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How to Mean Things With Art.

Record Type:	Electronic resources : Monograph/item
Title/Author:	How to Mean Things With Art./
Author:	Walgenbach, Simon.
Description:	1 online resource (275 pages)
Notes:	Source: Dissertations Abstracts International, Volume: 84-02, Section: A.
Contained By:	Dissertations Abstracts International84-02A.
Subject:	Piano. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=29216660click for full text (PQDT)
ISBN:	9798841524755

How to Mean Things With Art.
Walgenbach, Simon.

How to Mean Things With Art. - 1 online resource (275 pages)

Source: Dissertations Abstracts International, Volume: 84-02, Section: A.

Thesis (Ph.D.)--The University of Manchester (United Kingdom), 2021.

Includes bibliographical references

This thesis defends an intentionalist account of interpretation, specifically a version of Extreme Actual Intentionalism, which claims that the meaning of an artwork is determined by its maker's communicative intentions guiding its production. Starting from the observation that works of art regularly evoke a feeling of puzzlement, it is assumed that art interpretation is a practice aimed at grasping the meaning of and, therefore, understanding a work. It is argued that while there is a variety of properties glossed under the umbrella term a€œmeanings€, individual accounts of such properties should not be independent of each other but rather continuous with a general account of meaning. On this basis, Gricea's (1957) account of utterer meaning as determined by communicative intentions is introduced as a basic model, which is then exemplarily applied to three different modes of meaning common in the arts: depictive content, fictional content, and formal properties. Extreme Actual Intentionalism based on the Gricean model is then defended against two common objections: the accusation that it would grant artists arbitrary control over the meaning of their works (the "Humpty Dumpty Objection") and the complaint that it would make artworksa€™ meanings unknowable (the "Epistemological Objection"). It is concluded that given its explanatory power and its ability to meet said objections, Extreme Actual Intentionalism is superior not only to anti-intentionalist accounts of interpretation but also to its intentionalist rivals Moderate Actual Intentionalism and Hypothetical Intentionalism.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2023

Mode of access: World Wide Web

ISBN: 9798841524755Subjects--Topical Terms:

526062
Piano.
Index Terms--Genre/Form:

542853
Electronic books.

How to Mean Things With Art.
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100 1 $a Walgenbach, Simon. $3 3699764
245 1 0 $a How to Mean Things With Art.
264 0 $c 2021
300 $a 1 online resource (275 pages)
336 $a text $b txt $2 rdacontent
337 $a computer $b c $2 rdamedia
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500 $a Source: Dissertations Abstracts International, Volume: 84-02, Section: A.
500 $a Advisor: Janssen-Lauret, Frederique; Caddick Bourne, Emily.
502 $a Thesis (Ph.D.)--The University of Manchester (United Kingdom), 2021.
504 $a Includes bibliographical references
520 $a This thesis defends an intentionalist account of interpretation, specifically a version of Extreme Actual Intentionalism, which claims that the meaning of an artwork is determined by its maker's communicative intentions guiding its production. Starting from the observation that works of art regularly evoke a feeling of puzzlement, it is assumed that art interpretation is a practice aimed at grasping the meaning of and, therefore, understanding a work. It is argued that while there is a variety of properties glossed under the umbrella term a€œmeanings€, individual accounts of such properties should not be independent of each other but rather continuous with a general account of meaning. On this basis, Gricea's (1957) account of utterer meaning as determined by communicative intentions is introduced as a basic model, which is then exemplarily applied to three different modes of meaning common in the arts: depictive content, fictional content, and formal properties. Extreme Actual Intentionalism based on the Gricean model is then defended against two common objections: the accusation that it would grant artists arbitrary control over the meaning of their works (the "Humpty Dumpty Objection") and the complaint that it would make artworksa€™ meanings unknowable (the "Epistemological Objection"). It is concluded that given its explanatory power and its ability to meet said objections, Extreme Actual Intentionalism is superior not only to anti-intentionalist accounts of interpretation but also to its intentionalist rivals Moderate Actual Intentionalism and Hypothetical Intentionalism.
533 $a Electronic reproduction. $b Ann Arbor, Mich. : $c ProQuest, $d 2023
538 $a Mode of access: World Wide Web
650 4 $a Piano. $3 526062
650 4 $a Art history. $3 2122701
650 4 $a Audiences. $3 618475
650 4 $a Design. $3 518875
650 4 $a Theater. $3 522973
650 4 $a Attitudes. $3 1973410
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650 4 $a Philosophy. $3 516511
650 4 $a Education. $3 516579
650 4 $a Aesthetics. $3 523036
650 4 $a Classical music. $3 600086
650 4 $a Education history. $3 3171959
650 4 $a Fine arts. $3 2122690
650 4 $a History. $3 516518
650 4 $a Music. $3 516178
650 4 $a Translation studies. $3 3310485
655 7 $a Electronic books. $2 lcsh $3 542853
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690 $a 0389
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690 $a 0377
690 $a 0465
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710 2 $a ProQuest Information and Learning Co. $3 783688
710 2 $a The University of Manchester (United Kingdom). $3 3422292
773 0 $t Dissertations Abstracts International $g 84-02A.
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=29216660 $z click for full text (PQDT)