Literary Indiscernibles, Referential Forgery, and the Possibility of Allographic Art.
Peter Lamarque, in chapter 4 of his 2010 book Work and Object, argues that certain art forms, like music and literature, are such that there can be no forgeries that purport to be of an actually existing work—what Lamarque calls "referential forgeries." Put more clearly, any attempt at referentially...
| Publicado en: | Journal of Aesthetics & Art Criticism Vol. 81; no. 3; pp. 306 - 317 |
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| Formato: | Artículo |
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Oxford University Press / USA
Sep2023
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=174783989&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 174783989 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 00218529 JAC jtl: Journal of Aesthetics & Art Criticism issn: 00218529 maglogo: N pubinfo: dt: Sep2023 vid: 81 iid: 3 pid: 622 pub: Oxford University Press / USA artinfo: ui: 174783989 10.1093/jaac/kpad019 ppf: 306 ppct: 11 formats: tig: atl: Literary Indiscernibles, Referential Forgery, and the Possibility of Allographic Art. aug: au: Spinella, Jake affil: University of Illinois Chicago, , 601 S. Morgan Street, Suite 1412, Chicago, IL 60607, USA su: Art & literature Forgery Copying Lamarque, Peter Goodman, Nelson, 1906-1998 Irvin, Sherri, 1972- sug: subj: Art & literature Forgery Copying Lamarque, Peter Goodman, Nelson, 1906-1998 Irvin, Sherri, 1972- ab: Peter Lamarque, in chapter 4 of his 2010 book Work and Object, argues that certain art forms, like music and literature, are such that there can be no forgeries that purport to be of an actually existing work—what Lamarque calls "referential forgeries." Put more clearly, any attempt at referentially forging a musical or literary work just results in making a copy of that work. Lamarque motivates this claim via appeal to another distinction, first made by Nelson Goodman, between "allographic" and "autographic" artforms. This article will evaluate Lamarque's argument that allographic literary works are unable to be referentially forged and will find that it does not pass muster. In so doing, the distinction between allographic and autographic artforms will also be called into question. In Section I, I will characterize referential forgery and Lamarque's definition of allographic and autographic artforms. Section II will critically examine Lamarque's argument against the possibility of referential forgery in allographic artforms. Section III will offer a case where it appears that a putatively allographic text's type membership is sensitive to facts about its causal-intentional provenance. This case will serve as pretext for Section IV's identification of this causal-intentional relation with the sanctioning relation of Sherri Irvin (2005). On the basis of considerations treated in Sections I through IV, Section V will question the tenability of the allographic/autographic distinction. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y dt: @attributes: year: 2023 holdings: @attributes: islocal: N |
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