By Michael Krausz
Is there a unmarried correct interpretation for such cultural phenomena as works of literature, visible works of art, works of song, the self, and criminal and sacred texts? In those essays, just about all written specifically for this quantity, twenty prime philosophers pursue varied solutions to this question via analyzing the character of interpretation and its gadgets and beliefs. the elemental clash among positions that universally require the appropriate of a unmarried admissible interpretation (singularism) and those who permit a multiplicity of a few admissible interpretations (multiplism) ends up in a number of engrossing questions explored in those essays: Does multiplism invite interpretive anarchy? Can opposing interpretations be together defended? may still pageant among contending interpretations be understood by way of (bivalent) fact or (multivalent) reasonableness, appropriateness, aptness, or the like? Is interpretation itself an basically contested inspiration? Does interpretive job search fact or target at whatever else to boot? may still one specialize in interpretive acts instead of interpretations? should still admissible interpretations be mounted by way of finding intentions of a historic or hypothetical author, or neither? What bearing does the very fact of the old situatedness of cultural entities have on their identities? The members are Annette Barnes, No?«l Carroll, Stephen Davies, Susan Feagin, Alan Goldman, Charles Guignon, Chhanda Gupta, Garry Hagberg, Michael Krausz, Peter Lamarque, Jerrold Levinson, Rex Martin, Jitendra Mohanty, Joseph Margolis, David Novitz, Philip Percival, Torsten Pettersson, Robert Stecker, Laurent Stern, and Paul Thom.
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Extra info for Is There a Single Right Interpretation? (Studies of the Greater Philadelphia Philosophy Consortium)
Accordingly, the interpretation cannot be more than plausible. ’’16 What is important for the theory of interpretation here is, first, that the relevant readings cannot be reliably recovered from the paintings alone— they depend on textual and historical information judged perceptually plausible, which, as far as one can see, overrides ‘‘authorial intent’’ in the narrow sense—and, second, that the interpretation of the perceptual features of particular paintings is brought into line with the ethos of the age, where we do not have sufficient grounds for singling out one painting or sculpture or woodcut or another from a general pattern of fifteenth- and sixteenth-century work.
I venture to say that one might reasonably find ‘‘in’’ the poem a distant echo, adjusted to Wordsworth’s contemporary world, of John Donne’s wellknown divided reflections on the meaning of the then-contemporary eclipse of Ptolemaic astronomy, which is not actually mentioned in the Wordsworth poem. The meaning of the poem’s words is not ambiguous in the usual sense of ambiguity: Wordsworth is not often ambiguous in that way, and he is certainly not here. Yet, within a reasonable fit, the lines lend themselves to the two interpretations mentioned, which are indeed incompatible though textually inclusive: it is unlikely the poet ‘‘intended’’ both.
Surely an imaginative interpreter may choose not to modify an elaboration in the light of a fuller understanding of the text. Such an interpreter may prefer to go on imagining Elizabeth with black hair, all the time knowing that the text has her with red hair. Doesn’t this show that Novitz is wrong to insist that where elucidation conflicts with elaboration, the latter must be modified? Well, Novitz might not think so. He might say that an imaginative interpreter who clings to an erroneous elaboration is no longer an interpreter of the text.
Is There a Single Right Interpretation? (Studies of the Greater Philadelphia Philosophy Consortium) by Michael Krausz