Aesthetic and Artistic Autonomy
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9781441196521, 9781472545312
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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 ◽  
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British Journal ◽  
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University Of Kentucky ◽  
Temple University ◽  
Intentional Fallacy
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