Peter Lamarque, in chapter 4 of his 2010 book Work and Object, argues that certain artworks, like musical scores and literary texts, are such that there can be no forgeries of them that purport to be of an actually existing work—what Lamarque calls “referential forgeries”. Lamarque motivates this claim via appeal to another distinction, first made by Goodman, between “allographic” and “autographic” artworks. This article will evaluate Lamarque’s argument that allographic literary works are unable to be referentially forged and will (...) find them wanting. In so doing, the distinction between allographic and autographic artworks (and therefore artforms) will be called into question. In section I, I characterize referential forgery and Lamarque’s definition of allographic and autographic artforms. Section II critically examines Lamarque’s argument against the possibility of referential forgery in allographic artforms. Section III offers a case where it appears that a putatively allographic text’s type membership is sensitive to facts about its causal-intentional provenance. This case serves as pretext for Section IV’s identification of this causal-intentional relation with the sanctioning relation as formulated by Sherri Irvin. On the basis of considerations treated in sections I through IV, section V questions the tenability of the allographic/autographic distinction. -/- . (shrink)

In the "Republic," Plato has Socrates attack poetry’s use of mimēsis, often translated as ‘imitation’ or ‘representation.’ Various scholars (e.g. Blondell 2002; Frank 2018; Halliwell 2009; K. Morgan 2004) have noticed the tension between Socrates’ theory critical of mimēsis and Plato’s literary practice of speaking through various characters in his dialogues. However, none of these scholars have addressed that it is not only Plato the writer who uses mimēsis but also his own character, Socrates. At crucial moments in several dialogues, (...) Socrates takes on a role and speaks as someone else. I call these moments “Socratic mimēsis.” While previous commentators have noticed some of these moments, they have either overstated their rarity or they have not studied them collectively. My dissertation is the first in-depth investigation of this phenomenon in the dialogues. Socrates’ dramatic imitation of others is way of teaching in a voice separate from his own, and it is also a way for Plato to speak to, and to educate, different kinds of audiences. Although “Socratic mimēsis” occurs throughout the Platonic corpus, I focus on three passages from three different dialogues, which are paradigm instances: [1] in the "Crito" Socrates plays the part of ‘the Laws’ (50a-54c); [2] in the "Theaetetus" he acts the part of ‘Protagoras’ (166a-168c); and [3] in the "Menexenus" he recites a funeral speech learned from ‘Aspasia’ (236d-249c). Instead of one-sidedly reading the dialogues as either only literary works of art or as only a series of philosophical arguments, this study gleans philosophic insights from the literary and dramatic details of the dialogues. In chapter one I argue that in the "Crito" Socrates tries to convince Crito of a universal and absolute ethics based on never committing injustice, but Crito is not able to understand. In order to make Crito more just—but not yet at the level of Socratic ethics—Socrates creates ‘the Laws’ to persuade Crito to expand his personal notion of justice. Socrates instills a political obedience in place of Crito’s existing lawlessness as a second-best recourse. Plato expects the astute listener or reader to see the contrast between Socrates’ earlier ethical principles, said in his own voice, with what he says in the voice of ‘the Laws.’ In chapter two I argue that in the part of the "Theaetetus" where Socrates defends Protagoras (often called ‘the Defense’), Socrates, by imitating ‘Protagoras,’ is actually criticizing Protagorean relativism. The Protagorean theory cannot account for mimēsis and Socrates’ mimetic act performatively contradicts the identity of appearance and reality, which the theory presupposes. Finally, in chapter three I argue that in the Menexenus the funeral oration that Socrates recounts for Menexenus that he heard from ‘Aspasia’ is actually a disguised criticism of political rhetoric and of Athenian imperialism. Although the speech is never interrogated within the dialogue, Plato provokes the listener or reader outside the dialogue to question its message and to see how it conflicts with many of Socrates’ positions in other dialogues. Beyond reconsidering the long-standing and persistent view that Plato was against poetry and mimetic performance, I re-examine the role that performance and role-playing can have in philosophy and pedagogy more generally. Actors, by taking on other personas, and audience members, in observing actors and their actions, are both involved in acts of imagination that can expand their horizon of thinking and feeling. (shrink)

<P>While there are many books on the romantics, and many books on Heidegger, there has been no book exploring the connection between the two. Pol Vandevelde’s new study forges this important link. </P> <P>Vandevelde begins by analyzing two models that have addressed the interaction between literature and philosophy: early German romanticism (especially Schlegel and Novalis), and Heidegger’s work with poetry in the 1930s. Both models offer an alternative to the paradigm of mimesis, as exemplified by Aristotle’s and Plato’s discussion of (...) poetry, and both German romanticism and Heidegger owe a deep debt to Plato. The study goes on to defend the view that Heidegger was influenced by romanticism. The author’s project is thus both historical, showing the specificity of the romantic and Heideggerean works, and systematic, defending aspects of their alternative mode of thinking while also pointing to their weaknesses. </P>. (shrink)

What is objectionable about “blacking up” or other comparable acts of imagining involving unethical attitudes? Can such imaginings be wrong, even if there are no harmful consequences and imaginers are not meant to apply these attitudes beyond the fiction? In this article, we argue that blackface—and imagining in general—can be ethically flawed in virtue of being oppressive, in virtue of either its content or what imaginers do with it, where both depend on how the imagined attitudes interact with the imagining’s (...) context. We explain and demonstrate this using speech act theory alongside a detailed case study of blackface. (shrink)

This paper provides an overview of the account of fictionality — i.e. the phenomenon of things being true “in” or “according to” fictions — that lies at the heart of Kendall Walton's account of representational art. Walton's central idea is that what it is for a proposition to be fictional is for there to be a prescription to imagine that proposition. As we shall see, however, properly understanding this proposal requires an antecedent grasp of Walton's picture of games of make-believe (...) and the relations that artworks bear to appreciators. Having explicated these connections, we will then examine the extensional accuracy of Walton's account of fictionality and its connections to the wider debate about the interpretation of artworks. (shrink)

Feminists have urged women to take semantic authority. This article explains what such authority is, how it depends upon community recognition, and how it differs from privilege and from authority as usually conceived under patriarchy. Understanding its natures and limits is an important part of attaining it. Understanding the role of community explains why separatism is the logical conclusion of this project, and why separatism is valuable even to those who do not separate.

It is widely accepted that readers will resist imagining that a character in a story did something morally wrong, even if the story endorses this judgement. This paper argues, first, that readers will not resist if the question of whether that act was wrong is not salient as they read; and, second, that asking a certain question can be part of correctly appreciating a story—even if that question is not in the foreground of the story, and even if the story (...) itself discourages readers from asking it, as is common in some forms of the ‘hermeneutics of suspicion’. (shrink)

Coherence is a term of art in both epistemology and literary criticism, and in both contexts judgments of coherence carry evaluative significance. However, whereas the epistemic use of the term picks out a property of belief sets, the literary use can pick out properties of various elements of a literary work, including its plot, characters, and style. For this reason, some have claimed that literary critics are not concerned with the same concept of coherence as epistemologists. In this article I (...) argue against this claim. Although various nonepistemic notions of coherence figure in literary criticism, the epistemic concept has a mirror image in the literary–critical concept of thematic coherence. Moreover, evidence from literary criticism suggests that thematic coherence can be valuable from a literary-evaluative standpoint because it can be valuable from an epistemic standpoint, in particular by enhancing the credibility of a work's themes or author. My analysis of the notion of thematic coherence thus provides novel support for literary cognitivism, the view that a work's literary-aesthetic merits can depend on its epistemic merits. (shrink)

I take a pragmatic approach to what interpreters do when they interpret and argue that critical pluralists have focused almost exclusively on one aspect of interpretation: the fact that it is an event taking place in a historical and cultural milieu that influences the many ways interpreters approach a given text. However, there is also in interpretation a pragmatic aspect: the fact that it is an act performed by individuals who, through the utterance of their statements, implicitly make claims, for (...) example, regarding the truth of their interpretation. In the first part I explain what critical pluralists overlook and the consequences of such oversight. In the second part I indicate how the validity of interpretation can be assessed. (shrink)

Résumé J’examine la thèse défendue par Donald Davidson selon laquelle un être ne peut avoir des pensées que s’il a été en communication linguistique avec quelqu’un d’autre par le passé. Cette thèse, que j’appelle « l’interprétationnisme radical », dérive de la thèse A selon laquelle il est nécessaire d’avoir les concepts de croyance et de vérité objective pour avoir des croyances, et de la thèse B voulant que la communication linguistique soit requise pour l’acquisition du concept de vérité objective. En (...) réponse à A, je préconise un point de vue contextualiste, selon lequel les normes d’attribution de croyances dépendent du contexte conversationnel. Le contextualisme entraîne non pas que A est fausse, mais qu’elle doit être relative à un contexte. Je montre par ailleurs que contrairement à ce qu’affirme B, l’interaction avec autrui n’est pas nécessaire pour acquérir le concept de vérité objective. Je conclus que les arguments de Davidson soutiennent au mieux l’interprétationnisme modéré, c’est-à-dire l’idée selon laquelle un être a des pensées si et seulement si ces pensées sont interprétables par un interprète pleinement informé.I examine Donald Davidson’s thesis that a creature cannot have thoughts unless it has had a linguistic communication with another creature. This thesis, which I call “Radical Interpretationism”, derives from the claim that it is necessary to have the concepts of belief and objective truth in order to have beliefs and the claim that linguistic communication is required to acquire the concept of objective truth. In response to, I put forward a contextualist viewpoint, according to which the norms of belief attribution are context-dependent. Contextualism entails not that is false, but that it must be relativised to a context. I then show that contrary to what says, interaction with others is not necessary to acquire the concept of objective truth. I conclude that Davidson’s arguments at best support moderate interpretationism, that is, the view that a creature has thoughts if and only if these thoughts are interpretable by a fully-informed interpreter. (shrink)

Nietzsche’s Genealogy of Morals is deservedly part of the ethical canon, but it is also be enormously and insistently absent-minded. I’m going to first present, as a textual puzzle, a handful of forgetful moments in the first two essays of the Genealogy. To address the puzzle, I will take up a familiar idea, that the Genealogy is both a subversive account of ethics and of what it is to be an intellectual. I will describe a strategy for reading the text (...) that makes these out to be differently and more closely connected than they are usually taken to be. That will allow me to address a persistent worry in the secondary literature, by explaining how the Genealogy’s criticism of morality can be something other than an instance of the genetic fallacy, yet also not lapse into one or another form of moralism. On the way, I will suggest that Nietzsche’s text requires us to modify one of the standard constraints on interpreting philosophical writing. (shrink)

In the contemporary analytic philosophy of literature and especially literary theory, the paradigmatic way of understanding the beliefs and attitudes expressed in works of literary narrative fiction is to attribute them to an implied author, an entity which the literary critic Wayne C. Booth introduced in his influential study The Rhetoric of Fiction. Roughly put, the implied author is an entity between the actual author and the narrator whose beliefs and attitudes cannot be appropriately ascribed to the actual author. Over (...) the decades, this “the author’s second self,” a construct the actual author is seen to create in her act of writing, has gained an established place in literary theory. In the philosophy of literature, in turn, the implied author has evolved into multiple entities; it has been represented and developed as, for instance, “the postulated author” (Alexander Nehamas), “the fictional author” (Gregory Currie) and “the model author” (Umberto Eco). -/- The aim of this paper is to suggest that although the implied author, and its philosophical counterparts, sheds light on certain types of narratives, it is insufficient in approaches which emphasize the truth-claims conveyed by a work. In what follows, I try to show that, first, from an ontological point of view, actual assertions in literary fiction, if any, have to be attributed to the actual author and, second, that the question of truth-claiming in and by literary fiction is an epistemological matter concerning the actual intentions of the author. -/- . (shrink)

During the last decades, there has been a debate on the question whether literary works are utterances, or have utterance meaning, and whether it is reasonable to approach them as such. Proponents of the utterance model in literary interpretation, whom I will refer to as “utterance theorists”, such as Noël Carroll and especially Robert Stecker, suggest that because of their nature as linguistic products of intentional human action, literary works are utterances similar to those used in everyday discourse. Conversely, those (...) whom I will refer to as “appreciation theorists”, such as Stein Haugom Olsen and Peter Lamarque, argue that literary works are by no means comparable to conversational utterances, and treating them in terms of utterances mistakenly dismisses their literary features. The aim of this article is twofold: to defend a central aspect of the utterance theory and to reconcile the two main positions about central issues in the debate on the meaning of literary works. On the one hand, I shall argue that it is both legitimate and reasonable to discuss the utterance meaning of a literary work on the basis of an interpretative approach interested in the author's “message”. My aim is to show that literary works should be considered utterances in a conversational approach which aims at examining the illocutionary actions conveyed through the work. On the other hand, I attempt both to show that there are various legitimate interpretative approaches which are governed by the interpreter's purposes, and to suggest that the debate between utterance theorists and appreciation theorists is actually about merely different emphases. (shrink)

Dans cet essai, nous voulons contribuer à poser les bases épistémologiques et ontologiques d’une approche composite de la théorie de l’interprétation que nous désignerons sous le nom d’« interprétationnisme pluraliste ». À l’encontre de l’intentionnalisme hypothétique, mais à l’instar de la théorie du patchwork dont il s’inspire, l’interprétationnisme pluraliste admet une variété de modes d’interprétations sans concéder de statut privilégié à aucun. Cette approche s’accorde avec la thèse de l’interprétation imputationnelle que l’on justifie sur la base d’une analyse de la (...) nature et de la formation des concepts interprétatifs. Elle est aussi compatible avec un modèle tripartite de l’ontologie de l’oeuvre littéraire qui permet d’éviter les critiques habituelles soulevées contre l’interprétation imputationnelle, à savoir le singularisme et l’objection de la dissolution de l’oeuvre.In this essay, we want to contribute to lay down some epistemological and ontological bases for a composite view of the theory of interpretation that we are calling “pluralist interpretationism”. Contrary to hypothetical intentionalism, but like the patchwork theory from which it is derived, pluralist interpretationism recognizes a variety of modes of interpretation without conceding to any a privileged status. This view agrees with the thesis of imputationalist interpretation which can be justified by an analysis of the nature and formation of interpretive concepts. It is also compatible with a tridimensional model of the ontology of literary works that avoids the usual criticisms raised against interpretative imputationalist such as singularism and the reductio ad absurdum. (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)

Even as art theory and analytic philosophy have failed to connect in their studies of photography, the two disciplines have joined in tying conceptions of the specific character of photography to ideas about automaticity and agency.1 In rough caricature, the philosopher reasons: “An item is a work of art only insofar as it is the product of agency, so a photograph is not an art work insofar it is not the product of artistic agency. After all, in Lady Eastlake's colorful (...) words, the ‘obedience of the machine’ in photography is no ‘picturesque agent.’”2 This much is accepted both by philosophers who go on to conclude that photography is not an art and also by those who defend the contrary.3 The reasoning on the side of theory and criticism often goes, again in caricature, as follows: “Art works sometimes result from a suppression of agency, and the distinctive ‘obedience of the machine’ in photography is no ‘picturesque agent,’ so the automatism of the photographic machine shapes the distinctive profile of photographic art.” The triadic assemblage of the medium, automatism, and agency is clearly more than a trope in writing on photography; it regulates and structures reasoning about photography, even as it sends that reasoning off in remarkably divergent directions in different disciplines. In the spirit of the nudge towards convergence that this special issue represents, this afterword develops some thoughts that are sparked by and that offer a friendly challenge to the preceding papers. In brief, the triad that controls thinking about photography across disciplines depends on some rather demanding conceptions of agency and automatism. As it turns out, less demanding conceptions of agency and automatism pave the way to a new and more modest conception of the specificity of photography as an art medium. If our common ground is what keeps us apart, perhaps we should find some new common ground? (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)

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 this paper, I argue that since artworks cannot take moral responsibility, it is impossible to establish any sort of ethical criticism towards them for their own sake. Ethical criticism of art is inevitably directed at the artist(s), who can take moral responsibility for creating or performing the art in certain ways. Therefore, we should distinguish between two types of criticism towards art: (1) the ethical criticism should be contextualized within the author-work framework, meaning that the extent to which the (...) author can take moral responsibility will significantly affect the ethical criticism of art, while artworks can serve as acts or evidence of acts (of the author) in ethical criticism; (2) ‘ethical’ criticism of art for the work’s own sake should be excluded from the ethical issue and instead reconstructed in the causal issue. (shrink)

No articulation of `historical thinking' has been as influential as Sam Wineburg's position, according to which historical thinking is, fundamentally, the recognition of the ways in which the past is different than the present. Wineburg argues, further, that achieving that state is `unnatural.' This paper critiques both of these claims, arguing instead that we should replace a generic conception of historical thinking with one that is much more rooted in the specific practice of the discipline. It is surely necessary for (...) students to learn this practice, but it is not unnatural. Instead, learning to think historically is learning to speak the language of the discipline that we call ‘history.’. (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)

A response to Peter Alward's objections to the view that there may be fictional narratives without nonactual narrators.

I argue that contemporary artists fix the features of their works not only through their actions of making and presenting objects, but also through auxiliary activities such as corresponding with curators and institutions. I refer to such fixing of features as the artist’s sanction: artists sanction features of their work through publicly accessible actions and communications, such as making a physical object with particular features, corresponding with curators and producing artist statements. I show, through an extended example, that in order (...) to grasp the nature of contemporary artworks, and thus be in a position to interpret them, we must attend to the features the artist has sanctioned. However, this does not amount to saying that the artist’s intention fixes the features of the work. While related to intentions, sanctions are not identical to them; and, indeed, the features the artist has sanctioned may conflict, in some cases, with those she intended. I distinguish my view from actual and hypothetical intentionalism and show that considering the artist’s sanction does not force us to accept any particular interpretation of the work. I also show that, while it has special relevance to our understanding of contemporary artworks, the notion of the sanction is in fact relevant to traditional Western art as well. (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.

In this paper, I argue that in at least some interesting cases, the moral value of a narrative work depends on the aesthetic properties of that artwork. It does not follow that a work that is aesthetically bad will be morally bad (or that it will be morally good). The argument comprises four stages. First I describe several different features of imaginative engagement with narrative artworks. Then I show that these features depend on some of the aesthetic properties of those (...) works. Third, I argue that these same features of imaginative engagement are morally salient, by virtue of inviting more or less sophisticated and reflective moral responses. Finally, I show that the overall moral value of an artwork depends in part on whether or not the prescribed response is simple or complex, passive or reflective. (shrink)

As artefacts, the worlds of digital games are designed and developed to fulfil certain expressive, functional, and experiential objectives. During play, players infer these purposes and aspirations from various aspects of their engagement with the gameworld. Influenced by their sociocultural backgrounds, sensitivities, gameplay preferences, and familiarity with game conventions, players construct a subjective interpretation of the intentions with which they believe the digital game in question was created. By analogy with the narratological notion of the implied author, we call the (...) figure to which players ascribe these intentions ‘the implied designer’. In this article, we introduce the notion of the implied designer and present an initial account of how appreciators ascribe meaning to interactive, fictional gameworlds and act within them based on what they perceive to be the designer’s intentions. (shrink)

This article examines what constitutes an ethical flaw in artworks and asks which ethical flaws are relevant in determining works. ethical and aesthetic values. I argue that while most of the discussion has simply taken for granted that it is intrinsic ethical flaws that should be taken into account, there are further important differences in the type of intrinsic ethical flaws that artworks display. I identify two different types of ethical defects in artworks, fictional and actual, and argue that this (...) distinction has important consequences for debates surrounding the ethical value of works of fiction. (shrink)

Historiographic debates keep returning to issues of authorial intention in the interpretation of texts. This paper offers a response to these debates by differentiating between two versions of intentionalism, termed 'substantive intentionalism' and 'formal intentionalism', according to two different senses of 'identity' in the thesis that assigned meaning is identified with authorial intention, such that these two versions of intentionalism imply different ontological commitments to what are construed as the relevant authorial intentions. These distinctions and arguments are then related to (...) the 'historical intentionalism' of Quentin Skinner and Mark Bevir. The paper argues that in practice historical intentionalism ends up reproducing the arguments of formal intentionalism, and it concludes by raising questions about the value of intentionalism for historians. (shrink)

The utterance model is a popular basis for theories of interpretation in the contemporary analytic philosophy of literature. This model suggests that interpretation should be constrained by a work's identity‐relevant factors in its context of production because a work, like an utterance, acquires its identity and content in part from its relations with that context. From a descriptive point of view, I argue that the implied author account of interpretation best describes critical practice following the current positions based on the (...) utterance model. That is, people who interpret in accordance with these positions end up interpreting an implied author. (shrink)

While it is often assumed that fictions must be informative or morally improving in order to be of any real benefit to us, certain texts defy this assumption by functioning as training grounds for the capacities: in engaging with them, we stand to become not more knowledgeable or more virtuous but more skilled, whether at rational thinking, at maintaining necessary illusions, at achieving tranquility of mind, or even at religious faith. Instead of offering us propositional knowledge, these texts yield know-how; (...) rather than attempting to instruct by means of their content, they hone capacities by means of their form; far from seducing with the promise of instantaneous transformation, they recognize, with Aristotle, that change is a matter of sustained and patient practice. (shrink)

Art interpretation in practice, not theory. -/- How do people make sense of works of art? And how do they write to make others see the same way? There are many guides to looking at art, histories of art history and art criticism, and accounts of various ‘theories’ and ‘methods’, but this book offers something very unlike the normal search for difference and division: it examines the general and largely unspoken norms shared by interpreters of many kinds. -/- Ranging widely, (...) though taking writing within the Western tradition of art history as its primary focus, Interpreting Art highlights the norms, premises, and patterns that tend to guide interpretation along the way. Why, for example, is the concept of artistic ‘intention’ at once so reviled and yet so hard to let go of? What does it really involve when an interpretation appeals to an artwork’s ‘reception’? How can ‘context’ be used by some to keep things under control and by others to make the interpretation of art seem limitless? And how is it that artworks only seem to grow in complexity over time? -/- Interpreting Art reveals subtle features of art writing central to the often unnoticed interpretative practices through which we understand works of art. In doing so, the book also sheds light on possible alternatives, pointing to how writers on art might choose to operate differently in the future. -/- ‘It's wonderful to have a book that focuses on what art historians actually do when we interpret art, as opposed to the claims we make about our methods and their histories… Interpreting Art shows how apparently well-understood paths of interpretation are actually half-articulated ideals that are as likely to run away with our texts as support them, and for that reason it should be on the desk of every doctoral student when they set out to write.’ – James Elkins, School of the Art Institute of Chicago ‘In this lucid, sensible and insightful book, Sam Rose investigates interpretive practices common to almost all professional art historians, regardless of their objects of study, their professed "methods" and their schools of historical thought. Anyone curious about the “how” of art history as an intellectual and aesthetic endeavour will find Rose to be an invaluable guide.’ – Whitney Davis, University of California at Berkeley. (shrink)

The multiple authorship view for film is the claim that multiple authors exist for almost any given film. This view is a recent development in opposition to the longstanding single authorship view which holds that there is only one author for every film, usually the director. One of the most often-cited reasons in support of the multiple authorship claim is that multiple authorship views more successfully explain the following fact about filmmaking better than single authorship views: filmmakers’ intentions sometimes conflict (...) with each other during the production of a film. However, since multiple authorship views cannot adequately explain how a single filmic utterance can result from conflicting intentions, I want to argue that the single authorship view should be reinstated in those special cases where two or more agents are involved in the production of a filmic utterance and where the intentions of those agents are incompatible. (shrink)

This dissertation examines the idea of _ethical revaluation_ — taking things we normally see as good for our flourishing and seeing them as neutral or bad, and vice versa — in the Mahāyāna Buddhist thinker Śāntideva. It shows how Śāntideva’s thought on the matter is more coherent than it might otherwise appear, first by examining the consistency of Śāntideva’s own claims and then by applying them to contemporary ethical thought. In so doing, it makes four significant contributions. Śāntideva claims that (...) property and relationships are bad for us because they promote attachment, and that others’ wrongdoing is good for us because it allows us to generate patient endurance. Yet he also urges his readers to give property to others, and to prevent their wrongdoing. Is he caught in contradiction? The dissertation argues that he is not, because giving to others is not intended to benefit them materially, but rather to produce beneficial mental states in them, and preventing wrongdoing is intended to benefit the wrongdoer and not the victim. In both cases, Śāntideva emphasizes individual action in a way that makes social or political action more difficult to justify. The dissertation’s first contribution is to show how this interpretation of Śāntideva contrasts notably with standard presentations of Mahāyāna ethics. Its second contribution is to refute claims that Buddhists have no normative ethics. Śāntideva’s resolutions of these apparent contradictions also have relevance for contemporary ethical thought. Martha Nussbaum argues against an ethical revaluation similar to Śāntideva’s, on the grounds that such a revaluation makes it contradictory to argue for providing goods to others, preventing others’ wrongdoing or engaging in political action. Śāntideva’s views show that ethical revaluation is a more sustainable position than these criticisms of Nussbaum’s would imply; if it is to be rejected, it must be rejected on other grounds. To show this point is the dissertation’s third contribution. The fourth contribution is methodological; by finding similarities of concern and differences of opinion between Śāntideva and a contemporary thinker, it helps bridge the gap between normative and comparative religious ethics. (shrink)

The Mahāyāna Buddhist thinker Śāntideva tells his audience to give out alcohol, weapons and sex for reasons of Buddhist compassion, though he repeatedly warns of the dangers of all these three. The article shows how Śāntideva resolves this issue: these gifts, and gifts in general, attract their recipients to the virtuous giver, in a way that helps the recipients to become more virtuous in the long run. As a consequence, Śāntideva does recommend the alleviation of poverty, but assigns it a (...) much smaller significance than is usually supposed. His views run counter to many engaged Buddhist discussions of political action, and lend support to the “modernist” interpretation of engaged Buddhist practice. (shrink)