By demonstrating the uniformity and universality of the principles of valid interpretation of verbal texts of any sort, this closely reasoned examination provides a theoretical foundation for a discipline that is fundamental to virtually all humanistic studies. It defines the grounds on which textual interpretation can claim to establish objective knowledge, defends that claim against such skeptical attitudes as historicism and psychologism, and shows that many confusions can be avoided if the distinctions between meaning and significance, interpretation and criticism are (...) correctly understood. It provides perhaps the first genuinely comprehensive account of hermeneutic theory to appear in English and the first systematic presentation of the principles of valid interpretation in any language. Mr. Hirsch, associate professor of English at the University of Virginia, is the author of _Wordsworth and Schelling _and _Innocence and Experience: An Introduction to Blake._ “Here is a book that brings logic to the most unruly of disciplines, literary interpretation. Viewing this subject within the tradition of hermeneutics, Mr. Hirsch is able to trace its origins and development with brilliant insight. The result is a lucidly systemic and authoritative account of the premises and procedures applicable to the interpretation of a literary text. Mr. Hirsch has performed a monumental service thereby that of reinstating the credentials of objectivism and defining the limits of the aesthetics of truth. This study is a necessary took for anyone who wants to talk sense about literature.”—_Virginia Quarterly Review_ “Professor Hirsch demonstrates convincingly that objectivity is attainable in humane studies, and that it is not identified with the subject but with the evidence. A valid interpretation is not necessarily a correct one, but one which is more probably than any other on the basis of existing evidence. He makes a subtle and important distinction between a text’s ‘meaning’ and its ‘significance’, and brilliantly relates meaning to understanding and interpretation to explanation…” In short, this is a work which future students of literary theory cannot afford to neglect.”—_Notes and Queries_ E.D. Hirsch, Jr., is professor of English at the University of Virginia. (shrink)

"Those who think they know George Dickie's views should be sure to read this book. They are in for some interesting surprises. Of course, those unfamiliar with Dickie's views will also learn a lot." --Anita Silvers, San Francisco State University In this book George Dickie presents a theory about how to judge a work of art--as opposed to a theory that explains why a particular work is defined as art. Focusing mainly on the writings of (...) Monroe Beardsley and critically examining the views of seven other philosophers and art critics--Paul Ziff, Frank Sibley, Nelson Goodman, Nicholas Wolterstorff, David Hume, Bruce Vermazen, and J. O. Urmson--Dickie synthesizes their insights to discover what can be derived from their theories. On this basis, he attempts to work out a theory of art evaluation--the first such book on this topic by a contemporary philosopher. Initially, the author outlines all possible theories of art evaluation, assuming that traditional evaluative notions are used. He identifies seven theory-types that fall under four general headings: imitation value theory, objective intrinsic value theories, subjective intrinsic value theory, and instrumental value theories. Dickie then discusses the historical development of the theory of art evaluation, examining the ways in which eighteenth- and nineteenth-century philosophers treated representation and other cognitive dimensions of art as artistic values. His thorough analysis of the work of other contemporary theorists argues for a theory of art evaluation derived from various strands of thought. (shrink)

This book is an introduction to aesthetics, from the perspective of analytic philosophy. It traces aesthetics from its ancient beginnings through the changes it underwent in the eighteenth, nineteenth, and the first half of the twentieth century. The responses in the 1960s of the cultural theories to these earlier developments are discussed in detail. Five traditional art evaluational theories, Beardsley's and Goodman's evaluational theories, and the author's own evaluational theory are presented. Four miscellaneous topics are discussed - internationalist criticism, symbolism, (...) metaphor, and expression. (shrink)

The Century of Taste offers an exposition and critical account of the central figures in the early development of the modern philosophy of art. Dickie traces the modern theory of taste from its first formulation by Francis Hutcheson, to blind alleys followed by Alexander Gerard and Archibald Allison, its refinement and complete expression by Hume, and finally to its decline in the hands of Kant. In a clear and straightforward style, Dickie offers sympathetic discussions of the theoretical aims (...) of these philosophers, but does not shy from controversy--pointing out, for instance, the obscurities and inconsistencies in Kant's aesthetic writings, and arguing that they have been overrated. (shrink)

_ _ _Art and Value_ focuses on the questions of history, methods, and nature of art theories, and on the value and evaluation of art. It serves as a valuable primer to aesthetics, as well as a summary and extension of Dickie's contribution to the field.

The question at issue is whether moral defects of artworks can be aesthetic defects. Noël Carroll claims they can be, Berys Gaut claims they are, and James Anderson and Jeffrey Dean claim they are not. I side with Anderson and Dean and produce additional arguments against Carroll and Gaut. Triumph of the Will serves as an example that all five of us agree is a morally flawed artwork. I argue and conclude that its horrible moral defects are not aesthetic ones. (...) Its triumph is the sum total of its aesthetic merits. (shrink)

This paper is a continuation of a debate between Noël Carroll, who defends intentionalism, and Kent Wilson and myself, who argue that the intentions of artists are not relevant to the interpretation of works of art.

George Dickie; Symposium: Monroe Beardsley's Legacy in Aesthetics EDITED BY MICHAEL WREEN AND DONALD CALLEN: The Origin of Beardsley's Aesthetics, The Journal o.

George Dickie; Symposium: Monroe Beardsley's Legacy in Aesthetics EDITED BY MICHAEL WREEN AND DONALD CALLEN: The Origin of Beardsley's Aesthetics, The Journal o.