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  1. Knowledge, Language, and Interpretation: On the Philosophy of Donald Davidson.M. Cristina Amoretti & Nicla Vassallo (eds.) - 2008 - Ontos Verlag.
    Thanks to their heterogeneity, the nine essays in this volume offer a clear testimony of Donald Davidson's authority, and they undoubtedly show how much his work - even if it has raised many doubts and criticisms - has been, and still is, highly influential and significant in contemporary analytical philosophy for a wide range of subjects. Moreover, the various articles not only critically and carefully analyse Davidson's theses and arguments (in particular those concerning language and knowledge), but they also illustrate (...)
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  2. 'Metaphorically'.Ben Blumson - manuscript
    Not every metaphor can be literally paraphrased by a corresponding simile – the metaphorical meaning of ‘Juliet is the sun’, for example, is not the literal meaning of ‘Juliet is like the sun’. But every metaphor can be literally paraphrased, since if ‘metaphorically’ is prefixed to a metaphor, the result says literally what the metaphor says figuratively – the metaphorical meaning of ‘Juliet is the sun’, for example, is the literal meaning of ‘metaphorically, Juliet is the sun’.
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  3. Depiction and Intention.Ben Blumson - 2014 - In Resemblance and Representation. Open Book Publishers. pp. 51-66.
    This chapter defends intentionalism about pictorial representation.
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  4. Depiction, Pictorial Experience, and Vision Science.Robert Briscoe - 2016 - Philosophical Topics 44 (2):43-81.
    Pictures are 2D surfaces designed to elicit 3D-scene-representing experiences from their viewers. In this essay, I argue that philosophers have tended to underestimate the relevance of research in vision science to understanding the nature of pictorial experience. Both the deeply entrenched methodology of virtual psychophysics as well as empirical studies of pictorial space perception provide compelling support for the view that pictorial experience and seeing face-to-face are experiences of the same psychological, explanatory kind. I also show that an empirically informed (...)
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  5. The Intentional Fallacy.Laurie Calhoun - 1994 - Philosophy and Literature 18 (2):337-338.
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  6. The Intentional Fallacy: Defending Myself.Noël Carroll - 1997 - Journal of Aesthetics and Art Criticism 55 (3):305-309.
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  7. WHAT IS ART (Classificatory Disputes, Aesthetic Judgements, Contemporary Art.Ulrich De Balbian - 2017 - Philosophy and Art.
    WHAT is art? Classificatory disputes.. Classificatory disputes about what is art SEE this link for the images embeded in the text!! https://ulrichdebalbian.wordpress.com/2015/05/09/classificatory-disputes-about-what-is-art/ -/- Art historians and philosophers of art have long had classificatory disputes about art regarding whether a particular cultural form or piece of work should be classified as art. Disputes about what does and does not count as art continue to occur today -/- Defining art is difficult if not impossible. Aestheticians and art philosophers often engage in disputes (...)
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  8. A Cognitive Approach to the Earliest Art.Johan de Smedt & Helen de Cruz - 2011 - Journal of Aesthetics and Art Criticism 69 (4):379-389.
    This paper takes a cognitive perspective to assess the significance of some Late Palaeolithic artefacts (sculptures and engraved objects) for philosophicalconcepts of art. We examine cognitive capacities that are necessary to produceand recognize objects that are denoted as art. These include the ability toattribute and infer design (design stance), the ability to distinguish between themateriality of an object and its meaning (symbol-mindedness), and an aesthetic sensitivity to some perceptual stimuli. We investigate to what extent thesecognitive processes played a role in (...)
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  9. The Intentional Fallacy: Defending Beardsley.George Dickie & W. Kent Wilson - 1995 - Journal of Aesthetics and Art Criticism 53 (3):233-250.
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  10. The Intentional Fallacy: An Applied Reappraisal.Carol Donnell-Kotrozo - 1980 - British Journal of Aesthetics 20 (4):356-365.
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  11. A Fallacy in the Intentional Fallacy.James Downey - 2007 - Philosophy and Literature 31 (1):149-152.
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  12. Beyond the Intentional Fallacy.Rachael Fernflores - 2010 - Literature & Aesthetics 20 (2):56-73.
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  13. Interpretation, Sincerity and "Theory".John Gibson - 2010 - Contemporary Aesthetics 8.
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  14. The Conversation Argument for Actual Intentionalism.A. Huddleston - 2012 - British Journal of Aesthetics 52 (3):241-256.
    Proponents of actual intentionalism hold that an author’s actual intentions should constrain the proper interpretation of his or her works. If, for example, we have good reason to think Proust intends his character Marcel to set out to write a different novel from In Search of Lost Time itself, then that is how we should interpret the text. After decades of being denigrated as the ‘intentional fallacy’, actual intentionalism has enjoyed a renaissance in philosophical aesthetics in recent years, thanks in (...)
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  15. The Scope of the Intentional Fallacy.Iii Emilio Roma - 1966 - The Monist 50 (2):250 - 266.
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  16. Interpretation as Professional Practice. [REVIEW]Bernard S. Jackson - 1991 - International Journal for the Semiotics of Law - Revue Internationale de Sémiotique Juridique 4 (1):99-107.
    This is a review article of Stanley Fish’s Doing What Comes Naturally: Change, Rhetoric, and the Practice of Theory in Literary & Legal Studies (1990).
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  17. The Intentional Fallacy Revisited.Berel Lang - 1974 - British Journal of Aesthetics 14 (4):306-314.
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  18. Humor, Context, and Divided Cognition.Lawrence Lengbeyer - 2005 - Social Theory and Practice 31 (3):309-36.
    Those who suggest that only a sexist (or racist, or anti-semite) can experience amusement at a sexist (or racist, or anti-semitic) joke have failed to grasp two underappreciated features of the psychology of humor: (1) that amusement is sensitive to what is conveyed to the audience by the contexts within which a joke is taken to be situated, and hence to pragmatic, and not merely semantic, factors; and (2) that, given the non-integrated nature of the ordinary human cognitive system, the (...)
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  19. Defending Hypothetical Intentionalism.Jerrold Levinson - 2010 - British Journal of Aesthetics 50 (2):139-150.
    I here defend hypothetical intentionalism, the view of literary and cinematic interpretation that I endorse, from some recent criticisms, and then illustrate the appeal of the view in connection with a recent film of enigmatic cast.
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  20. Art and Intention: A Philosophical Study.Paisley Livingston - 2005 - Oxford University Press.
    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 (...)
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  21. Distant Presence: Representation, Painting and Photography in Gerhard Richter’s Reader.Christian Lotz - 2012 - Painting and Photography in Gerhard Richter’s Reader,” Symposium. Canadian Journal for Continental Philosophy 16 (1):87-111.
    An essay concerning the representation of images in art, photography, and painting concerning analysis of Gerhard Richter's painting reader. It offers a debate that representation should be regarded as an act of formation and a performative concept. The author presents analysis of painting which leads the reader into the problem of painted images, such as the constitution of an image by a complex relationship among memory, reading, and blindness.
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  22. Anything Goes: The Intentional Fallacy Revisited.Colin Lyas - 1983 - British Journal of Aesthetics 23 (4):291-305.
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  23. Personal Qualities and the Intentional Fallacy.Colin Lyas - 1972 - Royal Institute of Philosophy Lectures 6:194-210.
    In their article ‘The Intentional Fallacy’, Beardsley and Wimsatt raised problems about the legitimacy of certain critical practices. These problems, raised again in later writings and intensively discussed in recent years, remain unsettled and this lecture is intended to throw light upon them.
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  24. Intention, Interpretation and Contemporary Visual Art.Hans Maes - 2010 - British Journal of Aesthetics 50 (2):121-138.
    The role of the artist's intention in the interpretation of art has been the topic of a lively and ongoing discussion in analytic aesthetics. First, I sketch the current state of this debate, focusing especially on two competing views: actual and hypothetical intentionalism. Secondly, I discuss the search for a suitable test case, that is, a work of art that is interpreted differently by actual and hypothetical intentionalists, with only one of these interpretations being plausible. Many examples from many different (...)
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  25. Pictorial Metaphors: A Reply to Sedivy.John Michael McGuire - 1999 - Metaphor and Symbol 14 (4):293-302.
    This article is concerned with the question of whether, and to what extent, the concept of metaphor properly applies to pictures (e.g., paintings or photographs). The question is approached dialectically through an examination of the views of Sonia Sedivy, who advances the following 4 claims: (a) that pictures possess propositional content, (b) that there are metaphoric pictures, (c) that metaphoric pictures do not possess metaphoric content, and (d) that there can be no theory of pictorial metaphor. Although the first of (...)
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  26. Irony, Metaphor, and the Problem of Intention.Daniel Nathan - 1992 - In Gary Iseminger (ed.), Intention and Interpretation. Temple University Press. pp. 183--202.
    This essay considers the reliability and proper role of authorial intention in the interpretation of figurative language and argues that, even in cases of metaphor and irony, the meaning of a text must remain logically independent of the intent of its historical author. Irony and metaphor have been broadly considered to be the most problematic cases for the anti-intentionalist approach to interpretation. The arguments in this essay address standard intentionalist arguments and, in the end, defend a sort of hypothetical intentionalism (...)
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  27. Review: Art and Intention: A Philosophical Study. [REVIEW]A. C. Ribeiro - 2007 - Mind 116 (462):453-459.
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  28. Arthur Danto’s Andy Warhol: The Embodiment of Theory in Art and the Pragmatic Turn.Stephen Snyder - 2010 - Leitmotiv:135-151.
    Arthur Danto’s recent book, Andy Warhol, leads the reader through the story of the iconic American’s artistic life highlighted by a philosophical commentary, a commentary that merges Danto’s aesthetic theory with the artist himself. Inspired by Warhol’s Brillo Box installation, art that in Danto’s eyes was indiscernible from the everyday boxes it represented, Danto developed a theory that is able to differentiate art from non-art by employing the body of conceptual art theory manifest in what he termed the ‘artworld’. The (...)
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  29. Towards Defending a Semantic Theory of Expression in Art: Revisiting Goodman.Servaas de V. van der Berg - 2011 - South African Journal of Philosophy 30 (3):600-612.
    Nelson Goodman’s attempt to analyse the expressiveness of artworks in semantic terms has been widely criticised. In this paper I try to show how the use of an adapted version of his concept of exemplification, as proposed by Mark Textor, can help to alleviate the worst problems with his theory of expression. More particularly I argue that the recognition of an intention, which is central to Textor’s account of exemplification, is also fundamental to our understanding of expressiveness in art. Moreover (...)
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  30. The Idea of the Postmodern. [REVIEW]Raymond Aaron Younis - 1998 - European Journal of Cultural Studies 1 (2):294-299.