South African Journal of Philosophy 31 (3):600-612 (2012)

Abstract
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 I propose that the recognition of this intention depends on our interpretation of the artwork – an insight Goodman tried to capture with his assertion that our attributions of expressive properties to artworks function metaphorically. The realisation of the context-dependence of our expressive judgements about art and, hence, of the central role interpretation plays in these judgements, I contend, counts in favour of theories of expression like Goodman’s that focus on semantic concerns.
Keywords Aesthetics  Expression  Goodman  Matravers  Textor  Expressiveness  Art
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Reprint years 2012
DOI 10.1080/02580136.2012.10751795
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References found in this work BETA

Painting as an Art.Richard Wollheim - 1987 - Thames & Hudson.
Pictures and Make-Believe.Kendall L. Walton - 1973 - Philosophical Review 82 (3):283-319.
Art and Emotion.Derek Matravers - 1998 - Oxford University Press.
Metaphor as Moonlighting.Nelson Goodman - 1979 - Critical Inquiry 6 (1):125-130.

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