Language and Reality
Language and Reality
CHRISTOPHER GAUKER
Devitt and Sterelny's Language and Reality is a staunchly partisan, issue-oriented introduction
to the philosophy of language. The centerpiece of their view is the causal theory of reference.
In addition to reference, the topics covered include the psychological reality of grammars,
the relation between thought and language, the explanatory value of the concept of truth,
and linguistic relativism.
More than a quarter of the book is devoted to the causal theory of reference. In essence,
the authors' theory is that for certain sorts of terms, especially names and natural kind terms,
a term comes to refer to a thing when that thing causes a perceptual act that leads to the
introduction of the term (55). Such a term may retain its reference when used by speakers
who themselves have not been perceptually affected by the referent provided these speakers
acquire the term in the right way from other speakers whose uses of the term refer. Other
sorts of terms, such as terms for artifact kinds, may acquire reference by being defined using
terms that already refer.
As Devitt and Sterelny are aware, their causal theory of reference is fraught with problems.
Thc most striking of these is what the authors call the "qua-problem." Of all the things
involved in the causation of the act of perception that leads to the introduction of a term,
which will be the term's referent? What makes it the case that "Nana" comes to be the name
of a cat and not the name of a head of a cat or the name of a time-slice of a cat? The authors
reply that the type of the referent is determined by a descriptive element in the thoughts that
lead to the introduction of the term (64-65). Thus the authors reject the "pure-causal theory"
in favor of what they call a "descriptive-causal theory." But as the authors acknowledge,
the qua-problem arises as well in accollnting for the reference of the relevant descriptive
elements. Sinee a solution along the same lines as before would beg the question, the authors
have to concede in the end that they really have no comprehensive theory of reference at
all (75).
Since the authors, by their own admission, cannot make the causal theory work, they owe
us at least some good reasons for thinking that it ought to work. The rationale they offer
proceeds in two stages. In the first stage they explain why truth-conditions are of central
interest in a theory of meaning (section 2.1), and they explain how truth-conditions depend
on reference relations (section 2.2). The second stage is to argue that one alternative theory
of reference, the description theory, has all sorts of problems that the causal theory avoids
(Chapters 3 through 5).
This rationale does not go to the heart of the issue. The issue is, what may we take for
granted in explaining what reference is? May we explain reference in terms of linguistic
meaning or in terms of truth-conditions, or must the order of explanation be the reverse of
this'? If we could give an independent account of meaning, then there might be various ways
to explain reference in terms of it. For instance, reference might be explained as a function
of meaning and the context of utterance. If the authors could persuade us that reference is
more fundamental than meaning, then they could make short shrift of the description theory
of reference since this takes for granted the meanings of descriptions. Even if we cannot
270 Teaching Philosophy 10:3, September 1987
LYDIA GOEHR
For nearly one hundred years, English-speaking readers have had to resort to Gustav Cohen's
loose translation of Eduard Hanslick's essay on the musically beautiful. Now we have an
accurate translation, by Geoffrey Payzant. Apart from the translation, Payzant's carefully
researched bibliography, notes, and essay, 'Towards a Revised Reading of Hansl ick," provide
valuable insight into what many consider the canonical statement of musical formalism.
(Payzant's translation is taken from the 1891 edition of Yom Musikalisch-Schonen: ein
Beitrag zur Revision der Asthetik der Tonkunst. Cohen's translation was published in 1895
(Liberal Arts Press edition, 1957).
Hanslick provided only the beginnings of an aesthetics of music. His treatise, nonetheless,
has helped to shape our contemporary understanding of music; it has influenced numerous
aestheticians and musicians, not least Schoenberg and Stravinsky. It stands in contrast both
to the eighteenth-century theories of mimesis and affect and to the more mystical aspects
of the romantic aesthetic. Music traditionally was viewed as a language which could express
feelings, imitate nature, or somehow express the transcendental or inexpressible. Hanslick
countered with the view that music is to be understood only in the specifically musical terms
of tonally moving forms ltonend bewegte Formenj. The form and content of musie are sui
generis----constituted solely by the melodic, harmonic, rhythmic, and thematic shaping of
tonal sequences. Herein, alone, lies the musically beautiful.
Morris Weitz has suggested, in his introduction to Cohen's text, that Hanslick's brief
essay (83 pages in translation) is to musical theory what Hume's Enquiry Concerning Human
Understanding is to speculative philosophy. Certainly Gurney's treatise on formalism, The
Power of Sound, produced thirty years after Hanslick's essay is more systematic. Even so,
the latter has advantages: it makes the formalist position strikingly clear; it is stimulating in
its polemical and provocative style; last, but not least, it is short. It is undoubtedly essential
reading for any student of aesthetics and for anyone else seriously interested in understanding
the nature of music. Hanslick's text serves as one of the best introductions to the problems
of music's meaning and purpose, music's relation to other arts and to nature, musical form
and content, the objectivity of musico-aesthetic contemplation, jUdgment, and criticism,
and, finally the nature of composition and style.
Methodologically, Hanslick's purpose is three-fold. First, Hanslick proposes-in Kantian