This book attempts to reinstate the importance of authorial intention by examining arguments against it from a variety of sources - American New Criticism, European Structuralism and various kinds of postmodernist theory. It enlists the aid of Kantian aesthetics and contemporary philosophy of language and action, as well as studying the play on intention in the manipulation of character and action in the work of Shakespeare and other English writers from 1600 to the present day.

Intention is one of the masterworks of twentieth-century philosophy in English. First published in 1957, it has acquired the status of a modern philosophical classic. The book attempts to show in detail that the natural and widely accepted picture of what we mean by an intention gives rise to insoluble problems and must be abandoned. This is a welcome reprint of a book that continues to grow in importance.

"...an excellent and comprehensive discussion of a debate that was initiated in this century in William Wimsatt's and Monroe C. Beardsley's influential article 'The Intentional Fallacy.'...this is a splendidly conceived and very useful collection of essays. Readers will want to take issue with the arguments of individual authors, but this is to be expected in a volume at the cutting edge of a fertile philosophical controversy." --David Novitz, The Philosophical Quarterly "What is the connection, if any, between the author's intentions in (while) writing a work of literature and the truth (acceptability, validity) of interpretive statements about it?" With this question, Gary Isminger introduces a literary debate that has been waged for the past four decades and is addressed by philosophers and literary theorists in Intention and Interpretation. Thirteen essays discuss the role of appeals to the author's intention in interpreting works of literature. A well-known argument by E.D. Hirsch serves as the basic text, in which he defends the appeal to the author's intention against Wimsatt and Beardsley's claim that such an appeal involved "the intentional fallacy." The essays, mostly commissioned by the editor, explore the presuppositions and consequences of arguing for the importance of the author's intentions in the way Hirsch does. Connections emerge between this issue and many fundamental issues in metaphysics and the philosophy of mind as well as in aesthetics. The (old) "New Criticism" and current Post-Structuralism tend to agree in disenfranchising the author, and many people now are disinclined even to consider the alternative. Hirsch demurs, and arguments like his deserve the careful attention, both from critics and sympathizers, that they receive here. Literary scholars and philosophers who are sympathetic to Continental as well as to Anglo-American styles of philosophy are among the contributors. "This is a timely book appearing as it does when postmodernist views of the death of the author are disappearing quickly from the scene. As a collection it exemplifies the best work that is being done on this problem at the moment, and it will no doubt inspire further debate." --The Journal of Aesthetics and Art Criticism "[T]his volume contains important articles illuminating the central debate over the role and relevance of authorial intentions in literary interoperation." --British Journal of Aesthetics

G. E. M. Anscombe’s Intention is a classic of twentieth-century philosophy. The work has been enormously influential despite being a dense and largely misunderstood text. It is a standard reference point for anyone engaging with philosophy of action and philosophy of psychology. In this Routledge Philosophy GuideBook, Rachael Wiseman: situates Intention in relation to Anscombe’s moral philosophy and philosophy of mind considers the influence of Aquinas, Aristotle, Frege, and Wittgenstein on the method and content of Intention adopts a structure for assessing the text that shows how Anscombe unifies the three aspects of the concept of intention considers the influence and implications of the piece whilst distinguishing it from subsequent work in the philosophy of action Ideal for anyone wanting to understand and gain a perspective on Elizabeth Anscombe’s seminal work, this guide is an essential introduction, useful in the study of the philosophy of action, ethics, philosophy of psychology and related areas.

Intention plays a complex role in human utterances. The interpretation of literary texts is a strong case in point: for about two hundred years there have been conflicting views about whether, and how much, authorial intention should matter when professional readers interpret literature. These debates grew increasingly fierce during the post-World War II period, the landmarks of which were the notions of intentional fallacy and the death of the author. Seventy-odd years later, there is still no consensus in sight. What has always been neglected in the debates around authorial intention, however, is a reflection on the historical dimension of the debate and how historically bound each of the theoretical positions in the debate were. This book focusses precisely on the historical dimension of authorial intention, providing a systematic historical reconstruction of the importance ascribed to it in literary texts from Classical Greece to the present day, and including a chapter on authorial intention in jurisdiction and legal interpretation from a historical perspective. The book reconstructs a typology of the most important concepts of intention in interpretation for diachronic and synchronic use. At the same time it offers insights from a field-theoretical perspective into how literary studies as a discipline works over time and how notions of intention and interpretation help create forms of literary knowledge.

Written against the background of her controversial opposition to the University of Oxford's awarding of an honorary degree to Harry S. Truman, Elizabeth Anscombe's Intention laid the groundwork she thought necessary for a proper ethical evaluation of actions like the bombing of Hiroshima and Nagasaki. The devoutly Catholic Anscombe thought that these actions made Truman a murderer, and thus unworthy of the university's honor-but that this verdict depended on an understanding of intentional action that had been widely rejected in contemporary moral philosophy. Intention was her attempt to work out that understanding and argue for its superiority over a conception of intention as an inner mental state. Though recognized universally as one of the definitive works in analytic philosophy of action, Anscombe's book is often dismissed as unsystematic or obscure, and usually read through the lens of philosophical concerns very far from her own. Schwenkler's Guide offers a careful and critical presentation of Anscombe's main lines of argument at a level appropriate to advanced undergraduates but also capable of benefiting specialists in action theory, moral philosophy, and the history of analytic philosophy. Further, it situates Intention in a context that emphasizes Anscombe's debts to Aristotle, Aquinas, and Wittgenstein, and her engagement with the work of contemporaries like Gilbert Ryle and R.M. Hare, inviting new avenues of engagement with the ideas of historically important philosophers.

For the first time, Robert Audi presents in Action, Intention, and Reason a full version of his theory of the nature, explanation, freedom, and rationality of human action. Ove the years Audi has set out in journal articles different aspects of a unified theory of action. This volume offers the unity of a single, seamless book with thirteen self-contained chapters, two of them previously unpublished, and a new overview of action theory and the book's contribution to it. The book is divided into four parts, each addressing a major problem area. The chapters in Part One describe the motivational grounds of action, explicate desire, belief, intention, and volition, and give a distinctive account of their interconnections. In the second part, Audi sets out a theory of the explanation of action and argues that actions can be both law-governed and performed for reasons. The third part provides an account of free action and its relation to causation and responsibility. Chapters in the fourth and final part construct an account of rational action and its connections with practical reasoning, self-deception, and weakness of will.

Do the artist's intentions have anything to do with the making and appreciation of works of art? In Art and Intention Paisley Livingston develops a broad and balanced perspective on perennial disputes between intentionalists and anti-intentionalists in philosophical aesthetics and critical theory. He surveys and assesses a wide range of rival assumptions about the nature of intentions and the status of intentionalist psychology. With detailed reference to examples from diverse media, art forms, and traditions, he demonstrates that insights into the multiple functions of intentions have important implications for our understanding of artistic creation and authorship, the ontology of art, conceptions of texts, works, and versions, basic issues pertaining to the nature of fiction and fictional truth, and the theory of art interpretation and appreciation. Livingston argues that neither the inspirationist nor rationalistic conceptions can capture the blending of deliberate and intentional, spontaneous and unintentional processes in the creation of art. Texts, works, and artistic structures and performances cannot be adequately individuated in the absence of a recognition of the relevant makers ́ intentions. The distinction between complete and incomplete works receives an action-theoretic analysis that makes possible an elucidation of several different senses of 'fragment' in critical discourse. Livingston develops an account of authorship, contending that the recognition of intentions is in fact crucial to our understanding of diverse forms of collective art-making. An artist's short-term intentions and long-term plans and policies interact in complex ways in the emergence of an artistic oeuvre, and our uptake of such attitudes makes an important difference to our appreciation of the relations between items belonging to a single life-work. The intentionalism Livingston advocates is, however, a partial one, and accomodates a number of important anti-intentionalist contentions. Intentions are fallible, and works of art, like other artefacts, can be put to a bewildering diversity of uses. Yet some important aspects of art's meaning and value are linked to the artist ́s aims and activities.

G. E. M. Anscombe's Intention, firmly established the philosophy of action as a distinctive field of inquiry. Donald Davidson called this 94-page book "the most important treatment of action since Aristotle." But until quite recently, few scholars recognized the magnitude of Anscombe's philosophical achievement. This collection of ten essays elucidates some of the more challenging aspects of Anscombe's work and affirms her reputation as one of our most original philosophers. Born in 1919, Anscombe studied at St. Hugh's College, Oxford, where she later held a research fellowship. In 1941 she married philosopher Peter Geach, with whom she had seven children. A close friend of Wittgenstein, in 1946 she joined Oxford's Somerville College and spent the next twenty-four years there before being appointed to the Chair of Philosophy at Cambridge that Wittgenstein had held. She died in 2001 after her long career as a highly regarded analytic philosopher. This volume brings together fresh interpretations of Intention written by some of today's leading philosophers of action. It will enlighten Anscombe's readers who struggle with concepts they find puzzling or obscure, while providing a bracing corrective to doubts about Intention's significance and the gravity of what is at stake.

This volume brings philosophers, art historians, intellectual historians, and literary scholars together to argue for the philosophical significance of Michael Fried’s art history and criticism. It demonstrates that Fried’s work on modernism, artistic intention, the ontology of art, theatricality, and anti-theatricality can throw new light on problems in and beyond philosophical aesthetics. Featuring an essay by Fried and articles from world-leading scholars, this collection engages with philosophical themes from Fried’s texts, and clarifies the relevance to his work of philosophers such as Ludwig Wittgenstein, Stanley Cavell, Morris Weitz, Elizabeth Anscombe, Arthur Danto, George Dickie, Immanuel Kant, Friedrich Schiller, G. W. F. Hegel, Arthur Schopenhauer, Friedrich Nietzsche, Denis Diderot, Maurice Merleau-Ponty, Roland Barthes, Jacques Rancière, and Søren Kierkegaard. As it makes a case for the importance of Fried for philosophy, this volume contributes to current debates in analytic and continental aesthetics, philosophy of action, philosophy of history, political philosophy, modernism studies, literary studies, and art theory.