics gives a system for a language; 'foundational' semantics give underlying facts [Stalnaker] |
| 16401 | To understand an utterance, you must understand what the world would be like if it is true [Stalnaker] |
| 20400 | Intentions either succeed or fail, so external evidence for them is always irrelevant [Wimsatt/Beardsley, by Davies,S] |
| 7266 | The author's intentions are irrelevant to the judgement of a work's success [Wimsatt/Beardsley] |
| 7268 | The thoughts of a poem should be imputed to the dramatic speaker, and hardly at all to the poet [Wimsatt/Beardsley] |
| 7267 | Poetry, unlike messages, can be successful without communicating intentions [Wimsatt/Beardsley] |
| 7269 | The intentional fallacy is a romantic one [Wimsatt/Beardsley] |
| 7271 | Biography can reveal meanings and dramatic character, as well as possible intentions [Wimsatt/Beardsley] |