Peter Lamarque

The paper argues that there is a proper place for literature within aesthetics but that care must be taken in identifying just what the relation is. In characterising aesthetic pleasure associated with literature it is all too easy to fall into reductive accounts, for example, of literature as merely “fine writing”. Belleslettrist or formalistic accounts of literature are rejected, as are two other kinds of reduction, to pure meaning properties and to a kind of narrative realism. The idea is developed that literature—both poetry and prose fiction—invites its own distinctive kind of aesthetic appreciation which far from being at odds with critical practice, in fact chimes well with it.

The paper examines the relation between interpretation and the objects of interpretation, principally, but not exclusively, in the realm of art. Several theses are defended: that interpretation cannot proceed without prior determination of the kind of thing being interpreted; that the mode of interpretation is determined by the nature of its object; that interpretation, of a meaning‐determining rather than generic kind, focuses at the level of works, not descending to a bedrock of “mere objects”; that because works and their appropriate mode of interpretation are constituted by convention‐bound practices, it follows that no clear line can be drawn between properties “in” a work and those “imputed to” it through interpretive procedures endorsed by the practice. The debate over constructivism or “imputationalism”– between Margolis and Krausz, on the one hand, and Stecker and Levinson, on the other – is engaged with an attempt to show a core of truth in each of the conflicting theories, once the right distinction between object, work, and interpretation is in place.

By exploring central issues in the philosophy of literature, illustrated by a wide range of novels, poems, and plays, _Philosophy of Literature_ gets to the heart of why literature matters to us and sheds new light on the nature and interpretation of literary works. Provides a comprehensive study, along with original insights, into the philosophy of literature Develops a unique point of view - from one of the field's leading exponents Offers examples of key issues using excerpts from well-known novels, poems, and plays from different historical periods.

Various aspects of poetic meaning are discussed, centred on the relation of form and content. A C Bradley's thesis of form-content identity, suitably reformulated, is defended against criticisms by Peter Kivy. It is argued that the unity of form-content is not discovered in poetry so much as demanded of it when poetry is read 'as poetry'. A shift of emphasis from talking about 'meaning' in poetry to talking about 'content' is promoted, as is a more prominent role for 'experience' in characterising responses to poetry and its value. It is argued that the key to poetic meaning lies less in a theory of meaning, more in a theory of poetry, where what matters are modes of reading poetry. Content-identity in poetry is said to be 'interest-relative' such that no absolute answer, independent of the interests of the questioner, can determine when a poem and a paraphrase have the same content. Interpretation of poetry need not focus exclusively on meaning, but on ways in which the experience of a poem can be heightened.

This anthology provides comprehensive coverage of the major contributions of analytic philosophy to aesthetics and the philosophy of art, from the earliest beginnings in the 1950’s to the present time. Traces the contributions of the analytic tradition to aesthetics and the philosophy of art, from the 1950’s to the present time. Designed as a comprehensive guide to the field, it presents the most often-cited papers that students and researchers encounter. Addresses a wide range of topics, including identifying art, ontology, intention and interpretation, values of art, aesthetic properties, fictionality, and the aesthetics of nature. Explores particular art forms, including pictorial art, literature, music, and the popular arts.