I propose a minimal account of authorship that specifies the fundamental nature of the author-relation and its minimal domain composition in terms of a three-place causal-intentional relation holding between agents and sort-relative works. I contrast my account with the minimal account tacitly held by most authorship theories, which is a two-place relation holding between agents and works simpliciter. I claim that only my view can ground productive and informative principled distincitons between collective production and collective authorship.

Communication and content presents a comprehensive and foundational account of meaning based on new versions of situation theory and game theory. The literal and implied meanings of an utterance are derived from first principles assuming little more than the partial rationality of interacting agents. New analyses of a number of diverse phenomena – a wide notion of ambiguity and content encompassing phonetics, syntax, semantics, pragmatics, and beyond, vagueness, convention and conventional meaning, indeterminacy, universality, the role of truth in communication, semantic (...) change, translation, Frege’s puzzle of informative identities – are developed. Communication, speaker meaning, and reference are defined. Frege’s context and compositional principles are generalized and reconciled in a fixed-point principle, and a detailed critique of Grice, several aspects of Lewis, and some aspects of the Romantic conception of meaning are offered. Connections with other branches of linguistics, especially psycholinguistics, sociolinguistics, historical linguistics, and natural language processing, are explored. -/- The book will be of interest to scholars in philosophy, linguistics, artificial intelligence, and cognitive science. It should also interest readers in related fields like literary and cultural theory and the social sciences. (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)

What is the value of art? Standard responses draw on the different kinds of value that we tend to ascribe to individual artworks. In that context, none have been more significant than aesthetic value and moral value. To understand what makes an artwork valuable we then need to examine the interaction between these two kinds of value and how this contributes to the artwork's final value. The main aim of this article is to highlight two areas of concern for interaction (...) theories, in order to improve our understanding of the dynamic relations between kinds of value in art. In the first instance, I shall outline the main tenets of the three leading interaction theories. Next, I shall discuss what it might mean to say that an artwork has moral value, in an attempt to establish on what grounds interaction theories base their central claims. Subsequently, I will look at how our conception of art's moral value affects the possibility of a bona fide form of value interaction, or one capable of shaping a work's final value in conjunction with its aesthetic value. Finally, I shall turn to a discussion of the notion of aesthetic value. (shrink)

Der vorliegende Band vereinigt die Akten des internationalen Schleiermacher-Kongresses 2021 und nimmt den Philosophen, Theologen, Pädagogen und Übersetzer Friedrich Schleiermacher (1768–1834) als Kommunikationstheoretiker in den Blick. Ob als Universitätslehrer, Kanzelredner, als politischer Reformer, Publizist, Salongänger oder Briefeschreiber – Schleiermacher war selbst ein begnadeter Kommunikator und im Begriff der Kommunikation bündeln sich wie in einem Brennglas viele zentrale Aspekte seines Denkens. Seine Philosophie, Theologie und philologische Praxis zeichnen sich durch ihre emphatische Prozesshaftigkeit jenseits starrer Systeme aus. Sich in Sprache manifestierendes Wissen, (...) moralisches Handeln, religiöses Erleben und der Entwurf gemeinschaftlicher Institutionen sind im beständigen Werden und nur im Austausch der miteinander streitenden, sich liebenden und hassenden, Ideen und Sinn entwerfenden und um Gemeinschaft und Individualität ringenden Menschen wirklich. Die Beiträge dieses Bandes gehen Schleiermachers Werk ebenso wie seiner gesellschaftlichen, kirchlichen und philologischen Praxis vor dem Hintergrund ihrer ideengeschichtlichen Verflechtung nach und aktualisieren sein Denken in Auseinandersetzung mit unterschiedlichen Positionen der Gegenwart. (shrink)

Se ofrece una interpretación teórico-política de la fusión de horizontes de Gadamer. Se argumenta que el diálogo político, desde un punto de vista hermenéutico, debe entenderse como el proceso de cuestionamiento y disputa de los horizontes de sentido en donde descansan las prácticas sociales. Asimismo, se sostiene que el diálogo instituye una pregunta-escenario-común que abre el horizonte social de sentido hacia la contingencia e incertidumbre, así como que este nunca busca un consenso procedimental o sustancial que subsane los conflictos y (...) concilie las diferentes perspectivas en un punto de vista homogéneo. The article provides a theoretical-political interpretation of Gadamer's fusion of horizons, arguing that, from a hermeneutical point of view, political dialogue should be understood as the process of questioning and challenging the horizons of meaning underlying social practices. Likewise, the article holds that dialogue establishes a common question-scenario that opens up the social horizon of meaning to contingency and uncertainty, and that it never seeks a procedural or substantial consensus that eliminates conflicts and reconciles different perspectives in a homogeneous point of view. Neste artigo, oferece-se uma interpretação teórico-política da fusão de horizontes de Gadamer. Argumenta-se que o diálogo político, sob um ponto de vista hermenêutico, deve ser entendido como o processo de questionamento e disputa dos horizontes de sentido em que descansam as práticas sociais. Além disso, sustentase que o diálogo institui uma pergunta-cenário-comum que abre o horizonte social de sentido à contingência e incerteza, bem como que este nunca procura um consenso procedimental ou substancial que ressarça os conflitos e concilie as diferentes perspectivas num ponto de vista homogêneo. (shrink)

A través de la metodología de una selección de teóricos de la “estética de la recepción”, pretendemos analizar la interrelación entre el “horizonte de expectativas” de Marco Tulio Cicerón, con el de los intelectuales ilustrados Montesquieu y Gaspar Melchor de Jovellanos. A partir de ahí, pretendemos rellenar los “vacíos”, o los misunderstandings que la lectura ilustrada hace de la ética política ciceroniana en el término concreto de la “virtud” y la “honestidad”. Así pues, desarrollaremos estos conceptos según toda la cosmovisión (...) ciceroniana en contraste con la ilustrada de Montesquieu y Jovellanos, y resaltaremos, de este modo, aquellos puntos de cambio y aquellos de enraizamiento en el pensamiento del propio Cicerón. En de nitiva, responderemos a la pregunta de hasta qué punto el rhetor romano condicionó la concepción política de la virtud y honestidad tanto en el ilustrado francés como en el español, a la vez que, de qué forma estos autores “modernos” readaptaron y transformaron el pensamiento del “clásico” según sus propios “horizontes de expectativas”. (shrink)

Wolves have a special resonance in many human cultures. To appreciate fully the wide variety of views on wolves, we must attend to the scientific, social, and ethical discourses that frame our understanding of wolves themselves, as well as their relationships with people and the natural world. These discourses are a configuration of ideas, language, actions, and institutions that enable or constrain our individual and collective agency with respect to wolves. Scientific discourse is frequently privileged when it comes to wolves, (...) on the assumption that the primary knowledge requirements are matters of ecology, cognitive ethology, and allied disciplines. Social discourse about wolves implicitly challenges this privilege and provides a rich array of social perspectives on human-wolf relations. Ethical discourse has until recently lagged behind the other two. So too, ethicists are increasingly challenging the adequacy of scientific and social discourse. They do so by calling attention to the value-laden character of all discourse, and the unavoidable ethical questions that confront us as we learn to share the landscape with large predators like wolves. (shrink)

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)

This article explores three aspects of interpretation—musical interpretation of notated Western art music, hermeneutics, and poetry —based on ongoing music education research focusing on the learning of musical interpretation within the one-to-one context of higher music education. The broad philosophic poetic inquiry of interpretation has the form of an autoethnodrama containing both haiku and found poetry. Poetry is both used as a process of inquiry and as a means of representation. The autoethnodrama explores the author’s struggle with finding his cogito (...) for conducting arts-based research and touches upon his personal history. Through the combination of autoethnodrama and a philosophic poetic inquiry, he finds a deeper understanding of musical interpretation, usage of poetry and autoethnodrama in research, as well as of his personhood. Concluding reflections on one possible way of interpreting the autoethnodrama in relation to teaching and learning of musical interpretation within higher music education are also presented. (shrink)

One way to show that text interpretation can be treated as a scientific problem is to show that the standards that are currently used in the natural sciences when dealing with problems not involving meaningful material can also be successfully employed in the case of text interpretation. These standards involve intersubjective intelligibility, testability with the use of evidence, rational argumentation, and making methodological decisions aiming at the attainment of truth, accuracy, simplicity and other epistemic values. In the case of text (...) interpretation—despite the fact that we deal with meaningful material—hypotheses can be formulated, consequences can be drawn by deduction, and these can be tested against empirical data. This claim is substantiated by the provision of an example of a scientific text. (shrink)