Use this URL to cite or link to this record in EThOS: http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.342735
Title: Interpretation and the artist.
Author: Simcox, Roderick.
Awarding Body: Birkbeck (University of London)
Current Institution: Birkbeck (University of London)
Date of Award: 1993
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Abstract:
Interpretation which is sensitive to the creative past can be given a justifying foundation by extensive description of ways in which we employ perceptions of the artist's significance. Such a justification, based only on description, can be measured for success against an ideal where justification and explanation would issue from a strong, independent artist-artwork tie. The ideal is approached, but is itself impossible: connections between interpretation and the creative past are heterogeneous and the sensitivity of interpretation to variations in creative history fails to show that interpretation follows any general principle. Interpretation creates a past that is part fictional in several ways for expressive purposes, and a part fictional artist again undermines a general, strict connection between true meaning and the real past. When interpreters hold theoretical beliefs to the contrary, interpretation suffers distortion. Neither can a strong tie be uncovered through ontological proposals. Apparent strong ties turn out to be justified stipulations for practical, imaginative, interpretative use of the creative past. Justified interpretation must support principal organising ideas. Otherwise, however, interpreters exploit the creative past; they are not held in its grip. As dermed, the ideal justification would: (1) press the justified practice upon interpreters, and (2) ensure that meaning is objective. A foundation based on description dilutes but approaches this ideal. Taking each of the two features in turn: First, rather than mandate the practice, connections between the practice and its environment create, as a minimum, a defensible case against arbitrariness. This "environment" includes an address made to artworks which is akin to an address to mind. Non-arbitrariness is reinforced when any ideological attack on the artist must fail in principle to promise ideologically acceptable alternatives. Second, a descriptive justification rejects oruy objectivity of the wrong kind. This leads to a particular view of alleged constraints on interpretative practice
Supervisor: Not available Sponsor: Not available
Qualification Name: Thesis (Ph.D.) Qualification Level: Doctoral
EThOS ID: uk.bl.ethos.342735  DOI: Not available
Keywords: Arts Art
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