In this article I attempt to present an explanation that integrates the five features needed for the cognitive (knowledge‐yielding) linking of philosophy and literature. These features are, first, explaining how a literary work can support a general claim. Second, explaining what is uniquely gained through concentrating on such support patterns as they appear in aesthetic contexts in particular. Third, explaining how features of aesthetic response are connected with knowledge. Four, maintaining a distinction between manipulation and adequate persuasion. Five, achieving all (...) this without invoking what David Novitz has called “a shamelessly functional and didactic view of literature.”. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Objectivity and InterpretationRobert SteckerAccording to Gregory Currie, literary interpretation suffers from a failure of objectivity. 1 He does not claim that the failure is complete, that it is not an objective matter in the least degree which interpretations of a literary work are acceptable, but he does claim that the degree of objectivity is at best small.I believe that literary interpretation is capable of a high degree of objectivity (...) in the sense Currie specifies as well as in other senses. However, the same standard of objectivity is not properly applied to all interpretations, because there are many different aims or interests with which interpretations are advanced, and the requirements of objectivity on acceptability vary with aim.Currie’s argument for objectivity failure should not be accepted. The most important reason for this is that it is based on a faulty conception of the enterprise of literary interpretation. However, the argument is also questionable on that conception.IBefore examining Currie’s argument, it is best to be clear about the objectivity in question. Just what has, or lacks objectivity, and what makes it more or less objective? I confess to being less than completely clear about Currie’s answer to this question. Let us say that it is judgments that are or are not objective, leaving it open for now which literary judgments are in question in Currie’s claim about objectivity failure. Objectivity depends on the possibility of intersubjective agreement or “agreement across points of view” as Currie puts it. Judgments of taste (e.g., “sushi is delicious”) are common candidates for judgments [End Page 48] that are not objective. We can suppose judgments of leftness are objective because we can all agree with my judgment that the book is to my left even if it is to other people’s right and would be to my right were I to reorient myself. Of course, that we can (should?) all agree doesn’t mean we always will. For various reasons, not all of which are relevant to objectivity, some may refuse to agree.According to Currie, objectivity comes in degrees, and nothing said so far indicates how we assign a degree of objectivity to a judgment. Extent of agreement or probability of reaching agreement might be invoked here, but these are not what Currie has in mind. In Currie’s view, degree of objectivity depends on the degree to which a judgment needs to be relativized before it is capable of getting agreement. There is something intuitive in this, but it is tricky to spell out the relevant criterion. Suppose the sushi lovers of Osaka can pretty much agree among themselves about what is good sushi. So can the sushi lovers of Kyoto. However, they cannot agree with each other. What is good sushi is relative to different groups of sushi lovers and their different standards, and that seems to make the goodness of some sushi a less objective matter than if there were one overarching standard. On the other hand, judgments of leftness are also capable of receiving agreement only when relativized to an individual and her orientation. Yet that does not undermine their objectivity. Similarly, to use an example of Currie’s, judgments of velocity need to be made relative to a frame of reference if they are to receive agreement, but that does not undermine their objectivity. Hence relativizing does not always undermine objectivity. Perhaps the relevant difference is something like this. There is no such thing as leftness not relativized to individual and orientation. There is no such thing as velocity not relativized to frame of reference. But perhaps there is such a thing as being a good F not relativized to group standards. This may not be so with sushi, but perhaps it is with carving knives or with stainless steel. In that case judgments of goodness that are independent of group standards, and hence capable of receiving agreement across groups, are more objective than those that are not. However, if all judgments of goodness are by their nature relative to group standards, the above reasoning suggests that such judgments are just as objective as judgments about velocity. That seems wrong... (shrink)

In Fiction, Truth and Literature, Lamarque and Olsen argue that if a critic claims or attempts to prove that the outlook of a work of literature is true or false, he is not engaging in literary or aesthetic appreciation. This paper argues against this position by adducing cases where literary critics discuss the truth or falsity of a work’s view, when their opinions are obviously relevant to the work’s aesthetic assessment. The paper considers in detail the way factual errors damage (...) a work’s aesthetic standing, and shows that Lamarque and Olsen’s alternative account of the role of propositional truths in literature only looks plausible because it considers a restricted range of examples. Finally, it considers the role intention, date and genre play in discussions of the aesthetic damage done by literal falsehood. (shrink)

Recent philosophical discussion about the relation between fiction and reality pays little attention to our moral involvement with literature. Frank Palmer's purpose is to investigate how our appreciation of literary works calls upon and develops our capacity for moral understanding. He explores a wide range of philosophical questions about the relation of art to morality, and challenges theories that he regards as incompatible with a humane view of literary art. Palmer considers, in particular, the extent to which the values and (...) moral concepts involved in our understanding of human beings can be said to enter into our understanding of, and response to, fictional characters. The scope of his discussion encompasses literary aesthetics, ethics, and epistemology, and he makes extensive reference to literary examples. (shrink)

This is a paperback edition of what has become an important contribution to aesthetics and the theory of literature. The author analyses in detail how the reader responds to literature and how he begins to evaluate it. Mr Olsen characterizes literature as an institution and thus forges links with contemporary philosophy which sees all human action as ordered and defined by social institutions.

The essays in this collection are concerned with the philosophical problems that arise in connection with the understanding and evaluation of literature - such problems as the relationship between the work and the author (authorial intention), between the work and the world (reference and truth), the definition of a literary work, and the nature of literary theory itself. Professor Olsen attacks many of the orthodoxies of modern literary theory, in particular the enterprise to build a comprehensive systematic literary theory. His (...) own work is informed by a consistent perspective: the assumption that literature is a social institution governed by conventions, and that answers to problems of interpretation and appreciation can be found only through an analysis of these conventions. This is an important book for scholars and students of literary theory and philosophy, especially for those who see an ever-increasing cross-fertilization between the two disciplines. (shrink)

Views of what role convention plays in the creation and appreciation of art works gravitate towards two extremes. One view holds that works of art can be apprehended and appreciated as well as created with no reference to convention. The other claims that conventions fully determine how works of art are apprehended and are therefore necessary conditions for the creation of works of art as well as constitutive of appreciation. The former is a version of the Romantic view of art (...) as something that appeals spontaneously to man's most profound emotions, to man's sentient nature, without making use of or needing mediating conventions. The conventionalist view denies that it is possible to respond spontaneously to art. All apprehension and appreciation of art are structured by conventions, and the reader/audience cannot go beyond these conventions because they constitute the experience of the work of art. This paper explains the sense in which the constitutive view may be best understood. (shrink)

The aim of interpretation is to capture the past in the future: to capture, not to recapture, first, because the iterative prefix suggests that meaning, which was once manifest, must now be found again. But the postulated author dispenses with this assumption. Literary texts are produced by very complicated actions, while the significance of even our simplest acts is often far from clear. Parts of the meaning of a text may become clear only because of developments occurring long after its (...) composition. And though the fact that an author means something may be equivalent to the fact that a writer could have meant it, this is not to say that the writer did, on whatever level, actually mean it.Alexander Nehamas, professor of philosophy at the University of Pittsburgh, has written articles on ancient Greek philosophy, literary theory, Nietzsche and Thomas Mann. (shrink)

In Art and intention Paisley Livingston develops a broad and balanced perspective on perennial disputes between intentionalists and anti-intentionalists in philosophical aesthetics and critical theory. He surveys and assesses a wide range of rival assumptions about the nature of intentions and the status of intentionalist psychology. With detailed reference to examples from diverse media, art forms, and traditions, he demonstrates that insights into the multiple functions of intentions have important implications for our understanding of artistic creation and authorship, the ontology (...) of art, conceptions of texts, works, and versions, basic issues pertaining to the nature of fiction and fictional truth, and the theory of art interpretation and appreciation. Livingston argues that neither the inspirationist nor rationalistic conceptions can capture the blending of deliberate and intentional, spontaneous and unintentional processes in the creation of art. Texts, works, and artistic structures and performances cannot be adequately individuated in the absence of a recognition of the relevant makers4intentions. The distinction between complete and incomplete works receives an action-theoretic analysis that makes possible an elucidation of several different senses of "fragment" in critical discourse. Livingston develops an account of authorship, contending that the recognition of intentions is in fact crucial to our understanding of diverse forms of collective art-making. An artist's short-term intentions and long-term plans and policies interact in complex ways in the emergence of an artistic oeuvre, and our uptake of such attitudes makes an important difference to our appreciation of the relations between items belonging to a single life-work. The intentionalism Livingston advocates is, however, a partial one, and accommodates a number of important anti-intentionalist contentions. Intentions are fallible, and works of art, like other artefacts, can be put to a bewildering diversity of uses. Yet some important aspects of art's meaning and value are linked to the artist's aims and activities. (shrink)

In aesthetics, the topic of intentions comes up most often in the perennial debate between intentionalists and anti-intentionalists over standards of interpretation. The underlying assumptions about the nature and functions of intentions are, however, rarely explicitly developed, even though divergent and at times tendentious premises are often relied upon in this controversy. Livingston provides a survey of contentions about the nature and status of intentions and intentionalist psychology more generally, arguing for an account that recognizes the multiple functions fulfilled by (...) intentions in the lives of temporally situated agents who deliberate over what to do, settle on ends and means, and try to realize some of their plans. Artists’ intentions are the same sorts of attitudes that we attribute to ourselves and to others as we attempt to describe, explain, and predict our actions. As such, intentions are relevant not only to debates over the interpretation of works of art but also to a range of other basic topics in the philosophy of art, including artistic creation and authorship, the ontology of art, the nature of texts, works, versions, and life-works, and the status and nature of fiction and fictional truth. With regard to the controversy over the interpretation of art, Livingston advocates a ‘partial’ intentionalism. Intentions are never infallible, so there is a conceptual gap between the completed work and the intentions that initiated and guided its making. Yet in spite of the fallibility of intentions and of our beliefs and claims about them, intentions regularly contribute to the determination of a work’s features, including implicit meanings, the recognition of which requires the uptake of the artist’s intentional design. Partial intentionalism also finds support in the idea that at least one sort of artistic value depends on the artist’s skilful accomplishment of intentions. (shrink)

In aesthetics, the topic of intentions comes up most often in the perennial debate between intentionalists and anti-intentionalists over standards of interpretation. The underlying assumptions about the nature and functions of intentions are, however, rarely explicitly developed, even though divergent and at times tendentious premises are often relied upon in this controversy. Livingston provides a survey of contentions about the nature and status of intentions and intentionalist psychology more generally, arguing for an account that recognizes the multiple functions fulfilled by (...) intentions in the lives of temporally situated agents who deliberate over what to do, settle on ends and means, and try to realize some of their plans. Artists’ intentions are the same sorts of attitudes that we attribute to ourselves and to others as we attempt to describe, explain, and predict our actions. As such, intentions are relevant not only to debates over the interpretation of works of art but also to a range of other basic topics in the philosophy of art, including artistic creation and authorship, the ontology of art, the nature of texts, works, versions, and life-works, and the status and nature of fiction and fictional truth. With regard to the controversy over the interpretation of art, Livingston advocates a ‘partial’ intentionalism. Intentions are never infallible, so there is a conceptual gap between the completed work and the intentions that initiated and guided its making. Yet in spite of the fallibility of intentions and of our beliefs and claims about them, intentions regularly contribute to the determination of a work’s features, including implicit meanings, the recognition of which requires the uptake of the artist’s intentional design. Partial intentionalism also finds support in the idea that at least one sort of artistic value depends on the artist’s skilful accomplishment of intentions. (shrink)

What Is Aesthetic Pleasure? When is pleasure in an object properly denominated aesthetic? The characterization of aesthetic pleasure is something that ...

This chapter contains sections titled: Background The Way Forward.

This book examines the complex and varied ways in which fictions relate to the real world, and offers a precise account of how imaginative works of literature can use fictional content to explore matters of universal human interest. While rejecting the traditional view that literature is important for the truths that it imparts, the authors also reject attempts to cut literature off altogether from real human concerns. Their detailed account of fictionality, mimesis, and cognitive value, founded on the methods of (...) analytical philosophy, restores to literature its distinctive status among cultural practices. The authors also explore metaphysical and skeptical views, prevalent in modern thought, according to which the world itself is a kind of fiction, and truth no more than a social construct. They identify different conceptions of fiction in science, logic, epistemology, and make-believe, and thereby challenge the idea that discourse per se is fictional and that different modes of discourse are at root indistinguishable. They offer rigorous analyses of the roles of narrative, imagination, metaphor, and "making" in human thought processes. Both in their methods and in their conclusions, Lamarque and Olsen aim to restore rigor and clarity to debates about the values of literature, and to provide new, philosophically sound foundations for a genuine change of direction in literary theorizing. (shrink)

The paper argues that there is a proper place for literature within aesthetics but that care must be taken in identifying just what the relation is. In characterising aesthetic pleasure associated with literature it is all too easy to fall into reductive accounts, for example, of literature as merely “fine writing”. Belleslettrist or formalistic accounts of literature are rejected, as are two other kinds of reduction, to pure meaning properties and to a kind of narrative realism. The idea is developed (...) that literature—both poetry and prose fiction—invites its own distinctive kind of aesthetic appreciation which far from being at odds with critical practice, in fact chimes well with it. (shrink)

Two distinct senses of 'understanding', Neither implying that works of art have meaning, Or communicate: (1) 'cognitive', Referring to knowledge of character of work; (2) 'phenomenal', Parasitic on (1), Referring to what a viewer takes work to be, Or sees it as. Individuation and characterization of works is settled by contingent agreement. Understanding a work shares features with understanding persons, And arguments. It is an achievement concept, Partly passive, Partly active, Whose nature is unknown in advance. Critics create conventions for (...) talking about works; this leaves little room for pretending, At least in sense (2) which is an explicitly 'intentional' concept. (shrink)

This article discusses the relationship (or lack thereof) between authors’ intentions and the meaning of literary works. It considers the advantages and disadvantages of Extreme and Modest Actual Intentionalism, Conventionalism, and two versions of Hypothetical Intentionalism, and discusses the role that one’s theoretical commitments about the robustness of linguistic conventions and the publicity of literary works should play in determining which view one accepts.