In their article ‘The Intentional Fallacy’, Beardsley and Wimsatt raised problems about the legitimacy of certain critical practices. 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.

ABSTRACTThe ideological and methodological oppositions that divide philosophy generally into realisms and idealisms, objectivisms and subjectivisms, also pervade aesthetic theory. The question arises whether there was beauty in the world prior to the emergence of intelligent perceivers like ourselves, or whether beauty itself comes into existence only through the perceptual idiosyncrasies with which we happen to encounter the objects we happen to consider beautiful. The experience of beauty and its opposites under this description can easily seem to be an altogether (...) subjective phenomenon, available at most only to those psychological subjects conditioned or predisposed to recognize certain features as possessing specific aesthetic properties. The article examines topics related to the intentionality of expression in art. Intention is often rejected as a basis for aesthetic judgment. The present discussion, by focusing on the role of perception in art production and appreciation, considers ways of addressing those objections to restore an intuitive sense of the intentional expressiveness of art. The proposed solution also helps uphold an approach toward answering the question of whether aesthetic value generally is only subjective or also has a distinctively objective element. (shrink)

Our examination of the controversy surrounding the intentionalist conception of textual interpretation shows that the critics of this approach to questions of meaning and interpretation have so far failed to prove their case. The standard objections to intentionalism, on grounds of logical or empirical fallacy, cannot be maintained. We reconstruct the objections which have been raised in the literature against the intentional conception and discuss them as criticism of a conception hold to be inadequate with respect to the problem of (...) literary interpretation. In our evaluation of the intentional conception we conclude that it represents a perfectly ‘normal’ conception of meaning and interpretation, of a kind by no means inferior to other approaches adopted by the various disciplines concerned with interpreting texts. (shrink)

Some years ago I came across the following question thrown out almost casually in the course of discussion: How many of us, it was asked, want to call a ‘bad work of art’ a ‘work of art’? The question was clearly rhetorical; the author quite obviously did not consider that anyone in his right mind would suggest that a bad work of art was a work of art. This struck me as rather odd. Surely there can be good and bad (...) works of art, just as there can be good and bad apples or good and bad men. An apple does not cease to be an apple just because it is bad, unless perhaps it has become thoroughly rotten; but the gardener who says ‘The Coxes are bad this year’ does not mean that they have grown rotten on the trees, much less that they are not apples at all. Moreover, if so-called bad works of art are not works of art, what are they? You may not think highly of the works in the Royal Academy Summer Exhibition but they are not totally dissimilar to some works in Bond Street next door which are highly regarded. (shrink)

Some years ago I came across the following question thrown out almost casually in the course of discussion: How many of us, it was asked, want to call a ‘bad work of art’ a ‘work of art’? The question was clearly rhetorical; the author quite obviously did not consider that anyone in his right mind would suggest that a bad work of art was a work of art. This struck me as rather odd. Surely there can be good and bad (...) works of art, just as there can be good and bad apples or good and bad men. An apple does not cease to be an apple just because it is bad, unless perhaps it has become thoroughly rotten; but the gardener who says ‘The Coxes are bad this year’ does not mean that they have grown rotten on the trees, much less that they are not apples at all. Moreover, if so-called bad works of art are not works of art, what are they? You may not think highly of the works in the Royal Academy Summer Exhibition but they are not totally dissimilar to some works in Bond Street next door which are highly regarded. (shrink)