American Society for Aesthetics Graduate E-Journal 13 (1):19-22 (2021)
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Abstract |
At the heart of Anders Pettersson’s 2017 book, The Idea of a Text and the Nature of Textual Meaning, is
his proposed “cluster” definition of a textual work. On this view, a text is a cluster of three kinds of
objects: all the physical exemplars of the work, the work’s meaning, and the complex signs that convey
that meaning. Pettersson contrasts this with the “ordinary conception” of a text, wherein a text is a
unitary object made of the signs and meaning, and each exemplar is an instance of the supervening
textual work. The cluster definition is preferable because it is able to overcome contradictions plaguing
the ordinary conception and its competitors. This cluster conception of a textual work is both original
and deserving of more critical attention. Pettersson not only motivates the view well through his
consideration of key examples, but deftly handles the obvious objections. Although the cluster
conception is revisionary of our ordinary conception, he makes a strong case. However, I do not focus
here on the heart of Pettersson’s work but on something akin to its spleen; Pettersson’s criticism of
David Davies’ “Pragmatic Constraint” (PC) on the ontology of artworks.
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Keywords | Ontology of Art Pragmatic Constraint Anders Pettersson David Davies |
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References found in this work BETA
Adventures in the Metaontology of Art: Local Descriptivism, Artefacts and Dreamcatchers.Julian Dodd - 2013 - Philosophical Studies 165 (3):1047-1068.
The Methodology of Musical Ontology: Descriptivism and its Implications.Andrew Kania - 2008 - British Journal of Aesthetics 48 (4):426-444.
The Primacy of Practice in the Ontology of Art.David Davies - 2009 - Journal of Aesthetics and Art Criticism 67 (2):159-171.
Methodological Questions About the Ontology of Music.Robert Stecker - 2009 - Journal of Aesthetics and Art Criticism 67 (4):375 - 386.
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