Richard Gaskin – författare

This book defends a version of linguistic idealism, the thesis that the world is a product of language. In the course of defending this radical thesis, Gaskin addresses a wide range of topics in contemporary metaphysics, philosophy of language, philosophical logic, and syntax theory.

Starting from the context and compositionality principles, and the idea of a systematic theory of meaning in the Tarski–Davidson tradition, Gaskin argues that the sentence is the primary unit of linguistic meaning, and that the main aspects of meaning, sense and reference, are themselves theoretical posits. Ontology, which is correlative with reference, emerges as language-driven. This linguistic idealism is combined with a realism that accepts the objectivity of science, and it is accordingly distinguished from empirical pragmatism. Gaskin contends that there is a basic metaphysical level at which everything is expressible in language; but the vindication of linguistic idealism is nuanced inasmuch as there is also a derived level, asymmetrically dependant on the basic level, at which reality can break free of language and reach into the realms of the unnameable and indescribable.

Language and World will be of interest to scholars and advanced students working in metaphysics, philosophy of language, and linguistics.

This book defends a version of linguistic idealism, the thesis that the world is a product of language. In the course of defending this radical thesis, Gaskin addresses a wide range of topics in contemporary metaphysics, philosophy of language, philosophical logic, and syntax theory.

Starting from the context and compositionality principles, and the idea of a systematic theory of meaning in the Tarski–Davidson tradition, Gaskin argues that the sentence is the primary unit of linguistic meaning, and that the main aspects of meaning, sense and reference, are themselves theoretical posits. Ontology, which is correlative with reference, emerges as language-driven. This linguistic idealism is combined with a realism that accepts the objectivity of science, and it is accordingly distinguished from empirical pragmatism. Gaskin contends that there is a basic metaphysical level at which everything is expressible in language; but the vindication of linguistic idealism is nuanced inasmuch as there is also a derived level, asymmetrically dependant on the basic level, at which reality can break free of language and reach into the realms of the unnameable and indescribable.

Language and World will be of interest to scholars and advanced students working in metaphysics, philosophy of language, and linguistics.

This book analyses the epistemological problems that Shakespeare explores in Othello. In particular, it uses the methods of analytic philosophy, especially the work of the later Wittgenstein, to characterize these problems and the play.

Shakespeare’s Othello is often thought to connect with traditional sceptical problems, and in particular with the problem of other minds. In this book, Richard Gaskin argues that the play does indeed connect in interesting—but also in surprising and so far relatively unexplored—ways with traditional epistemological concerns. Shakespeare presupposes a generally Wittgensteinian model of mind as revealed in behaviour, and communication as necessarily successful in general. Gaskin examines different epistemological models of the tragedy, and argues that it is useful to apply materials from Wittgenstein’s On Certainty to the analysis of Othello’s loss of confidence in Desdemona’s fidelity: Othello treats Desdemona’s fidelity as a ‘hinge certainty’, something that is so fundamental to the language-game that abandoning it results—so Wittgenstein predicts—in chaos and madness. The tragedy arises, Gaskin suggests, from treating the wrong kind of thing as a hinge certainty.

Othello and the Problem of Knowledge will appeal to scholars and advanced students interested in aesthetics, epistemology, philosophy of literature, Shakespeare, and Wittgenstein.

This book analyses the epistemological problems that Shakespeare explores in Othello. In particular, it uses the methods of analytic philosophy, especially the work of the later Wittgenstein, to characterize these problems and the play.

Shakespeare’s Othello is often thought to connect with traditional sceptical problems, and in particular with the problem of other minds. In this book, Richard Gaskin argues that the play does indeed connect in interesting—but also in surprising and so far relatively unexplored—ways with traditional epistemological concerns. Shakespeare presupposes a generally Wittgensteinian model of mind as revealed in behaviour, and communication as necessarily successful in general. Gaskin examines different epistemological models of the tragedy, and argues that it is useful to apply materials from Wittgenstein’s On Certainty to the analysis of Othello’s loss of confidence in Desdemona’s fidelity: Othello treats Desdemona’s fidelity as a ‘hinge certainty’, something that is so fundamental to the language-game that abandoning it results—so Wittgenstein predicts—in chaos and madness. The tragedy arises, Gaskin suggests, from treating the wrong kind of thing as a hinge certainty.

Othello and the Problem of Knowledge will appeal to scholars and advanced students interested in aesthetics, epistemology, philosophy of literature, Shakespeare, and Wittgenstein.

This book offers a unique interpretation of tragic literature in the Western tradition, deploying the method and style of Analytic philosophy. Richard Gaskin argues that tragic literature seeks to offer moral and linguistic redress (compensation) for suffering. Moral redress involves the balancing of a protagonist’s suffering with guilt (and vice versa): Gaskin contends that, to a much greater extent than has been recognized by recent critics, traditional tragedy represents suffering as incurred by avoidable and culpable mistakes of a cognitive nature. Moral redress operates in the first instance at the level of the individual agent. Linguistic redress, by contrast, operates at a higher level of generality, namely at the level of the community: its fundamental motor is the sheer expressibility of suffering in words. Against many writers on tragedy, Gaskin argues that language is competent to express pain and suffering, and that tragic literature has that expression as one its principal purposes.

The definition of tragic literature in this book is expanded to include more than stage drama: the treatment stretches from the Classical and Medieval periods through to the early twentieth century. There is a special focus on Sophocles, but Gaskin takes account of most other major tragic authors in the European tradition, including Homer, Aeschylus, Euripides, Virgil, Seneca, Chaucer, Marlowe, Shakespeare, Corneille, Racine, Lessing, Goethe, Schiller, Kleist, Büchner, Ibsen, Hardy, Kafka, and Mann; lesser-known areas, such as Renaissance neo-Latin tragedy, are also covered. Among theorists of tragedy, Gaskin concentrates on Aristotle and Bradley; but the contributions of numerous contemporary commentators are also assessed. Tragedy and Redress in Western Literature: A Philosophical Perspective offers a new and genuinely interdisciplinary perspective on tragedy that will be of considerable interest both to philosophers of literature and to literary critics.

This book offers a unique interpretation of tragic literature in the Western tradition, deploying the method and style of Analytic philosophy. Richard Gaskin argues that tragic literature seeks to offer moral and linguistic redress (compensation) for suffering. Moral redress involves the balancing of a protagonist’s suffering with guilt (and vice versa): Gaskin contends that, to a much greater extent than has been recognized by recent critics, traditional tragedy represents suffering as incurred by avoidable and culpable mistakes of a cognitive nature. Moral redress operates in the first instance at the level of the individual agent. Linguistic redress, by contrast, operates at a higher level of generality, namely at the level of the community: its fundamental motor is the sheer expressibility of suffering in words. Against many writers on tragedy, Gaskin argues that language is competent to express pain and suffering, and that tragic literature has that expression as one its principal purposes.

The definition of tragic literature in this book is expanded to include more than stage drama: the treatment stretches from the Classical and Medieval periods through to the early twentieth century. There is a special focus on Sophocles, but Gaskin takes account of most other major tragic authors in the European tradition, including Homer, Aeschylus, Euripides, Virgil, Seneca, Chaucer, Marlowe, Shakespeare, Corneille, Racine, Lessing, Goethe, Schiller, Kleist, Büchner, Ibsen, Hardy, Kafka, and Mann; lesser-known areas, such as Renaissance neo-Latin tragedy, are also covered. Among theorists of tragedy, Gaskin concentrates on Aristotle and Bradley; but the contributions of numerous contemporary commentators are also assessed. Tragedy and Redress in Western Literature: A Philosophical Perspective offers a new and genuinely interdisciplinary perspective on tragedy that will be of considerable interest both to philosophers of literature and to literary critics.