Abstract

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.