Intention & Interpretation

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However, the question of why and when should the courts use innovative interpretation as the morally correct way of deciding cases remains to be answered. Oxford Scholarship Online requires a subscription or purchase to access the full text of books within the service. Public users can however freely search the site and view the abstracts and keywords for each book and chapter.

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Search my Subject Specializations: Classical, Early, and Medieval Plays and Playwrights: Classical, Early, and Medieval Poetry and Poets: Classical, Early, and Medieval Prose and Writers: Classical, Early, and Medieval World History: Finally, we are loathe to accept the claim that differences of style necessarily result from differences in technical capacity. However, these assumptions are in conflict. If artists throughout history sought to capture the appearances of the things they depicted and did not differ markedly in their technical capacities, then surely the pictures each produced should not depend on features internal to the contexts in which they emerged and should instead look more alike.

Paisley Livingston

Throughout history, pictures have been used to inform viewers about a wide variety of things other than their objects' appearances. Investigating the purposes for which pictures were used in particular historical and cultural contexts will help us to understand why certain styles were appropriate to those contexts. Nevertheless, it will not help us to understand why certain styles were appropriate to just one among a number of contexts in which pictures were used for a single purpose.

To understand this, we need to know what cognitive environment was shared by the members of the relevant community.

This will enable us to understand why, given the purpose for which pictures were used in that community, a certain style was more informative than another. In addition to cataloguing stylistic changes, therefore, the historian of art has two further tasks: Painting and Drawing in Aesthetics. Some find it suggestive of renewal, though only vaguely.

Still others find it offers both lamentation and hopefulness, while some pass it over in silence. As an admirer with a taste for puzzle solving, here I offer a new interpretation revealing a surprisingly optimistic denouement. Fiction, Misc in Aesthetics.

INTENTION AND THE INTERPRETATION OF ART

Literature in Arts and Humanities. Thanks to their heterogeneity, the nine essays in this volume offer a clear testimony of Donald Davidson's authority, and they undoubtedly show how much his work - even if it has raised many doubts and criticisms - has been, and still is, highly influential and significant in contemporary analytical philosophy for a wide range of subjects. Moreover, the various articles not only critically and carefully analyse Davidson's theses and arguments in particular those concerning language and knowledge , but they also illustrate Davidson's work is indeed an important and provocative starting point for discussing the future progress of philosophy.

Donald Davidson in 20th Century Philosophy. Radical Interpretation in Philosophy of Language.

The Principle of Charity in Philosophy of Language. This chapter defends intentionalism about pictorial representation. Pictures are 2D surfaces designed to elicit 3D-scene-representing experiences from their viewers. In this essay, I argue that philosophers have tended to underestimate the relevance of research in vision science to understanding the nature of pictorial experience. Both the deeply entrenched methodology of virtual psychophysics as well as empirical studies of pictorial space perception provide compelling support for the view that pictorial experience and seeing face-to-face are experiences of the same psychological, explanatory kind.

I also show that an empirically informed According to what I call the deep resemblance theory, pictures work by presenting virtual models of objects and scenes in phenomenally 3D, pictorial space. Construction and Inference in Perception in Philosophy of Mind. Ecological Approaches to Perception in Philosophy of Mind.

Gestalt Theory in Philosophy of Mind. Perception and Neuroscience in Philosophy of Mind. Philosophy of Consciousness, Misc in Philosophy of Mind. Philosophy of Perception, General in Philosophy of Mind. Psychophysics in Philosophy of Mind.

Interpretation

Science of Perception, Misc in Philosophy of Mind. Spatial Experience in Philosophy of Mind. The Experience of Objects in Philosophy of Mind.

Vision in Philosophy of Mind. Visual Arts in Arts and Humanities. Philosophy of Literature in Aesthetics. Classificatory disputes about what is art SEE this link for the images embeded in the text!! Aestheticians and art philosophers often engage in disputes Aesthetic Qualities, Misc in Aesthetics. Philosophy of Visual Art, Misc in Aesthetics.

Topics in Aesthetics in Aesthetics. This paper takes a cognitive perspective to assess the significance of some Late Palaeolithic artefacts sculptures and engraved objects for philosophicalconcepts of art. We examine cognitive capacities that are necessary to produceand recognize objects that are denoted as art. These include the ability toattribute and infer design design stance , the ability to distinguish between themateriality of an object and its meaning symbol-mindedness , and an aesthetic sensitivity to some perceptual stimuli.

We investigate to what extent thesecognitive processes played a role in Aesthetic Concepts in Aesthetics. Philosophy of Specific Arts, Misc in Aesthetics. I argue that the physical marks on a canvas resulting from an artist's intentional, stylistic and expressive acts cannot themselves be the artist's expression, but instead they serve to signify or indicate those acts.

Thus there is a kind of indicative content associated with a picture that is distinct from its subject matter or 'representational content'. I also argue that this kind of indicative content is closely associated with the specific artistic medium chosen by the artist as her expressive medium, Aesthetic Cognition, Misc in Aesthetics. Aesthetic Perception in Aesthetics. Aesthetic Understanding in Aesthetics.

Conceptual and Nonconceptual Content in Philosophy of Mind. Remove from this list. Art and Artworks, Misc in Aesthetics. 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. 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. Those who suggest that only a sexist or racist, or anti-semite can experience amusement at a sexist or racist, or anti-semitic joke have failed to grasp two underappreciated features of the psychology of humor: I here defend hypothetical intentionalism, the view of literary and cinematic interpretation that I endorse, from some recent criticisms, and then illustrate the appeal of the view in connection with a recent film of enigmatic cast.

In Art and intention Paisley Livingston develops a broad and balanced perspective on perennial disputes between intentionalists and anti-intentionalists in philosophical aesthetics and critical theory. He surveys and assesses a wide range of rival assumptions about the nature of intentions and the status of intentionalist psychology.

With detailed reference to examples from diverse media, art forms, and traditions, he demonstrates that insights into the multiple functions of intentions have important implications for our understanding of artistic creation and authorship, the ontology Livingston argues that neither the inspirationist nor rationalistic conceptions can capture the blending of deliberate and intentional, spontaneous and unintentional processes in the creation of art. Texts, works, and artistic structures and performances cannot be adequately individuated in the absence of a recognition of the relevant makers4intentions.

The distinction between complete and incomplete works receives an action-theoretic analysis that makes possible an elucidation of several different senses of "fragment" in critical discourse.

Livingston develops an account of authorship, contending that the recognition of intentions is in fact crucial to our understanding of diverse forms of collective art-making. An artist's short-term intentions and long-term plans and policies interact in complex ways in the emergence of an artistic oeuvre, and our uptake of such attitudes makes an important difference to our appreciation of the relations between items belonging to a single life-work.

The intentionalism Livingston advocates is, however, a partial one, and accommodates a number of important anti-intentionalist contentions. Intentions are fallible, and works of art, like other artefacts, can be put to a bewildering diversity of uses. Yet some important aspects of art's meaning and value are linked to the artist's aims and activities.

INTENTION AND INTERPRETATION IN LITERATURE | The British Journal of Aesthetics | Oxford Academic

Intentional Action in Philosophy of Action. Intentions in Philosophy of Action. An essay concerning the representation of images in art, photography, and painting concerning analysis of Gerhard Richter's painting reader. It offers a debate that representation should be regarded as an act of formation and a performative concept. The author presents analysis of painting which leads the reader into the problem of painted images, such as the constitution of an image by a complex relationship among memory, reading, and blindness.

These problems, raised again in later writings and intensively discussed in recent years, remain unsettled and this lecture is intended to throw light upon them. 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: 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 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. Intentions, Misc in Philosophy of Action. This article is concerned with the question of whether, and to what extent, the concept of metaphor properly applies to pictures e.

The question is approached dialectically through an examination of the views of Sonia Sedivy, who advances the following 4 claims: Although the first of Sedivy's claims is rejected in this article, the existence of pictorial metaphors is not denied. Thus, the fact that pictures do not possess propositional content does not preclude the possibility of pictorial metaphors. What are required, though, are changes to the conception of pictorial metaphor that Sedivy advances. Metaphor in Philosophy of Language. Philosophy of Language, Misc in Philosophy of Language.

Pragmatics, Misc in Philosophy of Language. This essay considers the reliability and proper role of authorial intention in the interpretation of figurative language and argues that, even in cases of metaphor and irony, the meaning of a text must remain logically independent of the intent of its historical author. Irony and metaphor have been broadly considered to be the most problematic cases for the anti-intentionalist approach to interpretation. The arguments in this essay address standard intentionalist arguments and, in the end, defend a sort of hypothetical intentionalism

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