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  1. Dina Zoe Belluigi (2011). Intentionality in a Creative Art Curriculum. Journal of Aesthetic Education 45 (1):18-36.
    Much debated in the curriculum content of cultural studies, the subject of intentionality and interpretation has not been given as much attention in terms of teaching and learning in higher education (HE). Various modernist and postmodernist approaches differ considerably, and these inevitably inform lecturers’ notions, whether consciously or unconsciously. Of particular concern is how such ideas influence teaching, learning, and assessment in creative disciplines such as art, design, music, and creative writing. In this paper approaches to intentionality and interpretation in (...)
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  2. Andreas Dorschel (2005). Über das Verstehen und Interpretieren von Kunstwerken. In Wolf-Jürgen Cramm, Wulf Kellerwessel, David Krause & Hans-Christoph Kupfer (eds.), Diskurs und Reflexion. Wolfgang Kuhlmann zum 65. Geburtstag. Königshausen & Neumann. 375-387.
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  3. Simon Fokt (2011). Constructive Thoughts on Pierre Menard. Philosophy and Literature 35 (2):338-347.
    Interpretational monists and pluralists most often accept contextualism. At the same time, most of them resist constructivism, which takes all interpretations of artworks to be separate artworks. However, one of the central arguments to establish contextualism, based on Borges’ story of Pierre Menard, is so formulated that using it can force all contextualists into accepting constructivism. This paper points out the under-specification present in the philosophical use of the Pierre Menard example to then combine it with arguments presented by contextualists (...)
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  4. K. E. Gover (2012). What is Humpty-Dumptyism in Contemporary Visual Art? A Reply to Maes. British Journal of Aesthetics 52 (2):169-181.
    In a recent article, Hans Maes argues that examples drawn from contemporary visual art shed new light on the long-standing and seemingly intractable debate between Hypothetical Intentionalism (HI) and Moderate Actual Intentionalism (AI). He presents two test cases that, he argues, tilt the scale in favour of AI. In this paper I re-examine Maes's two test cases, and argue that neither succeeds as a test case. The first case fails because it confuses a relevant fact about the artwork with the (...)
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  5. James R. Hamilton (2006). Understanding Plays. In Saltz Krasner (ed.), Staging Philosophy.
    Hamilton argues that there is a level of understanding of theatrical performances, and narrative performances in particular (called "plays"), that does not require grasp of the large-scale aesthetic features that usually inform the structure of what is presented. This "basic understanding" is required for any spectator to go on to have a deeper understanding and, so, grounds any spectator's understanding of the larger-scale features of a performance.
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  6. William Hirstein (2013). Memories of Art. Behavioral and Brain Sciences 36 (2):146 - 147.
    Although the art-historical context of a work of art is important to our appreciation of it, it is our knowledge of that history that plays causal roles in producing the experience itself. This knowledge is in the form of memories, both semantic memories about the historical circumstances, but also episodic memories concerning our personal connections with an artwork. We also create representations of minds in order to understand the emotions that artworks express.
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  7. William Irwin (2015). Authorial Declaration and Extreme Actual Intentionalism: Is Dumbledore Gay? Journal of Aesthetics and Art Criticism 73 (2):141-147.
    Authorial and artistic declarations would seem to be a boon to interpreters who favor actual intentionalism. However, because they believe there are limits on the power of authors and artists to embody their intentions in their works, moderate actual intentionalists hold that some intentions are irrelevant. Looking closely at authorial declaration about the sexuality of Albus Dumbledore in the Harry Potter novels, I argue in favor of the extreme actual intentionalist position that genuine authorial declarations should not be ignored because (...)
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  8. Christoph Jäger (2005). Kunst, Kontext und Erkenntnis. In Christoph Jäger & Georg Meggle (eds.), Kunst und Erkenntnis. mentis. 9-39.
  9. Marzenna Jakubczak (2011). Przyroda w filozofii i kulturze Indii. Kultura Współczesna (1):171-182.
    W artykule rozważane są rozmaite semantyczne i symboliczne relacje, w jakich ujmuje się przyrodę na gruncie filozofii, kosmologii i estetyki indyjskiej. Punktem wyjścia jest charakterystyka wewnętrznej dynamiki przyrody, w którą wpisane jest nieustanne zderzanie się biegunowych jakości. Przedstawione są m.in. wedyjskie kosmogoniczne rozważania, konstatujące samorodność i substancjalną jednorodność cyklicznej natury, oraz pięć reprezentatywnych filozoficznych koncepcji przyrody. Autorka podkreśla także swoistą współzależność pomiędzy afirmowaną wizją przyrody a kulturowymi reprezentacjami natury ludzkiej.
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  10. Anthony Jannotta (2014). Interpretation and Conversation: A Response to Huddleston. British Journal of Aesthetics 54 (3):371-380.
    The conversation argument for actual intentionalism compares our encounters with artworks to conversations to support the interpretive policy that artists’ intentions should constrain our interpretations of their artworks. Andrew Huddleston argues that intentionalists cannot appeal to conversation, because either the metaphor is inapt or, if the metaphor is more aptly construed , it will be incompatible with the intentionalist’s interpretive policy. I argue that, once constraint is understood properly, Huddleston’s conversational requirements obtain; thus the conversation metaphor is apt. I then (...)
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  11. Machiel Keestra (2014). Mirrors of the Soul and Mirrors of the Brain? The Expression of Emotions as the Subject of Art and Science. In Gary Schwartz (ed.), Emotions. Pain and pleasure in Dutch painting of the Golden Age. nai010 publishers. 81-92.
    Is it not surprising that we look with so much pleasure and emotion at works of art that were made thousands of years ago? Works depicting people we do not know, people whose backgrounds are usually a mystery to us, who lived in a very different society and time and who, moreover, have been ‘frozen’ by the artist in a very deliberate pose. It was the Classical Greek philosopher Aristotle who observed in his Poetics that people could apparently be moved (...)
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  12. Anezka Kuzmicova (2013). Outer Vs. Inner Reverberations: Verbal Auditory Imagery and Meaning-Making in Literary Narrative. Journal of Literary Theory 7 (1-2):111-134.
    It is generally acknowledged that verbal auditory imagery, the reader's sense of hearing the words on a page, matters in the silent reading of poetry. Verbal auditory imagery (VAI) in the silent reading of narrative prose, on the other hand, is mostly neglected by literary and other theorists. This is a first attempt to provide a systematic theoretical account of the felt qualities and underlying cognitive mechanics of narrative VAI, drawing on convergent evidence from the experimental cognitive sciences, psycholinguistic theory, (...)
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  13. Patrick Maynard (2007). Review of James Cutting, Impressionism and its Canon. Journal of Aesthetics and Art Criticism 65 (2):246–248.
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  14. Patrick Maynard (1968). Review of Arthur Child, Interpretation: A General Theory. Philosophical Review 78 (1):106-109.
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  15. Jennifer A. McMahon (2002). Review of Making Sense. A Theory of Interpretation. [REVIEW] Australasian Journal of Philosophy 80 (1):107 – 109.
    Book Information Making Sense. A Theory of Interpretation. By Paul Thom. Rowman & Littlefield. Lanham. 2000. Pp. vii + 117. Hardback, US$59.95. Paperback, US$17.95.
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  16. Andrea Sauchelli (2013). The Merited Response Argument and Artistic Categories. Journal of Aesthetics and Art Criticism 71 (3):239-246.
    The merited response argument is an argument in favor of artistic ethicism. According to this view, the interaction between art and morality is such that a moral defect in a work of art negatively influences the work's artistic value (and a moral merit, when relevant, is always an artistic merit). I contend that the argument relies on a criterion of aesthetic and artistic relevance that, when properly understood, fails to constitute a premise that either the artistic contextualist or the autonomist (...)
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  17. Martina Sauer (2013). Verantwortung - Vom Aufladen mit Bedeutung in Kunst und Sprache. Zu den Konsequenzen aus den kulturanthropologischen Ansätzen von Cassirer, Warburg und Böhme. In Oxen Kathrin & Sagert Dietrich (eds.), Mitteilungen - zur Erneuerung evangelischer Predigtkultur, Leipzig 2013 (Kirche im Aufbruch ; 5). Evangelische Verlagsanstalt. 15-33.
    So many things have a meaning for us. How is it possible and how can we deal with it? In "gestures of attention" (rituals) we understand it, Hartmut Böhme says, and we produce it ourselves, Aby M. Warburg and Ernst Cassirer are suggesting. That means the producer and the recipient are responsible for their doing. -/- So vieles in unserem Leben hat für uns eine Bedeutung. Wie kommt das und wie können wir damit umgehen? In "Gesten der Zuwendung" (Rituale), so (...)
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  18. Robert Stecker (2003). Interpretation and Construction: Art, Speech, and the Law. Blackwell.
    Interpreting the everyday -- Art interpretation : the central issues -- A theory of art interpretation : substantive claims -- A theory of art interpretation : conceptual and ontological claims -- Radical constructivism -- Moderate and historical constructivism -- Interpretation and construction in the law -- Relativism versus pluralism.
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