The "apathetic fallacy" dominates literary criticism: to make critical inquiry "epistemologically objective" (rational and disinterested) literary critics have mistakenly tried to restrict their study to that which is "ontologically objective" (not a matter of subjective reality). Absurdity results, particularly when, because of a combination of New Critical orthodoxy, and cherry-picked psychoanalytic concepts, intentional meaning is denigrated as "merely" subjective. Fredric Jameson's account of postmodernism is a case-study in such absurdity; further folly can be avoided only by a disciplinary audit that (...) purges literary inquiry of the "apathetic fallacy.". (shrink)

Bullot & Reber (B&R) put forth a design stance to fuse psychological and art historical accounts of visual thinking into a single theory. We argue that this aspect of their proposal needs further fine-tuning. Issues of transgression and coherence are necessary to provide stability to the design stance. We advocate looking to Art Education for such fundamentals of picture understanding.

This dissertation explores and analyzes interpretive skepticism in literary theory. It argues that traditional interpretive theories and debates often harbor unacknowledged forms of skeptical thinking and arguments. As these forms of skepticism are seldom recognized as skepticism, the problem tends to remain hidden and unresolved. The dissertation further argues that interpretive skepticism is (i) the result of a philosophical confusion, and (ii) practically harmful when used in order to regulate interpretive practice. Accordingly, a central purpose of the dissertation is to (...) offer an analysis and taxonomy of what interpretive skepticism is. Only once we are in a position to understand and recognize it in its many guises will we be able to criticize and challenge it. The first part of the dissertation thus aims at identifying a specific structure of skeptical reasoning within the theory of literary interpretation. In articulating this taxonomy and analysis, the study builds on the American philosopher Stanley Cavell’s reinterpretation of epistemological skepticism in terms of tragedy, avoidance and repudiation of grammatical criteria. The second part of the study explores, in greater detail, interpretive skepticism within New Criticism. It centers on analyses of two classics within interpretive theory: “The Intentional Fallacy” by Monroe C. Beardsley (and W.K. Wimsatt) and “The Heresy of Paraphrase” by Cleanth Brooks. The study argues that Beardsley becomes both a so-called “skeptical twin” about literary interpretation and a straightforward literary other-minds skeptic with regard to authorial intentions. Brooks, for his part, becomes a straightforward skeptic about poetic interpretation and a “skeptical twin” about poetic meaning. Both theorists are investigated in comparison with Cavell’s explorations of the themes of intention, overinterpretation, fraudulence, modernism, and aesthetic judgment in art, literature and criticism. Despite these skeptical findings, the study also argues that there are important similarities between Cavell’s non-skeptical approach to literature and criticism, and New Critical “close reading.” The dissertation concludes with a chapter that leaves the confines of the New Critical idiom to explore interpretive skepticism within the tradition of so-called “hermeneutics of suspicion.” Through readings of Susan Sontag, Eve Kosofsky Sedgwick, and Cora Diamond, it argues that suspicious or paranoid hermeneutics is not skeptical in itself but can become so through the skeptical temptations of dogmatism, authoritarianism, and fraudulence. (shrink)

Medium specificity is a theory, or rather a cluster of arguments, in aesthetics that rests on the idea that media are the physical material that makes up artworks, and that this material contains specific and unique features capable of 1) differentiating media from one another, and 2) determining the aesthetic potential and goals of each medium. As such, medium specificity is essential for aestheticians interested in matters of aesthetic ontology and value. However, as Noël Carroll has vehemently and convincingly argued, (...) the theory of medium specificity is inherently flawed and its many applications in art history ill-motivated. Famously, he concluded that we should ‘forget the medium’ entirely. In this thesis, I reject his conclusion and argue that reconstructing a theory of medium specificity, while taking Carroll’s objections into account, is possible. To do so, I offer a reconceptualization of the main theoretical components of medium specificity and ground this new theory in empirical research. I first redefine the medium not as the physical material that makes up artworks but as sets of practices – not the material itself but how one uses the material. I then show that what makes media specific and unique is not certain physical features, but the human responses, which can be empirically investigated, to the combination of practices that constitute media. This relation is one of response-dependence, albeit of a novel kind, which I develop by appealing to social metaphysics. The resulting theory is more complex but also much more flexible and fine-grained than the original and provides insight into a variety of current aesthetic theories. (shrink)