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)

I explore the claim that “fictive imagining” – imagining what it is like to be a character – can be morally dangerous. In particular, I consider the controversy over William Styron’s imagining the revolutionary protagonist in his Confessions of Nat Turner. I employ Ted Cohen’s model of fictive imagining to argue, following a generally Kantian line of thought, that fictive imagining can be dangerous if one has the wrong motives. After considering several possible motives, I argue that only internally directed (...) motives can satisfy the moral concern. Finally, I suggest that when one has the right motives, fictive imagining is morally praiseworthy since it improves one’s ability to imagine the lives of others. (shrink)

This paper defends a version of “suspension of disbelief” in an analysis of the problem concerning our emotional responses to fictional characters. The paper begins with an analysis of the issues, as raised initially by Colin Radford. It then offers an examination of Coleridge's notion of the suspension of disbelief. It is argued that a developed version of this concept provides a solution to Radford's problem. The concept is defended against possible objections. Finally, its psychological plausibility is examined. S. Afr. (...) J. Philos. Vol.21(3) 2002: 190-199. (shrink)

In this essay, then, I would like to address what I believe are the most compelling epistemic arguments against the notion that literature (and art more broadly) can function as an instrument of education and a source of knowledge.

Regarded for decades as a fallacy, intentionalist interpretation is beginning to attract a following among philosophers of art. Intentionalism is the doctrine that the actual intentions of artists are relevant to the interpretation of the artworks they create – just as actual intentions are relevant to the interpretation of the everyday words and deeds of other people. Although there are several forms of actual intentionalism, I defend the form known as modest actual intentionalism, which holds that the correct interpretation of (...) an artwork is compatible with the author's actual intention, which itself must be supported by the artwork. Looking at literary works specifically, I consider criticisms of actual intentionalism – for example, the contention that such a stance substitutes paraphrase for a reading of the text. In particular, I argue against hypothetical intentionalism, which maintains that the correct interpretation of an artwork is constrained by the best hypotheses of the artist's intentions. As I show, the methodology of this position is in fact designed to track the author's actual intentions, and furthermore, hypothetical intentionalism does not accurately depict existing interpretive practices. (shrink)

Regarded for decades as a fallacy, intentionalist interpretation is beginning to attract a following among philosophers of art. Intentionalism is the doctrine that the actual intentions of artists are relevant to the interpretation of the artworks they create – just as actual intentions are relevant to the interpretation of the everyday words and deeds of other people. Although there are several forms of actual intentionalism, I defend the form known as modest actual intentionalism, which holds that the correct interpretation of (...) an artwork is compatible with the author's actual intention, which itself must be supported by the artwork. Looking at literary works specifically, I consider criticisms of actual intentionalism – for example, the contention that such a stance substitutes paraphrase for a reading of the text. In particular, I argue against hypothetical intentionalism, which maintains that the correct interpretation of an artwork is constrained by the best hypotheses of the artist's intentions. As I show, the methodology of this position is in fact designed to track the author's actual intentions, and furthermore, hypothetical intentionalism does not accurately depict existing interpretive practices. (shrink)

A new approach to developing models of folk psychology is suggested, namely that different models exist for different folk psychological practices. This point is made through an example: the explanation and justification of morally heinous actions. Human folk psychology in this area is prone to a specific error of conflating an explanation for behaviour with a justification of it. An analysis of the error leads me to conclude that simulation is used to generate both explanations and justifications of heinous acts. (...) It is needed in both these cases because most of us lack theoretical information about evil actors. I will argue that it is difficult to simulate such acts, and hence difficult to develop explanations for behaviour widely accepted as evil. This difficulty explains the judgements made against successful simulators by those who don't succeed, and so explains the common problem of conflating an explanation with a justification. (shrink)