In this paper I test major analytic theories of interpretation, including anti-intentionalism, the value-maximizing theory, actual intentionalism, and hypothetical intentionalism, against Li Shang-yin’s poem ‘The Ornamented Zither’. I argue that, based on the results of the test, all of these theories face grave difficulties. If their supporters want their accounts to be sustained in the debate over interpretation, they need to address the worries I raise.

The utterance model is a popular basis for theories of interpretation in the contemporary analytic philosophy of literature. This model suggests that interpretation should be constrained by a work's identity‐relevant factors in its context of production because a work, like an utterance, acquires its identity and content in part from its relations with that context. From a descriptive point of view, I argue that the implied author account of interpretation best describes critical practice following the current positions based on the (...) utterance model. That is, people who interpret in accordance with these positions end up interpreting an implied author. (shrink)

In contemporary analytic philosophy of art, the intentionalist debate is about whether the author’s intention is relevant to the interpretation of her work. Various positions have been proposed, and in this paper I defend what I call hypothetical author-hypothetical intentionalism, the position that interpretation is based on the intention attributed to the author constructed from the work. There are three aims to achieve: (1) to give a general account of hypothetical author-hypothetical intentionalism; (2) to present a moderate version of hypothetical (...) author-hypothetical intentionalism; (3) to defend the moderate version of hypothetical author-hypothetical intentionalism against actual intentionalism and actual author-hypothetical intentionalism. Against the current trend that focuses on actual authors, I hope to show that the hypothetical author account is still a sustainable contender in the intentionalist debate. (shrink)

Some theorists on literary interpretation have suggested a connection between Monroe C. Beardsley’s anti-intentionalism and hypothetical intentionalism based on an implied author. However, a full exploration has never been attempted. I undertake this task in this paper. A close reading of Beardsley reveals that he assumes something very similar to the implied author in interpretation. I distinguish five types of fictional works in terms of their narrative mode and show that my claim stands in at least four of the five (...) types. The significance of my argument lies in exposing the above version of authorism in anti-intentionalism. -/- Beardsley is generally perceived as advocating the irrelevance of authorial intention to literary interpretation. The common interpretation of his theory is that work-meaning is generated by linguistic conventions, with intention playing no role in meaning-determination. All the interpreter needs is knowledge of public, linguistic conventions in order to recover textual meaning. -/- Nevertheless, when dealing with the problem of interpretation, Beardsley explicitly talks about attributing textual meaning to a fictional speaker. Although he does not elaborate on the nature of this speaker, clues scattered in his writings point to the striking similarity of this theoretical apparatus to an implied author. The key lies in his presumption that every fictional work must have an ultimate speaker to whom meaning inferred from the text should be attributed. This claim is almost the core of an implied author theory of interpretation. -/- A difficulty in classifying Beardsley’s view as a version of the implied author position is that his characterization of the story’s presenter might apply better to the story’s narrator than to its implied author. To test this, I examine different types of narrative modes to see whether the fictional speaker merges with the implied author in each of these scenarios. -/- The first factor to consider for classifying narrative modes is whether the narrator’s presence is explicit or implicit. The narrative scenario in which the narrator is implicit can be further divided into two sub-types: either the story is told from an omniscient viewpoint or centers on the experience of a third-person character. In either case, the story is not told by any of the characters in the story; rather, it is told by an implicit speaker whose words the work purports to be. It seems reasonable to identify this fictional speaker with the implied author, for both function as the subject to which textual meaning is attributed. -/- As for the narrative mode in which the narrator is explicit, this involves first-person narratives. In these, either the narrator is reliable or unreliable. When the narrator is unreliable, a transcendental perspective is required in determining the text’s meaning, because what is said ultimately in the work is not equivalent to what is literally said by the unreliable narrator. It follows that an implicit speaker has to be assumed and she again coincides with the implied author. -/- Where the narrator is reliable but textual meaning transcends what is literally expressed, an implicit speaker is at play again. This narrative scenario is thus better classified as a case in which the narrator’s presence is implicit. This leaves us with the narrative scenario in which the narrator is a reliable spokesperson for the implied author. -/- The identification of the narrator with the implied author in the case last mentioned is controversial. The crucial difference between them is that the former is dramatized in the story while the latter is not. I accept that the narrator here is not happily called an implied author, though I also point out several similarities between the two. -/- Finally, I discuss four complications to my argument. The first concerns multiple points of view in a story. To accommodate this kind of narrative, Beardsley could argue that an implicit narrator is needed to explain the definite meaning concealed behind what is literally said by different characters. The second complication is about the ontological status accorded to the narrator and the implied author. It might be objected that the two reside in different fictional worlds and this is what makes their merging impossible. But it is questionable whether this is a definitional feature of the implied author; moreover, the interpreter can take the implied author to be an instrumentalist concept and hence avoid talk about the ontological status of fictional entities. The third complication claims that versions of the implied author position developed by philosophers tend to be based on a contextualist ontology of literature; however, Beardsley’s account is acontextual. This is not true, for Beardsley has exhibited contextualist leanings in his writings. Finally, it has been objected that the formalist resources Beardsley has are not enough to guarantee a single right interpretation. But if Beardsley is actually a contextualist, contextual constraints will come into play and raise the chance of getting a single right interpretation. -/- The article concludes by reflecting on the significance of the misrepresentation of anti-intentionalism: it is the intention of the actual author which anti-intentionalism is against. The position in question is actually developed in an intentionalist framework based on the implied author. (shrink)

To date, game-based learning programs that include comprehensive creativity skills and disposition training are still very limited. The present researchers developed a comprehensive game-based creativity learning program for fifth and sixth grade pupils. Further analysis presented relationship trends between mindful learning experience, flow experience, self-efficacy, and mastery experience. Eighty-three 5th and 6th grade participants undertook the six-week game-based creativity learning program. Upon the completion of experimental instruction, those who scored higher on the concerned variables improved more in self-evaluation of both (...) creativity ability and confidence, than their counterparts. Additionally, path model analysis revealed that mindful learning experience was a powerful predictor of both mastery experience and flow experience; it also influenced mastery experience through flow experience and self-efficacy during game-based creativity learning. The findings support the effectiveness of the game-based learning program developed in this study. Moreover, this study contributes to the theoretical construction of how game-based learning can be designed to facilitate mindful learning experience, flow experience, self-efficacy, and mastery experience during creativity training among pupils. Effective mechanisms include providing rewards for high-quality performance, challenging tasks, free choices of design components, immediate feedback, and idea sharing. The profound theoretical framework proposed in this study provides a valuable approach for creativity instruction through game-based learning or classroom instruction. (shrink)

This paper attempts to revive interest in the speech act theory of literature by looking into Monroe C. Beardsley's account in particular. Beardsley's view in this respect has received, surprisingly, less attention than deserved. I first offer a reconstruction of Beardsley's account and then use it to correct some notable misconceptions. Next, I show that the reformulation reveals a hitherto unnoticed discrepancy in Beardsley's position and that this can be explained away by a weak version of intentionalism that Beardsley himself (...) actually tolerates. Finally, I assess the real difficulty of Beardsley's theory and its relevance today. (shrink)

Interpretation in art refers to the attribution of meaning to a work. A point on which people often disagree is whether the artist’s or author’s intention is relevant to the interpretation of the work. In the Anglo-American analytic philosophy of art, views about interpretation branch into two major camps: intentionalism and anti-intentionalism, with an initial focus on one art, namely literature. -/- This article elaborates on variations on these theories of interpretation and considers their notable objections. The debate about interpretation (...) covers other art forms in addition to literature. The theories of interpretation are also extended across many of the arts. This broad outlook is assumed throughout the article, although nothing said is affected even if a narrow focus on literature is adopted. (shrink)

We investigated how the location of one’s own name in a visual display influences its conscious awareness using recall and recognition tests in an inattentional blindness paradigm. The participant’s own name or another person’s name appeared unexpectedly in the center or the periphery of the display during a critical trial under low- or high-attentional search load. The results showed that the majority of participants detected their names under low load regardless of location and test method. Under high load, the majority (...) of the participants could recognize or recall their names presented in the center of the display. When the person’s name was in the periphery, most of the participants did not recall their names, and approximately half recognized their names. In contrast, conscious awareness of another person’s name was low in all conditions. A person’s own name is processed with high priority, even under a high-attentional load. (shrink)

Modest actual intentionalism is a major position on interpretation in contemporary analytic aesthetics. The position consists of a disjunctive formulation according to which work-meaning is determined by the author’s intention when such intention succeeds or by non-intentionalistic factors when it fails. I challenge the disjunctive view by presenting a constructive dilemma, the conclusion being that modest actual intentionalism ends up either making non-intentionalistic factors idle or making authorial intent superfluous.

Monroe C. Beardsley has been interpreted by many theorists as advocating antiexternalism with respect to an artwork's aesthetically relevant properties, typically its meaning. According to this orthodox interpretation, the meaning of a work is not established by external or contextual factors but by what is internally present in the work. This acontextual account of meaning is challenged by contextualism, which claims that a work's identity and meaning are in part determined by contextual factors. However, a close look at textual evidence (...) shows that Beardsley actually leans toward contextualism. In particular, his speech act theory of literature compels him to hold an explicit contextualist position with respect... (shrink)

Monroe C. Beardsley's unavailability argument is one of the most underrated anti‐intentionalist arguments in the philosophy of interpretation. The main idea of this argument is that, since independent evidence of authorial intent is normally unavailable, the literary interpreter should focus on what a text means rather than on what the author intends it to mean. In this article I propose a revised version of the argument to show that the unavailability of authorial intent suffices to make actual intentionalism untenable as (...) a recommendation for finding out textual meaning. (shrink)

This chapter provides an introduction to the study of the philosophical notions of mechanisms and causality in biology and economics. This chapter sets the stage for this volume, Mechanism and Causality in Biology and Economics, in three ways. First, it gives a broad review of the recent changes and current state of the study of mechanisms and causality in the philosophy of science. Second, consistent with a recent trend in the philosophy of science to focus on scientific practices, it in (...) turn implies the importance of studying the scientific methods employed by researchers. Finally, by way of providing an overview of each chapter in the volume, this chapter demonstrates that biology and economics are two fertile fields for the philosophy of science and shows how biological and economic mechanisms and causality can be synthesized. (shrink)

We designed scaffolded tasks that targeted the skill of identifying reasoning errors and conducted a study with 472 middle school students. The study results showed a small positive impact of the scaffolding on student performance on one topic, but not the other, indicating that student skills of writing critiques could be affected by the topic and argument content. Additionally, students from low-SES families did not perform as well as their peers. Student performance on the critique tasks had moderate or strong (...) correlations with students’ state reading and writing test scores. Implications of the scaffolding and critique task design are discussed. (shrink)

This volume addresses fundamental issues in the philosophy of science in the context of two most intriguing fields: biology and economics. Written by authorities and experts in the philosophy of biology and economics, Mechanism and Causality in Biology and Economics provides a structured study of the concepts of mechanism and causality in these disciplines and draws careful juxtapositions between philosophical apparatus and scientific practice. By exploring the issues that are most salient to the contemporary philosophies of biology and economics and (...) by presenting comparative analyses, the book serves as a platform not only for gaining mutual understanding between scientists and philosophers of the life sciences and those of the social sciences, but also for sharing interdisciplinary research that combines both philosophical concepts in both fields. -/- The book begins by defining the concepts of mechanism and causality in biology and economics, respectively. The second and third parts investigate philosophical perspectives of various causal and mechanistic issues in scientific practice in the two fields. These two sections include chapters on causal issues in the theory of evolution; experiments and scientific discovery; representation of causal relations and mechanism by models in economics. The concluding section presents interdisciplinary studies of various topics concerning extrapolation of life sciences and social sciences, including chapters on the philosophical investigation of conjoining biological and economic analyses with, respectively, demography, medicine and sociology. (shrink)

Sam Rose’s Interpreting Art is a short monograph about how people make sense of artworks. The book is mainly about the visual arts, although literary works are.

This study attempts to investigate the relationships among the ethical beliefs of Chinese consumers and orientations based on attitudinal attributes: materialism and moral philosophies (idealism and relativism). In addition, this study examines Chinese consumers' ethical beliefs in relation to five selected demographic characteristics (gender, age, religion, family income and education). Based on this exploratory study of 284 Chinese consumers, the following statistically significant findings were discovered. First, Chinese consumers regard that a passively benefiting activity is more ethical, but actively benefiting (...) from an illegal or a questionable activity is unacceptable. Second, the two dimensions of passively benefiting and no harm/no foul can be used to distinguish the consumers who endorse higher levels of idealism or relativism. Third, Chinese consumers with a high level of materialism are more likely to actively benefit from illegal and questionable activities, and the passively benefiting actions. Finally, the more ethical Chinese consumers seem to be younger, be religious, and have a lower family income. (shrink)

Dialogus a tudatról, az ösztönről meg az alkalmazkodásról -- A szabadság és az érték -- Az ember magasabbrendű érzelmi viszonyairól -- Az ember "szubsztancionális" és "funkcionális" szükségleteiről -- Teremtés és programozás -- A szép pszichológiája -- Modern szerelem vagy cinizmus? -- Freud és a modern emberfelfogás -- A konfliktusról.

_A deeply researched and poignant reflection on the practice of forgiveness in an unforgiving world__ “Broad in its philosophical sweep and fine in its literary analysis, this work redefines forgiveness as the modest yet heroic ability to hold pain and anger together with hope and nonviolence.”—Joie Szu-Chiao Chen, _Lion’s Roar__ Matthew Ichihashi Potts explores the complex moral terrain of forgiveness, which he claims has too often served as a salve to the conscience of power rather than as an instrument of (...) healing or justice. Though forgiveness is often linked with reconciliation or the abatement of anger, Potts resists these associations, asserting instead that forgiveness is simply the refusal of retaliatory violence through practices of penitence and grief. It is an act of mourning irrevocable wrong, of refusing the false promises of violent redemption, and of living in and with the losses we cannot recover. Drawing on novels by Kazuo Ishiguro, Marilynne Robinson, Louise Erdrich, and Toni Morrison, and on texts from the early Christian to the postmodern, Potts diagnoses the real dangers of forgiveness yet insists upon its enduring promise. Sensitive to the twenty-first-century realities of economic inequality, colonial devastation, and racial strife, and considering the role of forgiveness in the New Testament, the Christian tradition, philosophy, and contemporary literature, this book heralds the arrival of a new and creative theological voice. (shrink)