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  1. Reasoning to what is true in fiction.Peter Lamarque - 1990 - Argumentation 4 (3):333-346.
    The paper discusses the principle by which we reason to what is ‘true in fiction’. The focus is David Lewis's article ‘Truth in Fiction’ (1978) which proposes an analysis in terms of counterfactuals and possible worlds. It is argued thatLewis's account is inadequate in detail and also in principle in that it conflicts radically with basic and familiar tenets of literary criticism. Literary critical reasoning about fiction concerns not the discovery of facts in possible worlds but the recovery of meanings (...)
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  • Authors' intentions, literary interpretation, and literary value.Stephen Davies - 2006 - British Journal of Aesthetics 46 (3):223-247.
    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 (...)
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  • Truth, Fiction and Literature: a Philosophical Perspective.Peter Lamarque & Stein Olsen - 1997 - Philosophical Quarterly 47 (187):241-243.
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  • Interpreting art and literature.Alan H. Goldman - 1990 - Journal of Aesthetics and Art Criticism 48 (3):205-214.
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  • (1 other version)The appeal to the text: What are we appealing to?P. D. Juhl - 1978 - Journal of Aesthetics and Art Criticism 36 (3):277-287.
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  • Objects of Interpretation.Peter Lamarque - 2000 - Metaphilosophy 31 (1-2):96-124.
    The paper examines the relation between interpretation and the objects of interpretation, principally, but not exclusively, in the realm of art. Several theses are defended: that interpretation cannot proceed without prior determination of the kind of thing being interpreted; that the mode of interpretation is determined by the nature of its object; that interpretation, of a meaning‐determining rather than generic kind, focuses at the level of works, not descending to a bedrock of “mere objects”; that because works and their appropriate (...)
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