Arguments that ordinary inanimate objects such as tables and chairs, sticks and stones, simply do not exist have become increasingly common and increasingly prominent. Some are based on demands for parsimony or for a non-arbitrary answer to the special composition question; others arise from prohibitions against causal redundancy, ontological vagueness, or co-location; and others still come from worries that a common sense ontology would be a rival to a scientific one.
Until now, little has been done to address these arguments in a unified and systematic way. Ordinary Objects is designed to fill this gap, demonstrating that the mistakes behind all of these superficially diverse eliminativist arguments may be traced to a common source. It aims to develop an ontology of ordinary objects subject to no such problems, providing perhaps the first sustained defense of a common sense ontology in two generations. The work done along the way addresses a number of major issues in philosophy of language and metaphysics, contributing to debates about analyticity, identity conditions, co-location and the grounding problem, vagueness, overdetermination, parsimony, and ontological commitment.
In the end, the most important result of addressing these eliminativist arguments is not merely avoiding their conclusions; examining their failings also gives us reason to suspect that many apparent disputes in ontology are pseudo-debates. For it brings into question widely-held assumptions about which uses of metaphysical principles are appropriate, which metaphysical demands are answerable, and how we should go about addressing such fundamental questions as "What exists?." As a result, the work of Ordinary Objects promises to provide not only the route to a reflective understanding of our unreflective common-sense view, but also a better understanding of the proper methods and limits of metaphysics.
"Ordinary Objects is well worth reading because it sheds new light on how to preserve the credibility of familiar things."--Marianne Djuth, The Review of Metaphysics
"In Ordinary Objects, Amie Thomasson mounts a spirited and vigorous defense of the reality of ordinary objects."--Terry Horgan, Times Literary Supplement
"Ordinary Objects is a fine book.... [Thomasson] writes insightfully and persuasively, and she has a realistic view of what metaphysical arguments can and cannot demonstrate... she approaches metaphysical theorizing more systematically than many other recent writers, drawing attention to the ways in which questionable assumptions in one area of philosophy are undergirding seemingly powerful arguments in another. Everyone working in metaphysics should make time for this volume."--R. W. Fischer, Metaphilosophy
"In Ordinary Objects, Thomasson pursues an integrated conception of ontology and metaontology. In ontology, she defends the existence of shoes, ships, and other ordinary objects. In metaontology, she defends a deflationary view of ontological inquiry, designed to suck the air out of arguments against ordinary objects. The result is an elegant and insightful defense of a common sense worldview."--Jonathan Schaffer, Philosophical Books
"Amie Thomasson has written a lovely book which is certain to irritate many professional metaphysicians. But it is not just irritating: it is challenging...This book would be good supplementary text for upper-level metaphysics classes or seminars in which the sorts of arguments to which Thomasson replies are also read."--Alan Sidelle, The Philosophical Quarterly
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这本书最让我印象深刻的,是它所营造出的那种特定的“氛围感”。整个故事弥漫着一种略带忧郁却又饱含希望的基调,像夏末秋初,阳光依然热烈,但凉意已悄悄潜伏在阴影之中。作者似乎对人性的幽暗面有着深刻的理解,但他并未沉溺于此,反而在黑暗中总能精准地捕捉到一丝微弱的光亮。这种平衡拿捏得恰到好处,使得作品既有深度,又不至于让人感到压抑。我感觉自己仿佛被邀请进入了一个私密的、只能通过这本书才能抵达的空间,在那里,时间流速似乎都变得缓慢而有意。它迫使你停下来,审视自己过去那些被忽略的感受和选择。这种沉浸式的阅读体验,让我暂时逃离了现实的喧嚣,获得了一次心灵上的彻底放松和重塑。
评分从结构上看,这本书的巧妙之处在于它看似松散,实则紧密相连的叙事网。它不像传统小说那样拥有一个清晰的、由A点直达Z点的线性发展,反而更像是一张由无数回忆碎片、哲思片段和环境描写交织而成的网。这些看似独立的片段,在读者的脑海中会逐渐拼凑出一个宏大而统一的主题。我特别欣赏作者处理时间线的方式,它常常在过去、现在和一种模糊的未来之间自由穿梭,这种非线性的叙事反而更贴合我们真实记忆和思维的运作模式。对于那些偏爱传统情节驱动型故事的读者来说,或许需要一些耐心来适应这种更偏向意识流的表达,但一旦你接受了它的游戏规则,你会发现这种叙事结构带来了更广阔的解读空间,每一次重读,似乎都能发现新的连接点和被忽视的伏笔。
评分我对作者的语言风格简直是惊叹不已,那是一种混杂了诗意与散文化的独特语汇体系。读起来,句子结构变化多端,时而长句如河流般连绵不绝,细致入微地勾勒出环境的氛围;时而又使用短促有力的短句,像闪电一样击中读者的心房,带来瞬间的震撼。尤其值得一提的是,书中对于比喻和象征手法的运用,简直达到了出神入化的地步。它不直接告诉你“是什么”,而是通过一系列意象的巧妙组合,让你自己去体会那种抽象的情感或哲理。我必须承认,初读时有些地方需要放慢速度,细细品味那些看似寻常却蕴含深意的文字,但一旦适应了这种节奏,便会发现其中别有洞天。这不仅仅是阅读故事,更像是在欣赏一幅由文字构筑而成的、充满隐喻的艺术品,需要读者投入相当的专注度去解码,回报则是丰厚的精神体验。
评分我认为这本书的伟大之处在于其对“普遍性”的探索,尽管它讲述的故事可能源于非常具体的个人境遇。作者拥有罕见的能力,可以将个体经验提升到一种近乎寓言的高度,使得任何背景的读者都能从中找到自己的影子。它探讨的主题是永恒的:关于失去、关于记忆的不可靠性、关于我们在构建自我认同过程中所扮演的角色。然而,它没有给出任何预设的答案或道德评判,它只是安静地呈现,然后退后一步,把解释的空间留给了读者。这种开放性让人倍感尊重,也极大地延长了这本书的生命力——因为每一次读完,你都在与自己进行一场新的对话。它不是一本提供慰藉的书,而是一面映照你内心深处的镜子,清晰、诚实,且不加粉饰。
评分这本书的叙事节奏掌控得真是炉火纯青,让人在不知不觉中就被带入了那个特定的时空。作者对于细节的描摹细腻入微,仿佛触手可及。我尤其欣赏它在描绘日常生活中的那些微小瞬间时所展现出的洞察力,那些我们习以为常的、甚至快要被遗忘的场景,被赋予了全新的生命力。故事情节的铺陈并非一蹴而就,而是层层递进,每一次转折都显得那么自然而然,却又在不经意间引出了更深层次的思考。读到中段时,我甚至能感受到角色内心的挣扎与成长,那种复杂的情感纠葛,作者处理得极为克制而有力。它不是那种轰轰烈烈的传奇故事,却有着更接近真实人生的质感,让人读完后久久不能忘怀,总会时不时地回想起某个特定的场景,思考其中的深意。这种潜移默化的影响,才是真正优秀的文学作品所具备的魅力所在,它不动声色地改变了我们看待周遭事物的角度。
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