The extent to which the artist’s intentions are a relevant consideration in the interpretation of art has long been the subject of critical debate. First, I outline the various philosophical positions which have been established, specifically focusing on the debate between hypothetical intentionalism and moderate actual intentionalism. Then I look at some previous test cases which have, as yet, failed to demonstrate a decisive victory for either side. Finally, I offer two new test cases, one from the (...) field of contemporary visual art and the other from literary theory. I argue that the former serves to debunk hypothetical intentionalism and the latter lends support to the moderate actual intentionalist position. (shrink)

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 large part to the image of the conversation that has been enlisted in its favour: when we neglect the author’s intended construal of the text and opt instead for some clever alternative interpretation of our own, we are depriving ourselves of the chance to engage in a conversation (in some metaphorical sense) with this author—and thus are losing the chance (again, in some metaphorical sense) to commune with another human being. In this paper I will raise doubts about whether this appeal to conversation actually helps the actual intentionalist’s case. When we reflect on the essentially interactive nature of any conversation worthy of that name, we see that this conversation metaphor will not deliver the restrictive lesson of actual intentionalism. In fact, it militates against it. (shrink)

Authorial and artistic declarations would seem to be a boon to interpreters who favor actual intentionalism. However, because they believe there are limits on the power of authors and artists to embody their intentions in their works, moderate actual intentionalists hold that some intentions are irrelevant. Looking closely at authorial declaration about the sexuality of Albus Dumbledore in the Harry Potter novels, I argue in favor of the extreme actual intentionalist position that genuine authorial declarations should (...) not be ignored because authorial intention always determines meaning. The answer to the question in the subtitle is that we do not know with certainty, even though there is a definite right answer. We can argue for the answer we think is most likely, however. And aided by the distinction between meaning and significance, extreme actual intentionalism provides a clear and consistent way of making such arguments while avoiding the problem of being stuck with an interpretation we find aesthetically displeasing. (shrink)

Modest actual intentionalism is a major position on interpretation in contemporary analytic aesthetics. The position consists of a disjunctive formulation according to which work-meaning is determined by the author’s intention when such intention succeeds or by non-intentionalistic factors when it fails. I challenge the disjunctive view by presenting a constructive dilemma, the conclusion being that modest actual intentionalism ends up either making non-intentionalistic factors idle or making authorial intent superfluous.

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)

In the philosophical debate about literary interpretation, the actual intentionalist claims, and the anti-intentionalist denies, that an acceptable interpretation of fictional literature must be constrained by the author’s intentions. I argue that a close examination of the two most influential recent strands in this debate reveals a surprising convergence. Insofar as both sides (a) focus on literary works as they are, where work identity is determined in part by certain (successfully realized) categorial intentions concerning, e.g., title, genre, and large-scale (...) instances of allusion, allegory, and irony and (b) allow that works can acceptably be interpreted for unintended meanings—since an intentional act can, under a different description, exhibit unintended features—then they turn out to share the same interpretive policy concerning authorial intention. This suggests that philosophers should shift the interpretation debate away from issues of authorial intention and toward issues about the aims of interpretation. (shrink)

Intentionalist theories of legal interpretation are often divided between objectivist and subjectivist variants. The former take an interpretation to be correct depending on what the reasonable/rational lawmaker intended or what the reasonable/rational audience thinks they intended. The latter take an interpretation to be correct where the interpretation is what the speaker actually intended. This paper argues that objectivism faces serious problems as it cannot deal with disagreement: Reasonable and rational people can often disagree as to what the interpretation of a (...) text should be. It also defends subjectivism against criticisms by objectivists. (shrink)

Throughout his discussion, Clark speaks constantly of phenomenal and qualitative properties. But properties, like any other posited entities, ought to earn their explanatory keep, and this I don't think Clark's phenomenal or qualitative properties actually do. I argue that all the work he enlists for them could be done better by purely intentional contents of our sentient states; that is, they could better be regarded as mere intentional properties, not real ones. Clark eschews such intentionalism, but I see no (...) reason for him to resist a properly deflated version of it that I sketch. Moreover, such intentionalism seems to me to stand a better chance than Clark's reliance on properties in explaining the peculiar ways in which experience appears to us that so concern the qualiaphile. (shrink)

This paper aims to reveal the source of the dispute between naive realism and intentionalism. To accomplish this task, it examines Adam Pautz’s challenge to naive realism, according to which a naive intuition about visual phenomenology, which is the only workable case for naive realism, is problematic. It argues that naive realists can address the challenge from Pautz by rejecting his assumption that naive realists and intentionalists agree on the nominal definition of visual phenomenology. The paper then argues that (...) the reason naive realists want to preserve the naive intuition is its irresistibility rather than its reliability. Given this, it concludes that the disagreement between naive realism and intentionalism is rooted in what philosophical projects they tackle. Naive realists are engaged in the philosophical project of delineating a coherent view of the actual world in which the irresistible naive intuition can be true; the intentionalist philosophical project differs from it. (shrink)

This paper argues that the notion of weak intentionalism in Mark Bevir's The Logic of the History of Ideas is incoherent. Bevir's proposal for weak intentionalism as procedural individualism relies on the argument that the object of study for historians of ideas is given by the beliefs that are expressed by individuals since these beliefs constitute the historical meaning of the work for those individuals as historical figures. Historical meanings are thus hermeneutic meanings. In the case of insincere, (...) unconscious, and irrational beliefs, however, the beliefs expressed by individuals are not in fact their actual beliefs, and their actual beliefs are now taken to be those expressed by the works. It thus turns out that it is not the beliefs expressed by individuals that are the object of study for historians but the works themselves, since the overriding requirement for historians of ideas is to "make sense of their material" and it is this requirement that determines whether or not the beliefs are to be construed as expressed by individuals or by the works. But once it is accepted that the beliefs that are the object of study for historians are expressed by the works and not by individuals, the original argument that such beliefs are historical hermeneutic meanings for historical figures no longer applies. The argument for weak intentionalism thus turns out to be incoherent. Bevir's argument fails to establish that the object of study for the history of ideas is external to the works, and the attempted distinction between interpreting a work and reading a text also fails. (shrink)

In this paper I argue, from the consideration of what I hope is the complete variety of a hearer’s approaches to a speaker’s utterance, that the speaker’s intention does not settle the meaning of her utterance and the hearer does not take a genuine interest in the speaker’s actual intention. The reason why the speaker’s intention does not settle utterance meaning is simply that no utterance meaning determination, as presupposed by intentionalists and anti-intentionalists alike, takes place. Moreover, in the (...) regular course of interpretation the hearer does not care about the speaker’s actual intention, but only about what the speaker presents as her intention: the hearer’s goal is to come up with an interpretation which the speaker will accept rather than an interpretation which corresponds to the speaker’s intention. In cases of accountability, suspicion and lying, the speaker’s actual intention is irrelevant; it is at most the speaker’s hypothetical intention which is at stake. (shrink)

In this paper I argue, from the consideration of what I hope is the complete variety of a hearer’s approaches to a speaker’s utterance, that the speaker’s intention does not settle the meaning of her utterance and the hearer does not take a genuine interest in the speaker’s actual intention. The reason why the speaker’s intention does not settle utterance meaning is simply that no utterance meaning determination, as presupposed by intentionalists and anti-intentionalists alike, takes place. Moreover, in the (...) regular course of interpretation the hearer does not care about the speaker’s actual intention, but only about what the speaker presents as her intention: the hearer’s goal is to come up with an interpretation which the speaker will accept rather than an interpretation which corresponds to the speaker’s intention. In cases of accountability, suspicion and lying, the speaker’s actual intention is irrelevant; it is at most the speaker’s hypothetical intention which is at stake. (shrink)

Appeals to the actual author's intention in order to legitimate an interpretation of a work of literary narrative fiction have generally been considered extraneous in Anglo-American philosophy of literature since Wimsatt and Beardsley's well-known manifesto from the 1940s. For over sixty years now so-called anti-intentionalists have argued that the author's intentions – plans, aims, and purposes considering her work – are highly irrelevant to interpretation. In this paper, I shall argue that the relevance of the actual author's intentions (...) varies in different approaches to fiction, and suggest that fictions are legitimately interpreted intentionally as conversations in a certain kind of reading. My aim is to show that the so-called conversational approach is valid when emphasizing the cognitive content of a fiction and truths it seem to convey, for example, in a philosophical approach to fictions which contain philosophical purport using Sartre's fictional works as paradigmatic, and that anti-intentionalists' arguments against intentionalism do not threaten such an approach. (shrink)

ABSTRACT. In this paper, I defend a strong version of actual intentionalism. First, I argue against meaning subjectivism, conventionalism and contextualism. Second, I discuss what I take to be the most important rival to actual intentionalism, namely hypothetical intentionalism. I argue that, although hypothetical intentionalism might be acceptable as a definition of the concept of utterance meaning, it does not provide an acceptable answer to the question of what determines an utterance’s meaning. Third, I (...) deal with the most serious objection against actual intentionalism, namely the failure objection. I argue that the failure objection can be overcome within a framework of full-blown actual intentionalism if one distinguishes between categorial and semantic intentions. Moreover, I show how this version of actual intentionalism accounts for the possibility of innovative metaphors and other implicatures. Finally, I demonstrate that actual intentionalism – thus construed – makes it possible to distinguish between communicative failures and the intentional breaking of conventions. (shrink)

In a recent article, ‘An Epistemic Dilemma for Actual Intentionalism’, Saam Trivedi argues that the way we ought to interpret artworks is best understood using the model proposed by hypothetical intentionalism. Trivedi alleges that actual intentionalism faces a serious dilemma, the upshot of which is that actual intentionalists must choose between redundancy and indeterminacy. Largely on the basis of this dilemma, he concludes that even if actual intentionalism is descriptively accurate, it is (...) prescriptively untenable. In this essay, I focus on this alleged dilemma and argue that, contra Trivedi, it fails to undermine the prescriptive legitimacy of moderate actual intentionalism. That is, Trivedi's dilemma does not offer us a good reason to refrain from working to understand works of art under the methodological guidance of actual intentionalism. (shrink)

In this paper I test major analytic theories of interpretation, including anti-intentionalism, the value-maximizing theory, actual intentionalism, and hypothetical intentionalism, against Li Shang-yin’s poem ‘The Ornamented Zither’. I argue that, based on the results of the test, all of these theories face grave difficulties. If their supporters want their accounts to be sustained in the debate over interpretation, they need to address the worries I raise.

The conversation argument for actual intentionalism compares our encounters with artworks to conversations to support the interpretive policy that artists’ intentions should constrain our interpretations of their artworks. Andrew Huddleston argues that intentionalists cannot appeal to conversation, because either the metaphor is inapt or, if the metaphor is more aptly construed , it will be incompatible with the intentionalist’s interpretive policy. I argue that, once constraint is understood properly, Huddleston’s conversational requirements obtain; thus the conversation metaphor is apt. (...) I then argue that the meta-level dialogue’s goal of ‘best interpretation’ presupposes aesthetically best rather than epistemically best; if so, intentionalists cannot appeal to such a conversation. I suggest construing ‘best’ more sensibly as epistemically and aesthetically optimal and recasting the meta-level dialogue as a cooperative enquiry rather than a competition. The result is a conversation to which intentionalists can appeal. (shrink)

This chapter contains section titled: Actual Intentionalism Criticisms of Actual Intentionalism What Do we Aim At When We Interpret a Work? The Aims of Interpretation and the Value of Art Critical Monism and Critical Pluralism Theories of Work Meaning Hypothetical Intentionalism Versus the Unified View Notes.

Advocates of interactionism in the ethical criticism of art argue that ethical value impacts aesthetic value. The debate is concerned with “the intrinsic question”: the question of whether ethical flaws/merits in artworks’ manifested attitudes affect their aesthetic value (Gaut 2007: 9). This paper argues that the assumption that artworks have intrinsic ethical value is problematic at least in regards to a significant subset of works: fictional artworks. I argue that, insofar as their ethical value emerges only from attitudes attributable to (...) actual agents, fictional artworks only have extrinsic ethical value. I show that what is at stake for interactionism is whether ethical judgements concerning artists’ attitudes in a context, rather than manifested attitudes, are ever aesthetically relevant. I conclude that, without buying into extreme actual intentionalism, a still controversial theory of interpretation that ties artworks’ meaning to actual artists, interactionism fails to show that ethical flaws/merits are aesthetic flaws/merits. (shrink)

This article discusses the relationship (or lack thereof) between authors’ intentions and the meaning of literary works. It considers the advantages and disadvantages of Extreme and Modest Actual Intentionalism, Conventionalism, and two versions of Hypothetical Intentionalism, and discusses the role that one’s theoretical commitments about the robustness of linguistic conventions and the publicity of literary works should play in determining which view one accepts.

Advocates of interactionism in the ethical criticism of art argue that ethical value impacts aesthetic value. The debate is concerned with “the intrinsic question”: the question of whether ethical flaws/merits in artworks’ manifested attitudes affect their aesthetic value (Gaut 2007: 9). This paper argues that the assumption that artworks have intrinsic ethical value is problematic at least in regards to a significant subset of works: fictional artworks. I argue that, insofar as their ethical value emerges only from attitudes attributable to (...) actual agents, fictional artworks only have extrinsic ethical value. I show that what is at stake for interactionism is whether ethical judgements concerning artists’ attitudes in a context, rather than manifested attitudes, are ever aesthetically relevant. I conclude that, without buying into extreme actual intentionalism, a still controversial theory of interpretation that ties artworks’ meaning to actual artists, interactionism fails to show that ethical flaws/merits are aesthetic flaws/merits. (shrink)

I discuss three theories regarding the interpretation of fictional literature: actual intentionalism (author's intentions constrain how their works are to be interpreted), hypothetical intentionalism (interpretations are justified as those most likely intended by a postulated author), and the value-maximizing theory (interpretations presenting the work in the most favourable light are to be preferred). I claim that actual intentionalism cannot account for the appropriateness or legitimacy of some interpretations, or alternatively that it must be weakened to (...) the point that the considerations raised by hypothetical intentionalists and value maximizers come into play. And I argue that hypothetical intentionalism either reduces to the value-maximizing theory, which provides a more accurate and clearer expression of the position than does hypothetical intentionalism, or it mistakenly attributes to hypothesized intentions the kind of force that attaches only to actual intentions. (shrink)

This article brings together two prominent topics in the literature over the past few decades—the ethical criticism of art and art interpretation. The article argues that debates about the ethical criticism of art have not acknowledged the fact that they are tacitly underpinned by a number of assumptions about art interpretation. I argue that the picture of interpretation that emerges from the analysis of these assumptions is best captured by moderate actual intentionalism. Reflection upon the nature of ethical (...) criticism, I argue, offers new reasons to prefer moderate actual intentionalism to hypothetical intentionalism. I conclude by arguing for the necessity of broadening our conception of ethical criticism. (shrink)

In contemporary analytic philosophy of art, the intentionalist debate is about whether the author’s intention is relevant to the interpretation of her work. Various positions have been proposed, and in this paper I defend what I call hypothetical author-hypothetical intentionalism, the position that interpretation is based on the intention attributed to the author constructed from the work. There are three aims to achieve: (1) to give a general account of hypothetical author-hypothetical intentionalism; (2) to present a moderate version (...) of hypothetical author-hypothetical intentionalism; (3) to defend the moderate version of hypothetical author-hypothetical intentionalism against actual intentionalism and actual author-hypothetical intentionalism. Against the current trend that focuses on actual authors, I hope to show that the hypothetical author account is still a sustainable contender in the intentionalist debate. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Interpreting ContextualitiesStephen DaviesIf, as so often demanded, the context of a literary work should be considered in interpreting it, which context is that? Is it the past context within which the work was created, or, rather, the different context in which the book and interpreter presently are located? In this essay, I consider theories of interpretation that disagree on the answers to these questions. To appropriate terms that have (...) become fashionable, one presents a model for interpretation that is “readerly” in being restrained and backward-looking, while the second allows for interpretations that are “writerly” in being creative and forward-looking. Both kinds of interpretation are used in literary criticism, with the first paying homage to the efforts of the work’s creator and the second showing respect for meanings the work presents to the critic’s contemporary audience. I argue that, despite appearances to the contrary, the first theory is no less capable than the second of accounting for actual critical practice. If not by seeing which account better matches the practice, how might we adjudicate between them? This is to be done by considering whether the creation and appreciation of literature answers primarily to an interest in works alone, or to works as the product of human authors. I prefer the second alternative and suggest that an interest in works as of their authors can be consistent with the widely held view that literary works admit of multiple interpretations.II call the first account of interpretation the Original Context Theory. It holds that the meaning of a literary work is fixed by factors holding at the time of the work’s creation. (A work might be revolutionary in style, [End Page 20] of course, but in that case it will be apparent that standard literary practices are invoked only to be challenged or repudiated.) The original context theory comes in at least three versions, depending on which of the factors present at the work’s creation is given primacy.Actual intentionalism maintains that the author’s successfully realized intentions determine the work’s meaning. 1 This variant of the original context theory holds that a literary work has the meaning that its author intends, provided that the author carries through the relevant intentions in appropriately employing the language of the day, as well as the then recognized conventions of the given genre and artistic practice. The artist’s intentions, if successfully executed, are publicly manifest in the work but will be recognized only by those familiar with the linguistic and artistic practices by which their expression is facilitated. The meaning of a work can be ambiguous or multi-layered, but usually this is because it is created to be so. The intentions need not be present to the author’s mind; they need not be self-consciously formulated as he works. Moreover, the author might have difficulty in articulating or formulating his intentions if asked, just as one often has difficulty in describing what one does in performing a familiar yet complex action. But they are nonetheless his intentions, nor are they the more difficult to discern in the product of those actions, for these facts.Hypothetical intentionalism holds that the work’s meaning is determined by inferences made by a suitably placed audience to the intentions of a hypothetical author, where these inferences are founded on a grasp of the linguistic conventions and artistic practices of the day, as well as publicly available knowledge concerning the creation of the given work. 2 Here the meaning of the work is generated by hypothesizing intentions authors might have had, given the context of creation, rather than relying on their actual intentions. Such inferences must have interpersonal validity if they are to reveal a meaning that can be attributed legitimately to the work. Because more than one set of inferences can be justifiable, a work might possess or display a multiplicity of meanings, even if the actual author intended only one of these.Conventionalism maintains that the conventions of language and art in place when the work was created are sufficient to secure the work’s meaning. 3 This last variant focuses on “utterance” rather than “utterer... (shrink)

I argue that when we interpret a literary work, we engage with at least two different kinds of meaning, each requiring a distinct mode of interpretation. These kinds of meaning are literary varieties of what Paul Grice called nonnatural and natural meaning. The long-standing debate that began with Beardsley and Wimsatt's attack on the intentional fallacy is, I argue, really a debate about nonnatural meaning in literature. I contend that natural meaning has been largely neglected in our theorizing about literary (...) interpretation and that this comes at a serious cost, resulting in an inadequate account of what interpretation involves. I argue, first, that by recognizing that literary meaning includes both nonnatural and natural meaning, we are better placed to understand the interpreter's relationship with the author, and, second, that recognition of the distinction between nonnatural and natural meaning advances the established debate about literary meaning, offering support for actual intentionalism. The more inclusive view of literary meaning helps resolve an apparent difficulty raised by Noël Carroll. (shrink)

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 art forms have been considered in this respect, but none of these test cases has proved convincing. Thirdly, I introduce two new test cases taken from contemporary visual art. I explain why these examples are better suited as test cases and how they lend support to the actual intentionalist position. (shrink)

One central fact about hallucinations is that they may be subjectively indistinguishable from perceptions. Indeed, it has been argued that the hallucinatory experiences concerned cannot— and need not—be characterized in any more positive general terms. This epistemic conception of hallucinations has been advocated as the best choice for proponents of experiential (or “naive realist”) disjunctivism—the view that perceptions and hallucinations differ essentially in their introspectible subjective characters. In this chapter, I aim to formulate and defend an intentional alternative to experiential (...) disjunctivism called experiential intentionalism. This view not only enjoys some advantages over its rival but is also compatible with the epistemic conception of hallucinations, as well as with the disjunctivist view that perceptions and hallucinations differ essentially in their third-personal structures (e.g., their causal, informational, or reason-providing links to reality). It also maintains that there are actually two aspects to the subjective indistinguishability of mental episodes: (i) we cannot distinguish their first-personal characters in introspective awareness; and (ii) we cannot distinguish their third-personal structures in experiential awareness—that is, in how they are given to consciousness. While experiential disjunctivism makes the mistake of ignoring (ii) and reducing subjective indiscriminability to (i), experiential intentionalism correctly identifies (ii) as the primary source of the subjective indistinguishability of perception-like hallucinations. Accordingly, the intentional error involved in such hallucinations is due to the fact that we consciously experience them as possessing a relational structure. (shrink)

In a recent article, Hans Maes argues that examples drawn from contemporary visual art shed new light on the long-standing and seemingly intractable debate between Hypothetical Intentionalism (HI) and Moderate Actual Intentionalism (AI). He presents two test cases that, he argues, tilt the scale in favour of AI. In this paper I re-examine Maes's two test cases, and argue that neither succeeds as a test case. The first case fails because it confuses a relevant fact about the (...) artwork with the artist's intentions for the work. The second case fails because the work in question does not count as an utterance. The failure of Maes's examples suggests that the interpretive norms surrounding contemporary visual art cannot settle the debate between AI and HI. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 38-52 [Access article in PDF] Artist-Audience Communication: Tolstoy Reclaimed Saam Trivedi Whoever is really conversant with art recognizes in [Tolstoy's What is Art?] the voice of the master.1There has to be some presumption that, as one of the greatest artists who ever lived, Tolstoy might actually have known what he was talking about.2It is widely accepted in contemporary Anglo-American aesthetics that, despite (...) Tolstoy's own literary achievements, his "moralism" about art is a view without much merit. For the most part, I concur with this current consensus about Tolstoy. However, despite the many flaws in his view, I think Tolstoy was on to something, after all. In particular, I believe a concept of artist-audience communication similar to what Tolstoy had in mind can be fleshed out so as to avoid the problems that Tolstoy ran into, while reclaiming the insights in his view.3In what follows, I begin by suggesting briefly that recognizing a quasi-Tolstoyan concept of artist-audience communication may have important implications for how we should approach artworks, and thus also for aesthetic education. Next, I spell out this concept. I then offer trenchant criticisms of Tolstoy's view. Finally, I point out affinities between Tolstoy's concept and mine, while also distinguishing my concept of artist-audience communication from Tolstoy's concept of artistic communication. It will emerge, I hope, that while I disagree more than agree with Tolstoy, the issues where I agree with him may be more significant. Artist-Audience Communication I begin by discussing briefly how talk of a quasi-Tolstoyan artist-audience communication bears relevance for how we should approach artworks, and thus has relevance for aesthetic education. If I am right, then in approaching [End Page 38] and experiencing artworks, we should seek a correct experiential understanding of them that is shared between the artist and audience, and between ourselves and other members of the audience. This does not meanthat we seek what the artist did intend in creating the artwork, as actual intentionalism would have us do. Rather, as members of a competent audience, we should first analyze what a given artwork means by attending to the work itself.4 This includes the broad art-historical context of production (including the period, style, category, or genre of the work; the artist's public persona; the oeuvre of the artist; works by the artist's contemporaries; the social, cultural, and political milieu of the artist; and so on) and the public conventions that apply to it. In cases of irony, satire, and allusion, we may also need to broaden the context and appeal to artistic intentions. Then we should attribute this "work-meaning" to the historical artist as part of what she or he could have intended, so long as this was historically possible. If this historically possible work-meaning coincides with what she or he did intend in that artistic intentions are successfully realized in the work, then we have a real sharing of a correct, experiential understanding of the work between artist and audience, and thus real communication between them in the sense of artist-audience communication explained above. On the other hand, if what the artist did intend is not realized in the work and thus does not coincide with work-meaning as part of what she or he could have intended, then we still have at least a minimal, hypothetical sharing and communication insofar as our correct, experiential understanding of the work is shared with what the artist could have intended.This bears relevance for aesthetic education, assuming one of the purposes of aesthetic education is to teach children and other newcomers to art how to appreciate artworks.5 In teaching people how to appreciate artworks, I suggest we emphasize the shared, communicative aspects of the experience of artworks when they are understood more or less correctly. We should tell them that they should seek to communicate with the artist via the artwork, trying to understand the artwork correctly in the very experience of the... (shrink)

Monroe C. Beardsley's unavailability argument is one of the most underrated anti‐intentionalist arguments in the philosophy of interpretation. The main idea of this argument is that, since independent evidence of authorial intent is normally unavailable, the literary interpreter should focus on what a text means rather than on what the author intends it to mean. In this article I propose a revised version of the argument to show that the unavailability of authorial intent suffices to make actual intentionalism (...) untenable as a recommendation for finding out textual meaning. (shrink)

The discourse regarding intentionality and interpretation in analytic philosophy of art, although ample and lively, has concerned itself almost exclusively with the literary medium. Starting from a paper published by Hans Maes, I discuss the complications that may arise in straightforwardly applying current intentionalist strategies to the realm of the contemporary visual arts. I first present a detailed account of the difference between hypothetical intentionalism and moderate actual intentionalism which will help to better understand the nature of (...) Maes’s arguments in his paper. I then argue that the characteristics which shape the approach of moderate actual intentionalism cannot be accommodated by certain contemporary visual artworks. I will demonstrate how in certain contemporary artworks, should a viewer be interested in accepting actual intentions within her interpretation, she will have to do so with an extreme intentionalist posture rather than a moderate actual one. (shrink)

In diesem Beitrag werden drei Thesen verteidigt: 1. Interpretationen literarischer Werke (im Sinne von Aussagen über die Bedeutung literarischer Werke) können richtig oder falsch sein. 2. Werke haben eine objektive Bedeutung, unabhängig von Interpretationen. 3. Die Bedeutung eines Werks wird wesentlich durch die kommunikativen Absichten der Autorin determiniert. Die Position, dass Werk- und Textbedeutungen durch tatsächliche Autorabsichten des echten Autors konstituiert werden – die Position des aktualen Intentionalismus – wird gegen eine Reihe von Einwänden und konkurrierenden Theorien verteidigt, nämlich gegen (...) den Konstruktivismus (»Werke und Texte haben keinerlei Bedeutung unabhängig von einer Interpretation«), den Konventionalismus (»Die Werk- und Textbedeutung ist ausschließlich durch linguistische Konventionen determiniert«), den Kontextualismus (»Die Werk- und Textbedeutung ist ausschließlich durch den Äußerungskontext determiniert«) und den hypothetischen Intentionalismus (»Die Bedeutung eines Werks bzw. Textes ist identisch mit dem, was ein intendiertes bzw. ideales Publikum für die Bedeutung des Werks bzw. Textes halten würde«). (shrink)

The relationship of the author’s intention to the meaning of a literary work has been a persistently controversial topic in aesthetics. Anti-intentionalists Wimsatt and Beardsley, in the 1946 paper that launched the debate, accused critics who fueled their interpretative activity by poring over the author’s private diaries and life story of committing the ‘fallacy’ of equating the work’s meaning, properly determined by context and linguistic convention, with the meaning intended by the author. Hirsch responded that context and convention are not (...) sufficient to determine a unique meaning for a text; to avoid radical ambiguity we must appeal to the author’s intention, which actualizes one of the candidate meanings. Subsequent writers have defended refined versions of these views, and a variety of positions on the spectrum between them, in a debate that remains central to philosophical aesthetics. This Teaching and Learning Guide lists key readings and suggests how they might be incorporated within a syllabus. It also offers focus questions related to the readings. See also the companion article, Sherri Irvin, “Authors, Intentions and Literary Meaning.” Philosophy Compass 1 (2006), 114-128. (shrink)

According to pure imperativism, pain experiences are experiences of a specific phenomenal type that are entirely constituted by imperative content. As their primary argument, proponents of imperativism rely on the biological role that pain experiences fulfill, namely, the motivation of actions whose execution ensures the normal functioning of the body. In the paper, I investigate which specific types of action are of relevance for an imperative interpretation and how close their link to pain experiences actually is. I argue that, although (...) imperative theories constitute an apparently promising version of strong intentionalism, they cannot provide an imperative content that meets their own criteria of both sufficiency and necessity. I further argue that this issue cannot be solved by impure imperative theories either. (shrink)

Get ready -- Discover -- Be present -- Appreciate -- Get set, go! -- Renew.

We are a technological society, no doubt about it. Our devices keep us informed while isolating us from each other and from ourselves, our true selves. There is, however, another technology, an inner technology that brings us back to our true selves and gives us the ability to create lives of joy, abundance and wisdom. Kim Stanwood Terranova calls it The Technology of Intention and in this book she teaches the reader how to tap into this technology and unleash its (...) power. We all have the power... we've just forgotten how to use it. Intentions give us the pathway to consciously create our lives. They are the powerful force that points the energy in the direction of all we wish to manifest. This book is a map and a guiding light in assisting us to not only understand the power we each have, but also to give us the road map and step-by-step process to ignite that power. We all have the ability to co-create our lives and the use of intentions make it possible. (shrink)

Dr. Wayne W. Dyer has researched intention as a force in the universe that allows the act of creation to take place. Here he explores intention - not as something we do - but as an energy we're a part of. We're all intended here through the invisible power of intention - a magnificent field of energy we can access to begin co-creating our lives.

According to pure imperativism, pain experiences are experiences of a specific phenomenal type that are entirely constituted by imperative content. As their primary argument, proponents of imperativism rely on the biological role that pain experiences fulfill, namely, the motivation of actions whose execution ensures the normal functioning of the body. In the paper, I investigate which specific types of action are of relevance for an imperative interpretation and how close their link to pain experiences actually is. I argue that, although (...) imperative theories constitute an apparently promising version of strong intentionalism, they cannot provide an imperative content that meets their own criteria of both sufficiency and necessity. I further argue that this issue cannot be solved by impure imperative theories either. (shrink)