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A REVISIONARY VIEW OF TEXTS, TEXTUAL MEANING, AND FICTIONAL CHARACTERS

100%
Pettersson A.
Organon F. medzinárodný časopis pre analytickú filozofiu
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2017
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vol. 24
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issue 3
366 - 383
EN
Using ideas from John Searle, Roy Harris, Michael Reddy, and Nelson Goodman, the author argues that texts, such as they are commonly conceived, lack brute existence. The common idea of texts is a conceptual construction which is useful in practical everyday contexts but not in serious theorizing, where it creates illusions and contradictions. One of these illusions is the idea of an objective textual meaning, a meaning which is “in the text”: what we actually have in the way of textual meaning are the ideas of various persons – authors, readers, and commentators - about the meaning of the text. When applied to fictional characters, this way of viewing things explains why it makes sense to regard fictional characters as being created and as lacking brute existence.
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ON THE CONCEPT OF WORLD LITERATURE

100%
Pettersson A.
World Literature Studies
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2022
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vol. 14
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issue 3
12 - 23
EN
The expression “world literature” is currently being used in several ways: about various culturally and temporally inclusive bodies of the literature and about various ways of studying such literature. In the article, special attention is devoted to the editorial concept of the world literature in The Cambridge History of World Literature (2021), edited by Debjani Ganguly. Formulations about world literature sometimes cast it as a mind-independent entity, sometimes as a scholarly construction. It is argued that the choice between these alternatives is important, since it has significant consequences for the logic of thinking and reasoning about world literature.
3

P. F. STRAWSON AND STEPHEN DAVIES ON THE ONTOLOGY OF ART. A CRITICAL DISCUSSION

100%
Pettersson A.
Organon F. medzinárodný časopis pre analytickú filozofiu
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2009
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vol. 16
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issue 4
615-631
EN
P. F. Strawson's 'Individuals' (1959) contains a condensed version of the ontology of art. According to this ontology, musical and literary compositions are two similar types. They are abstract entities, instantiated in the performances of the piece of music or the copies of the literary work. Musical and literary compositions are 'well-entrenched', Strawson says - we cannot eliminate these abstractions, or perhaps we have no need to do so. Strawson's ontology of art forms an integral part of what he calls his 'descriptive metaphysics', and his resistance to the elimination of types and type-like entities is one example of his reservations against 'revisionary metaphysics'. Nowadays, Strawson's name is seldom mentioned in connection with the philosophy of art. Yet the general view of the ontology of art advocated in Individuals is still probably the one most widely held in analytical aesthetics today. Thus, for example, Stephen Davies adopts the same general position as Strawson in his article 'Ontology of Art' (2003), the best informed contemporary overview of the complex of problems surrounding the mode of existence of works of art. Unlike Strawson, Davies also adduces explicit reasons why concepts of musical and literary compositions cannot be successfully eliminated. Critically reviewing Strawson's and Davies' standpoints and arguments, the author maintains that concepts of artworks can in fact be successfully eliminated, and that the bracketing of such notions leads to a better theoretical perspective on musical and literary communication. Throughout the paper, he speaks for an open-minded approach to conceptual revision.
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