Can Cogency Vanish?

This paper considers whether universally—for all (known) rational beings—an argument scheme or pattern can go from being cogent (well-reasoned) to fallacious. This question has previously received little attention, despite the centrality of the concepts of cogency, scheme, and fallaciousness. I argue that cogency has vanished in this way for the following scheme, a common type of impersonal means-end reasoning: X is needed as a basic necessity or protection of human lives, therefore, X ought to be secured if possible. As it stands (with no further elaboration), this scheme is committed to the assumption that the greater the number of human lives, the better. Although this assumption may have been indisputable previously, it is clearly disputable now. It is a fallacy or non sequitur to make a clearly disputable assumption without providing any justification. Although this topic raises critical issues for practically every discipline, my primary focus is on logical (as opposed to empirical or ethical) aspects of the case, and on implications for practical and theoretical logic. I conclude that the profile of vanishing cogency of the scheme may be unique and is determined by a peculiar combination of contingent universality and changing conditions

Two Epistemic Issues for a Narrative Argument Structure

The transcendental approach to understanding narrative argument derives from the idea that for any believable fictional narrative, we can ask—what principles or generalizations would have to be true of human nature in order for the narrative to be believable? I address two key issues: whether only realistic or realist fictional narratives are believable, and how could it be established that we have an intuitive, mostly veridical grasp of human nature that grounds believability

A Defense of Taking Some Novels As Arguments

This paper’s main thesis is that in virtue of being believable, a believable novel makes an indirect transcendental argument telling us something about the real world of human psychology, action, and society. Three related objections are addressed. First, the Stroud-type objection would be that from believability, the only conclusion that could be licensed concerns how we must think or conceive of the real world. Second, Currie holds that such notions are probably false: the empirical evidence “is all against this idea…that readers’ emotional responses track the real causal relations between things.” Third, responding with a full range of emotions to a novel surely requires that it be believable. Yet since we know the novel is fiction, we do not believe it. So in what does its believability consist

Commentary on: Chiara Pollaroli\u27s T(r)opical patterns in advertising

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Can Literary Fiction be Suppositional Reasoning?

Suppositional reasoning can seem spooky. Suppositional reasoners allegedly (e.g.) “extract knowledge from the sheer workings of their own minds” (Rosa), even where the knowledge is synthetic a posteriori. Can literary fiction pull such a rabbit out of its hat? Where P is a work’s fictional ‘premise’, some hold that some works reason declaratively (supposing P, Q), imperatively (supposing P, do Q), or interrogatively (supposing P, Q?), and that this can be a source of knowledge if the reasoning is good. True, I will argue, although only within the context of judicious critical interpretation. Further evident constraints include that the form of the suppositional reasoning needs to be declarative or imperative, and that the fictional ‘premise’ of the work needs to be a metaphysical counterfactual possibility, not merely a temporal counterfactual and not merely an epistemic possibility or probabilistic supposition

Argumentatively Evil Storytelling

What can make storytelling “evil” in the sense that the storytelling leads to accepting a view for no good reason, thus allowing ill-reasoned action? I mean the storytelling can be argumentatively evil, not trivially that (e.g.) the overt speeches of characters can include bad arguments. The storytelling can be argumentatively evil in that it purveys false premises, or purveys reasoning that is formally or informally fallacious. My main thesis is that as a rule, the shorter the fictional narrative, the greater the potential for argumentative evil. Here, the notion of length is to be understood such that it is generally a proxy for more abstract features such as how complex and nuanced the piece is. In other argumentative contexts, length generally appears to make no comparable difference. This feature would put fictional narrative arguments in a special class beyond what is determined by obvious features, such as the definitional fact that they in some way(s) collapse two of the four traditional types of discourse: exposition, description, narration, and argument. The nonobvious features that distinguish this class have been a source of puzzlement and inquiry

The non-existence of “inference claims”

Some believe that all arguments make an implicit “inference claim” that the conclusion is inferable from the premises (e.g., Bermejo-Luque, Grennan, the Groarkes, Hitchcock, Scriven). I try to show that this is confused. An act of arguing arises because an inference can be attributed to us, not a meta-level “inference claim” that would make the argument self-referential and regressive. I develop six (other) possible explanations of the popularity of the doctrine that similarly identify confusions