scholarly journals Idea of Authorial Intent in “The Intentional Fallacy” by Wimsatt and Beardsley

2019 ◽  
Vol 4 (4) ◽  
pp. 1029-1031
Author(s):  
Vaishali Anand
Keyword(s):  
Authorial Intent ◽  
Intentional Fallacy

Authorial Intent and Hermeneutics

1989 ◽  
Vol 2 (1) ◽  
pp. 79-83
Author(s):  
Dennis M. Patterson
Keyword(s):  
Literary Theory ◽  
Literary Text ◽  
Legal Interpretation ◽  
The Real ◽  
Authorial Intent ◽  
Interpretive Theory ◽  
Intentional Fallacy ◽  
Classic Essay

The opposition between originalism and relativism is a persistent dualism in current debates over the nature of legal interpretation. For many legal academics, choice in interpretive theory is limited to the either/or of the authorial model of discourse or the “anything goes” approach of relativism of one stripe or another.The struggle between these interpretive polar opposites had its origins in literary theory. In their classic essay, “The Intentional Fallacy,” W.K. Wimsatt and Monroe C. Beards ley argued that the only meaning worth investigating was that found in the literary text: to search after the “real intentions” of an author was to chase ghosts. Wimsatt and Beardsley influenced a generation of critics, but their thesis has, of late, been challanged anew.

Imaging Protestant Piety: The Icons of Warner Sallman

1993 ◽  
Vol 3 (1) ◽  
pp. 29-47 ◽  
Author(s):  
David Morgan
Keyword(s):  
Original Intent ◽  
Biographical Research ◽  
Authorial Intent ◽  
Art Historians ◽  
History Of ◽  
Humanist Tradition

Traditionally, art historians have relied on iconography, biography, and connoisseurship as the fundamental means of studying images. These approaches and methods stress the singularity of an image, its authenticity, and its authorship; therefore, they reflect an enduring debt to the humanist tradition of individualism. The image is understood principally as the product of the unique and privileged inspiration of an individual artist and is regarded as a measure of this individual's genius. Iconographical and biographical research secure authorial intent; connoisseurship authenticates the work. While this scholarly apparatus certainly offers the art historian indispensable tools, it is important to understand that its commitment to original intent is singularly ill-equipped to assess the reception of images, the ongoing history of response that keeps images alive within a culture from generation to generation.

scholarly journals To the question of transformation of literary texts into stage version (“Three Years” of A. P. Chekhov in theatrical interpretation of S. V. Zhenovach)

Litera ◽  
2020 ◽  
pp. 33-41
Author(s):  
Daria Savinova
Keyword(s):  
Literary Text ◽  
Literary Texts ◽  
The Novel ◽  
Action Identification ◽  
Unpublished Manuscript ◽  
Complex Process ◽  
Authorial Intent ◽  
Stage Direction ◽  
New Type ◽  
Theatre Studies

This article is dedicated to the question of text transformation from authorial intent to stage impersonation. Despite the established tradition of studying the questions of recoding of literary text into theatrical, there is yet no theoretical-literary substantiation. Recoding is considered a complex process of creating a new type of text by the theatre director for staging a play. Therefore, an attempt is made to analyze the elements of transformation of literary text into its stage version, using the example of S. V. Zhenovach’s unpublished manuscript for stage direction based on A. P. Chekhov’s novella “Three Years”. The novelty of this research consists in determination of the patterns in transformation of literary text into stage version. The tools and means of expression applied in theatre and literature are different. If in literature it is possible to set several task and solve them all within the framework of the novel, then in theatre, it must be one ultimate task that organizes the action. Identification of the key peculiarities of existence of such type of text as “stage direction” on the example of transformation of the novella “The Years” from the authorial intent to stage impersonation demonstrated its significance for not only theatre studies, but also the theory of literature.

Indifferent to Intentions : The Autonomy of Artistic MeaningThe literature on the relevance of the artist’s intentions is, of course, vast. WilliamK.WimsattJr. and MonroeK.Beardsley’s discussions of it in The Verbal Icon; Studies in the Meaning of Poetry (University of Kentucky Press, 1954) remain of classic status. Other worthwhile approaches include JosephMargolis’ Art and Philosophy; Conceptual Issues in Aesthetics (Brighton: Harvester Press, 1980), pp. 165–89 ColinLyas’ ‘Anything Goes; The Intentional Fallacy Revisited’, British Journal of Aesthetics, Vol. 23, 1983, pp. 291–305 GaryIseminger’s edited collection Intention and Interpretation (Philadelphia, PA: Temple University Press, 1992).Recent discussion has tended to focus on the relation between ‘active’ and ‘hypothetical’ ‘intentionalism’. See, for example, SaamTrivedi’s ‘An Epistemic Dilemma for Actual Intentionalism’, British Journal of Aesthetics, Vol. 41, 2001, pp. 192–206. My own position – for reasons which will be made clear – is that no variety of ‘intentionalism’ is conceptually connected to artistic meaning or to its evaluation. At best, hypotheses as to an artist’s intentions, or knowledge concerning them, can (occasionally) enhance our aesthetic or intellectual pleasure.

2014 ◽  
Keyword(s):  
British Journal ◽  
Recent Discussion ◽  
University Of Kentucky ◽  
Temple University ◽  
Intentional Fallacy

“The Falsest Twoo”

2020 ◽  
pp. 26-49
Author(s):  
Catherine Nicholson
Keyword(s):  
Sixteenth Century ◽  
Faerie Queene ◽  
Literary Scholarship ◽  
Cultural Contexts ◽  
Authorial Intent ◽  
The Faerie Queene ◽  
Poetic Composition

This chapter discusses the question of how to represent the orthography of Edmund Spenser's The Faerie Queene in modern texts. Editions of Spenser's poem nearly always preserve the late sixteenth-century spellings: it is The Faerie Queene, not The Fairy Queen. The reproduction of old spellings communicates a set of seemingly irreproachable editorial commitments: to textual fidelity, to philological precision, to the material and cultural contexts of poetic composition, and, above all, to authorial intent. Ironically, however, the effects of old spelling on Spenser's modern readers are hard to justify in such terms. The chapter argues that although the “old-spelling” Faerie Queene encodes much less of Spenser's meaning than most modern editions of the poem imply, it retains more of what the poem has meant to readers, and to the tradition of literary scholarship.

Chronicling a Blood-spattered Isle

2021 ◽  
pp. 55-111
Author(s):  
Oren Falk
Keyword(s):  
Structural Analysis ◽  
Case Studies ◽  
General Model ◽  
Brute Force ◽  
The Past ◽  
Textual Source ◽  
Recording Process ◽  
Medieval Europe ◽  
Authorial Intent ◽  
History Of

This chapter implements the general model of violence on case studies from the history of medieval Iceland, especially the Battle of Helgastaðir (1220) and other episodes from the life of Guðmundr Arason, Bishop of Hólar (r.1203–37). It also establishes how structural analysis of sagas—using the concepts of récit, histoire, and uchronia—nuances the picture of history reconstructed from such sources, tracing the transformation of occurrences (what happened) into events (experienced manifestations of meaning). Guðmundar saga A, the main textual source consulted here, demonstrates how uchronia, the ideology of the past, enabled texts to function autonomously of authorial intent: uchronic texts may reveal truths their authors were ignorant of, let alone truths they wished to suppress. By unpacking the ways brute force inflects both the historical social contests recorded in the saga and the narrative tensions of the recording process itself, this chapter highlights the necessity of examining violence in terms of a complex negotiation of power, signification, and risk. In the course of this investigation, various details of medieval Icelandic history are filled in, deepening and qualifying the general portrayal offered in the Introduction. Readers with little background in Icelandic history are familiarized with the contours of this history, while experts find some of its truisms (such as the categorical distinction between farmers and chieftains, or the supposed uniqueness of Iceland in high medieval Europe) re-examined

Recovering Interpretative Possibilities in the Fiction of Flannery O’Connor: An Introduction

2020 ◽  
pp. 3-16
Author(s):  
Alison Arant ◽  
Jordan Cofer
Keyword(s):  
Meaning Making ◽  
Reception History ◽  
Flannery O'connor ◽  
Authorial Intent

This chapter provides an overview of the responses to Flannery O’Connor’s fiction, highlighting both the strengths and weaknesses of the reception history, and argues for the need to recover the breadth of interpretation her work invites. The writers discuss the concept of authorial intent as it relates to O’Connor and lay out their premise that author, text, and audience all play roles in the process of meaning making. The authors also provide chapter summaries for each of the essays included in the volume.

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