This volume attempts to solve a grave problem about critical self-reflection. The worry is that we critical thinkers are all in "epistemic bad faith" in light of what psychology tells us. After all, the research shows not merely that we are bad at detecting "ego-threatening" thoughts à la Freud. It also indicates that we are ignorant of even our ordinary thoughts—e.g., reasons for our moral judgments of others (Haidt 2001), and even mundane reasons for buying one pair of stockings over another! (Nisbett & Wilson 1977) However, reflection on one’s thoughts requires knowing what those thoughts are in the first place. So if ignorance is the norm, why attempt self-reflection? The activity would just display naivety about psychology. Yet while respecting all the data, this book argues that, remarkably, we are sometimes infallible in our self-discerning judgments. Even so, infallibility does not imply indubitability, and there is no Cartesian ambition to provide a "foundation" for empirical knowledge. The point is rather to explain how self-reflection as a rational activity is possible.

What are mental states? When we talk about people’s beliefs or desires, are we talking about what is happening inside their heads? If so, might cognitive science show that we are wrong? Might it turn out that mental states do not exist? Mental fictionalism offers a new approach to these longstanding questions about the mind. Its core idea is that mental states are useful fictions. When we talk about mental states, we are not formulating hypotheses about people’s inner machinery. Instead, we simply talk "as if" people had certain inner states, such as beliefs or desires, in order to make sense of their behaviour. This is the first book dedicated to exploring mental fictionalism. Featuring contributions from established authors as well as up-and-coming scholars in this burgeoning field, the book reveals the exciting potential of a fictionalist approach to the mind, as well as the challenges it faces. In doing so, it offers a fresh perspective on foundational debates in the philosophy of mind, such as the nature of mental states and folk psychology, as well as hot topics in the field, such as embodied cognition and mental representation. Mental Fictionalism: Philosophical Explorations is essential reading for advanced undergraduates, postgraduates and professionals alike.

Does the real world, defined as a world of objects that exist independent of human interests, concerns, and cognitive activities, really exist? Jan Westerhoff argues that we have good reason to believe it does not. His discussion considers four main facets of the idea of the real world, ranging from the existence of a separate external and internal world (comprising various mental states congregated around a self), to the existence of an ontological foundation that grounds the existence of all the entities in the world, and the existence of an ultimately true theory that provides a final account of all there is. As Westerhoff discusses the reasons for rejecting the postulation of an external world behind our representations, he asserts that the internal world is not as epistemically transparent as is usually assumed, and that there are good reasons for adopting an anti-foundational account of ontological dependence. Drawing on conclusions from the ancient Indian philosophical system of Madhyamaka Buddhism, Westerhoff defends his stance in a purely Western philosophical framework, and affirms that ontology, and philosophy more generally, need not be conceived as providing an ultimately true theory of the world.

Philosophical questions regarding the nature and methodology of philosophical inquiry have garnered much attention in recent years. Perhaps nowhere are these discussions more developed than in relation to the field of metaphysics. The Routledge Handbook of Metametaphysics is an outstanding reference source to this growing subject. It comprises thirty-eight chapters written by leading international contributors, and is arranged around five themes: • The history of metametaphysics • Neo-Quineanism (and its objectors) • Alternative conceptions of metaphysics • The epistemology of metaphysics • Science and metaphysics. Essential reading for students and researchers in metaphysics, philosophical methodology, and ontology, The Routledge Handbook of Metametaphysics will also be of interest to those in closely related subjects such as philosophy of language, logic, and philosophy of science.

This Handbook contains twenty-six original and substantive papers examining a wide selection of philosophical methods. Drawing upon an international range of leading contributors, it will help shape future debates about how philosophy should be done. The papers will be of particular interest to researchers and high-level undergraduates.

This book argues that Sellars’ theory of intentionality can be understood as an advancement of a transcendental philosophical approach. It shows how Sellars develops his theory of intentionality through his engagement with the theoretical philosophy of Immanuel Kant. The book delivers a provocative reinterpretation of one of the most problematic and controversial concepts of Sellars' philosophy: the picturing-relation. Sellars' theory of intentionality addresses the question of how to reconcile two aspects that seem opposed: the non-relational theory of intellectual and linguistic content and a causal-transcendental theory of representation inspired by the philosophy of the early Wittgenstein. The author explains how both parts cohere in a transcendental account of finite knowledge. He claims that this can only be achieved by reading Sellars as committed to a transcendental methodology inspired by Kant. In a final step, he brings his interpretation to bear on the contemporary metaphilosophical debate on pragmatism and expressivism. Intentionality in Sellars will be of interest to scholars of Sellars and Kant, as well as researchers working in philosophy of mind, epistemology, and the history of nineteenth- and twentieth-century philosophy.

The notion of disinterestedness is often conceived of as antiquated or ideological. In spite of this, Hilgers argues that one cannot reject it if one wishes to understand the nature of art. He claims that an artwork typically asks a person to adopt a disinterested attitude towards what it shows, and that the effect of such an adoption is that it makes the person temporarily lose the sense of herself, while enabling her to gain a sense of the other. Due to an artwork’s particular wealth, multiperspectivity, and dialecticity, the engagement with it cannot culminate in the construction of world-views, but must initiate a process of self-critical thinking, which is a precondition of real self-determination. Ultimately, then, the aesthetic experience of art consists of a dynamic process of losing the sense of oneself, while gaining a sense of the other, and of achieving selfhood. In his book, Hilgers spells out the nature of this process by means of rethinking Kant’s and Schopenhauer’s aesthetic theories in light of more recent developments in philosophy–specifically in hermeneutics, critical theory, and analytic philosophy–and within the arts themselves–specifically within film and performance art.