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Topic: Intentional fallacy

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Literary criticism

Deconstruction

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	Intentional Fallacy
		This fact does not refute the claims of the so-called intentional fallacy because there may be works of literature where the author does not intend to express a certain opinion or point of view regarding the subject matter of her work.
		Juhl argues that the intentions of the author determine the meaning of the text, and so if we are able, by biographical evidence or other kinds of "external" evidence, to gain more insight into the nature and hence intentions of the author, then ipso facto we gain insight into the meaning of the authorial text.
		If intentions are often unconscious, it should not come as a surprise that the poet-as-annotator may not be aware of all implications of what he wrote as poet, and he may emphasize, in his role as annotator, certain aspects of the poem that are not necessarily the most central, given his intentions as writing-poet.
	web.uct.ac.za /depts/philosophy/intent.htm (3213 words)

	JOSE ANGEL GARCIA LANDA: Authorial intention in literary hermeneutics: On Two American Theories
		Intentionality is a relationship between a cognitive representation and a state of affairs, in which the cognitive representation can be said to be "about" the state of affairs.
		According to Searle, "the mind imposes Intentionality on entities that are not intrinsically Intentional by intentionally conferring the conditions of satisfaction of the expressed psychological state upon the external physical activity" (1983a, 27).
		Intention is not merely something which precedes the work or exists apart from it; neither is intentionalism a blind submission to any meaning an author may claim for his work.
	www.unizar.es /departamentos/filologia_inglesa/garciala/publicaciones/intention.html (12775 words)

	Intentional fallacy - Wikipedia, the free encyclopedia
		The intentional fallacy, in literary criticism, is the assumption that the meaning intended by the author of a literary work is of primary importance.
		By characterizing this assumption as a "fallacy," a critic suggests that the author's intention is not particularly important.
		The poem belongs to the public." It is the Contextual evidence that presents the greatest potential for intentional fallacies of interpretation.
	en.wikipedia.org /wiki/Intentional_fallacy (529 words)

	Logic and Literary Argument
		In the intentional fallacy, one infers from a text that the author "intended" to accomplish a certain goal and then uses that inference in interpreting other parts of the text.
		7) "The biographical fallacy" is an evidentiary fallacy.
		While intention can cause us logical problems either because of the intentional fallacy (which concerns intrinsic data and is a variety of circular reasoning) or because of an evidentiary fallacy (which concerns the limits to the application of extrinsic data in interpretation), the biographical fallacy is simply a variety of evidentiary fallacy.
	www-personal.umich.edu /~esrabkin/LogicLitArg.htm (2905 words)

	Hypotyposeis: Intentional Fallacy
		The intentional fallacy is usually explained that the meaning of a literary work is not to be judged from the author's intentions, which is external and private, but from the text itself, which is internal and public.
		This is not too far removed from the legal-inspired approach to finding intent I mentioned, in which the author's stated intentions are part of the evidence for what the text means, but it is less privileged than what a reasonable reader of the text would understand it to be.
		This avoids the intentional fallacy because the meaning is presumed from a reasonable reader's response to the text, but it also avoids the affective fallacy, because the "reasonable reader" does not support any idiosyncratic reading any old person might come up with but what most people would understand.
	www.hypotyposeis.org /weblog/2003/12/intentional-fallacy.html (702 words)

	THE INTENTIONAL FALLACy (Site not responding. Last check: 2007-09-16)
		We argued that the design or intention of the author is neither available nor desirable as a standard for judging the success of a work of literary art, and it seems to us that this is a principle which goes deep into some differences in the history of critical attitudes.
		The use of biographical evidence need not involve intentionalism, because while it may be evidence of what the author intended, it may also be evidence of the meaning of his words and the dramatic character of his utterance.
		intention, yet they ought to be judged like any other parts of a composition (verbal arrangement special to a particular context), and when so judged their reality as parts of the poem, or their imaginative integration with the rest of the poem, may come into question.
	faculty.smu.edu /nschwart/seminar/Fallacy.htm (4707 words)

	Denis Dutton on intentionalism in literary theory
		Hirsch’s intentionalism stands apart from that of someone like Tolstoy because it is not so much a particular conception of art which motivates him to adopt it as it is a strongly held view of criticism.
		Authorial intentions are not desirable as a “standard” or “criterion” for assessing a literary text because the text itself will always speak with greater authority than any suppositions or speculations about the author’s purposes.
		But the assertion that authorial intention is not a stable, identifiable mental state that can be appealed to in interpretation suggests another line of argument different from this epistemic consideration of the uncertainties about intentions.
	www.denisdutton.com /intentionalism.htm (6520 words)

	Literary Terms
		Affective Fallacy: (See also 'intentional fallacy')Wimsatt and Beardsley, who are associated with the New Criticism, introduced first this term in their essay "the verbal icon".
		Intentional Fallacy: (See also 'affective fallacy') Introduced by the theorists of New Criticism, the 'intentional fallacy' refers to the error of criticizing or interpreting a work of literature according to what the author's intentions could be.
		Wimsatt's essay "the intentional fallacy", where he writes: "A poem is not the critic's own and not the author's (it is detached from the author at birth and goes about the world beyond his power to intend about it or control it).
	www.geocities.com /shaichazan/Lit/terms.htm (1865 words)

	Intention
		In literary theory and aesthetics, authorial intentionality is a concept referring to an author's intent as it is encoded in his work.
		Intentional fallacy is a literary term that asserts that the meaning intended by the author of a literary work is not the only, and perhaps not the most important, meaning of the piece.
		The notion of author's intention has become central to modern literary criticism, and the explanation of intentional fallacy is an important part of what is known as the New Criticism.
	www.jahsonic.com /Intention.html (1217 words)

	JAIC 1996, Volume 35, Number 3, Article 3 (pp. 197 to 218)
		The intentional fallacy is not an error of formal logic like the circular argument or begging the question.
		The intentional fallacy applies when critics, historians, or conservators associate their analyses and interpretations with the artist's work and equate their conclusions with the artist's aims.
		To attempt to find intentions elsewhere is to move away from the work at hand in pursuit of psychological speculations that have nothing to do with the aesthetic features of the work itself (Hungerland 1955).
	aic.stanford.edu /jaic/articles/jaic35-03-003_4.html (744 words)

	THE CRITIC'S NOTEBOOK; THE 4 DEADLY FALLACIES, PATHETIC AND OTHERWISE - New York Times
		There were four of them, at least as far as I was aware -the pathetic fallacy, the fallacy of imitative form, the intentional fallacy and the affective fallacy - and we wielded them as if they were a sword, a rapier, a dagger and a stickpin.
		And we were doubtless often guilty of the affective fallacy, which W. Wimsatt defined as the error of substituting one's response to a poem for what he believed to be the thought content conveyed by the rhetoric of the poem.
		The pathetic fallacy is another way of defining anthropomorphism, a useful reminder that the purpose of the world isn't necessarily to serve human ends.
	query.nytimes.com /gst/fullpage.html?res=9A0DE2DF1731F93AA35755C0A960948260 (660 words)

	abstract gallery5 art dictionary
		FOUR TERM FALLACY: Informal logic that is defective because the middle term of a syllogism shifts sense in such a way as to introduce an irrelevant element.
		These meanings and intentions, however, are informed by historical and social change, particularly the total global outlook peculiar to a given period (see Weltanschauung).
		GENERAL ECONOMY: A term of Bataillean origin, but most recently used by Steve McCaffery in North of Intention to indicate "the distribution and circulation of the numerous forces and intensities that saturate a text." It is thus basically a synonymn for the interrelations of content and context.
	www.geocities.com /abstractgallery/abstract5.htm (5449 words)

	VirtueOnline - Columnists - 'Truth' on Two Hills - by Bob Wenz
		Wimsatt and Beardsley, according to Kaiser's summary, taught that "whatever an author may have meant or intended to say by his or her written words is now irrelevant to the meanings we have come to assign as the meaning we see in the author's text.
		The hostility to authorial intention, born in academe, is a deadly virus that seems to be spreading.
		One must wonder if those who embrace and apply the intentional fallacy and its children grasp the implications of reducing language-including their own-to a level of meaninglessness.
	www.virtueonline.org /portal/modules/news/print.php?storyid=1035 (1843 words)

	interdisciplines : Art and Cognition : Ambiguity and intention (Site not responding. Last check: 2007-09-16)
		By intention I don’t mean that the artist consciously has this or that fully articulated objective in mind at the moment of creation and that the success of the work is somehow mortgaged to the extent to which it was followed through.
		It is not possible in the space of this article to begin to chart degrees of intention, nor to map a typology of ambiguity for the visual arts, let alone to correlate these two in some kind of graph.
		The late Louis Finkelstein (painter and teacher) coined a phrase, “split intentionality”, although it is one he proferred as an educational rather than a critical tool: it helped him explain to painters where he felt they were going awry.
	www.interdisciplines.org /artcog/papers/11 (2224 words)

	Beardsley's Aesthetics (Stanford Encyclopedia of Philosophy)
		And in addition to "The Intentional Fallacy," there's also "The Affective Fallacy." In a paper bearing that name, and also co-written with William Wimsatt, Beardsley argues that a person's affective responses to a work of art are irrelevant to its descriptive, interpretive, and evaluative properties.
		In "The Intentional Fallacy," he says that the intentions of the artist are neither "available nor desirable" (p.
		Beardsley thought this theory correct and used it to argue that the intentional fallacy is indeed a fallacy.
	plato.stanford.edu /entries/beardsley-aesthetics (3994 words)

	Senior Honors project - Tara Lowder (Site not responding. Last check: 2007-09-16)
		The purpose of this paper is to explore different facets of the intentional fallacy argument.
		The first section explores philosophical works concerning the intentional fallacy and the second section considers the analysis in relation to the work of an artist.
		I focus on the position of W.K. Wimsatt and Monroe Beardsley in “The Intentional Fallacy” and that of E.D. Hirsch, Jr.
	www.msmary.edu /news_item.aspx?id=2819 (143 words)

	English 571: Chloe Hogg on Wimsatt and Beardsley (Site not responding. Last check: 2007-09-16)
		Chloe Hogg on Wimsatt and Beardsley's "Intentional Fallacy"
		Attention to intention leads to no good criticism, according to Wimsatt and Beardsley's article "The Intentional Fallacy." The piece argues against what the authors see as the traditional reliance upon authorial intention as a standard for critical judgment of poetry, which may be extended here to include literature as a whole.
		Once made, the poem assumes primary importance over its maker as literary artifact, not to be reduced to the status of simple expression of a writer's psychological state or biographical clue.
	www.english.upenn.edu /~jenglish/Courses/hogg.html (578 words)

	English Literature 1: Reader 1 - The Reader and the Text
		The Intentional Fallacy is a confusion between the poem and its origins.
		The Affective Fallacy is a confusion between the poem and its results (what it is and what it does).
		The outcome of either fallacy, the Intentional or Affective, is that the poem itself, as an object of specifically critical judgement, tends to disappear.
	www.englit.ed.ac.uk /studying/undergrd/english_lit_1/Handouts/bb_reader1.htm (504 words)

	Oliver Kamm: Shakespeare fallacies
		It is a fallacy - the "Intentional Fallacy" - to suppose that extraneous information about an artist's intentions yields insights into the art itself.
		The Times carries today an instance of a fallacy that is almost the exact reverse of the one that invokes biographical details to interpret an artist's work:
		But it is a fallacy to infer from a work of art biographical details of the artist that are otherwise unknown.
	oliverkamm.typepad.com /blog/2006/11/shakespeare_fal.html (1199 words)

	Criticism of literature analysed
		This deconstruction is a means of exposing underlying biases in the text: seeing the ideological drift of the text, working out its opposites and finding out just how much of the opposite exists "between the lines" of the text and its up front direction.
		This takes poststructuralism to a more theoretical and sceptical position, debunking the motives of a writer through examining the intentional coherence of a text and yet its inconsistencies, via the necessity of "misreadings", and seeing it implode in its own relativity.
		In literature the most important of fallacies (according to Wimsatt and Beardley, The Verbal Icon, 1954) is to try and ask what where the author's intentions.
	www.differ.freeuk.com /learning/arts/critlit.html (4333 words)

	Swirl:Terms & Definitions
		It is a fallacy because, if someone rejects the notion of validity in the classic (objectivist) sense, what follows is not that she thinks all theories (and so on) are equally valid but that she thinks no theory (and so on) is valid in the classic sense.
		gave to the belief that an author's intentions (stated or inferred) is the final court of appeal about the meaning of a text.
		This is not to say that an author's intentions are irrelevant to the text, but that any statements about her or his intent must be subjected to the same scrutiny and are subject to the same interpretive process as the text itself.
	www.sou.edu /English/IDTC/Terms/terms.htm (2579 words)

	[No title]
		But there is a great deal to be gained, I think, by starting out with a sense that what is involved is in purely logical terms a fallacy, the sort of thing Wimsatt and Beardsley had in mind in speaking of the "intentional fallacy" some fifty years ago.
		The genetic fallacy as I want to consider it is usefully exemplified in an analysis of Eloisa to Abelard undertaken a few years ago by Ellen Pollak in a feminist study of the poetry of Pope and Swift.
		The easiest way to see why this reading rests on the genetic fallacy is simply to imagine what would happen in an imaginary scenario in which it had turned out, through some recently-discovered documentation, that Eloisa to Abelard had been written by not by Pope but by Lady Mary Wortley Montagu.
	www.rci.rutgers.edu /~wcd/gender.htm (512 words)

	Hypotyposeis
		This is not to say that scholars can speak glibly of scribal "intentions," if we mean by that an assessment of the scribe's personal motivations: we do not have access to the scribes' intentions, only to their transcriptions.
		For this reason, it is easier--and theoretically less problematic--to speak metaphorically of the intentions of scribal changes rather than the intentions of scribes, conceiving of the category in strictly functional terms.
		In the scribal context, reasonably foreseeable effects include the functions of scribal changes, as championed by Ehrman, and are therefore precisely right kind of the evidence that the law uses to infer a person's intent.
	www.mindspring.com /~scarlson/hypotyposeis/2003_12_07_arch.html (2014 words)

	samirshomepage.zzn.com
		All the well established fallacies, that have secured their seats in various glossaries of literary terms, such as ‘Affective Fallacy’, ‘Tragic Fallacy’, ‘Internal Fallacy’, are in fact some kind of the ‘conflict’ that I have mentioned at the very beginning of this paper.
		This conflict between writer and critic can be seen as the junction where diverging paths of exploration to the studies of different fallacies are originated.
		This fallacy is the error, which arises from the ‘deference’ from the ontological aspect of literature to a dimension which is relatively near to the centre of the discussion, but is in fact not the exact centre – ‘a confusion between the poem and its results (what it is and what it does).’
	www.angelfire.com /journal2/literature4all/fallacies.html (938 words)

	Intentional Fallacy - InfoSearchPoint.com (Site not responding. Last check: 2007-09-16)
		Intentional fallacy is a literary term asserting that the meaning intended by the author of a literary work is neither the only, nor even necessarily the preferred, meaning of the piece.
		Because of these inevitable differences between an author and her readers, it is thus held to be a fallacy that the author's intentional crafting of content is the only meaning in a work.
		Talk:The Lord of the Rings - The current encyclopedia entry was spawned in support of discussing the idea that the One Ring in The Lord of the Rings is a metaphor for atomic energy, even though the author did not so intend it.
	www.infosearchpoint.com /display/Intentional_Fallacy (444 words)

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