Advanced Issues in Metaphysics: Metaphysics and the Objects of Art
Course Syllabus
Phil 485, Winter 2014
Basic Course Information
Instructor:
Tony Roy
Office:
UH 401.43
Phone :
537-5870
E-mail:
troy@csusb.edu
Web:
http://philosophy.csusb.edu/~troy/
Logic Lab:
UH 047, see http://philosophy.csusb.edu/
Office hrs:
MWF 12:00 – 1:10 and by appointment (or try me anytime I am in)
Meetings:
MWF 1:20 – 2:30, UH 251
Brief Description
All the world’s a play (to abuse a bit of Shakespeare) but what in the world’s a play?
In this class we ask what sort of entity is a play, photograph, musical work, novel,
fictional character and the like. Whole departments are devoted to the experience and
study of these things. Even so, it is hardly clear what they are. A play is not identical
to a script or individual performance; a musical work is not identical to any individual
performance. Again, ‘Frodo is a hobbit’ and ‘Frodo is a character of fiction and film’
are apparently true. But it is not clear what makes them true, because it is not clear
what things they are about. We shall explore a range of theories including ones
according to which objects of the arts are abstract, and ones according to which there
are no such things but rather such statements have a role in a sort of pretense or
game.
Course Expectations
The official prerequisite is completion of two 300-level philosophy courses along with
the GE upper-division writing requirement. Thus we assume no particular content,
though a certain philosophical sophistication is assumed – and, in this case, exposure
to at least introductory formal logic is a plus. In a small and advanced class such as
this, it goes without saying that each of us specially depends upon the others for the
quality and nature of class interaction. So I’ll leave off comments about homework,
attendance, phones and the like simply to depend on your honor and good judgment.
Text
The readings for this course are all listed on the top page of a packet to be distributed
on the first day of class. Required readings are either in the packet, or available online
(mostly through the library journals database). In addition, a term paper is based on
one of three books available both on reserve in the library and as recommended texts
at the bookstore.
It is just possible to avoid spending money for readings in this course. However, it is
likely that you will need to print online articles and/or to purchase at least the text upon
which your paper will be based.
Grading
Grades are based on a series of “reaction” papers (40%), and a term paper in multiple
drafts (60%).
Reactions: According to the attached schedule, roughly each week is associated with
a substantive reading assignment. For each unit, you are responsible for a 3-4 page
“reaction” to the reading. The reaction should consist of a summary of some issues
from the reading, together with a critique or question about it. These papers will be
graded on a 0 – 5 point scale, with scores of 4 – 5 reserved for papers that rise to the
level of philosophical discussion, and lower for ones that remain at the level of
summary. It will be less important that the critiques are effective, than that you interact
intelligibly and philosophically with the material. The reaction score is calculated by
dividing points earned by 5 less than points possible: the result is to “forgive” one
missing assignment – or if scores are otherwise strong, to treat one as extra credit.
These papers will often be the basis of class discussion; thus late assignments will be
accepted only with a point deduction corresponding to the number of class meetings
the assignment is late.
Paper: The term paper is to evaluate one of the three main theories to be studied in
our course along with some published criticism of it. The paper is due in four
installments. (i) In the week after the introductory portion of the course a brief (1-2
page) thesis statement and a projected bibliography. The bibliography must include at
least one of Wolterstorff Works and Worlds of Art, Thomasson Fiction and
Metaphysics or Walton Mimesis as Make-Believe, and may include articles from
required readings (it may also be supplemented in other ways). Then (ii) a 5 page
start to your paper, in which you set up the primary theory to be discussed; (iii) a
version of your complete paper; and (iv) the final version. The first part must be
approved before other drafts will be accepted. After that, drafts count 5%, 5%, 50% of
the total grade. Late papers will be accepted up to the last day of instruction with a 5%
deduction, and up to the final exam date with a 10% deduction. Nothing will be
accepted after the final exam date. Exceptions require some exceptional excuse (not
“I have a lot to do”) and consent of the instructor.
Note: You are encouraged to discuss anything, especially reading and reaction papers
with other students, the instructor, and/or assistants in the Logic. Lab With this said,
all written work is to be your own. Academic honesty is always essential, and
particularly so in the give-and-take of philosophy, where the project is to work through
and clarify your own views. Plagiarism will result in an automatic F for an assignment,
and up to an F for the course along with standard University discipline. Because the
issue is so important, be sure you know what plagiarism is! If you have any questions
or concerns, feel free to talk things over with me. See also the very nice discussion,
“What is Plagiarism” from my website http://philosophy.csusb.edu/~troy/courses.htm
and also p. 54 of the CSUSB Bulletin http://catalog.csusb.edu/documents/20122014.pdf#page=54.
Order of Instruction (!tentative!)
I.
Background
1. Roy
2. VanInwagen
3. Lewis
4. Kripke
II.
Three Theories
5. Wolterstorff
6. Thomasson, Roy + Davidson
7. Walton
III.
An Alternate Perspective
8. Roy
*All readings are listed on the top page of the readings packet*
The details
There are no adds after the census date. See detailed policies for adds and drops
beginning on p. 48 of the CSUSB Bulletin http://catalog.csusb.edu/documents/20122014.pdf#page=48.
If you are in need of accommodation for a disability in order to participate in this class,
please contact Services to Students with Disabilities at UH 183 (909) 537-5238.
Individuals with disabilities should prepare for an emergency ahead of time by
instructing a classmate and the instructor. If you require assistance in the event of an
emergency, you are advised to establish a buddy system with a buddy and alternate
buddy in the class.
Readings for Phil 485, Metaphysics and Objects of Art (!tentative!)
1.
T. Roy, Properties, Possibilities and Ordinary Things (1.1,1.2),
http://rocket.csusb.edu/~troy/main.pdf
2.
P. VanInwagen,
308
“Creatures of Fiction,” American Philosophical Quarterly 14 (1977), 299-
–––– “Existence, Ontological Commitment, and Fictional Entities,” enclosed.
3.
D. Lewis, “Truth in Fiction,” American Philosophical Quarterly 15 (1978), 37-46
4.
S. Kripke, Reference and Existence (selection), enclosed.
5.
N. Wolterstorff, “Worlds of Works of Art,” Journal of Aesthetics and Art Criticism 35 (1976),
121-132
–––– “Toward an Ontology of Art Works,” Noûs 9 (1975), 115-142
6.
A. Thomasson, “The Ontology of Art,” enclosed.
–––– “Speaking of Fictional Characters,” Dialectica 57 (2003) 205-223.
–––– “Fictional Characters and Literary Practices,” British Journal of Aesthitcs 43 (2003),
138-157
Roy and Davidson, “New Directions in Metaphysics” (partial), enclosed.
7.
K. Walton, “Fearing Fictions,” Journal of Philosophy 75 (1978), 5-27
–––– “Fictional Entities,” enclosed.
8.
T. Roy Properties, Possibilities and Ordinary Things (2-2.4.2),
http://rocket.csusb.edu/~troy/main.pdf
Articles with journal citation are available online through Pfau. In addition, Wolterstorff, Works and
Worlds of Art; Thomasson, Fiction and Metaphysics; and Walton, Mimesis as Make-Believe are
available both on reserve in the library and as recommended texts in the library. A term paper will
be based on one of these.