Peter Lamarque, in chapter 4 of his 2010 book Work and Object, argues that certain artworks, like musical scores and literary texts, are such that there can be no forgeries of them that purport to be of an actually existing work—what Lamarque calls “referential forgeries”. Lamarque motivates this claim via appeal to another distinction, first made by Goodman, between “allographic” and “autographic” artworks. This article will evaluate Lamarque’s argument that allographic literary works are unable to be (...) referentially forged and will find them wanting. In so doing, the distinction between allographic and autographic artworks (and therefore artforms) will be called into question. In section I, I characterize referential forgery and Lamarque’s definition of allographic and autographic artforms. Section II critically examines Lamarque’s argument against the possibility of referential forgery in allographic artforms. Section III offers a case where it appears that a putatively allographic text’s type membership is sensitive to facts about its causal-intentional provenance. This case serves as pretext for Section IV’s identification of this causal-intentional relation with the sanctioning relation as formulated by Sherri Irvin. On the basis of considerations treated in sections I through IV, section V questions the tenability of the allographic/autographic distinction. -/- . (shrink)

Publication date: 21 March 2019 Source: Author: Solehah Yaacob, Ismail Haron Contradictory views on ancient literary works provide a panorama of historical development. However, the validity of the texts was considered as issue of prime importance. The critics on its literary authenticity would reveal whether it was real or just a fabrication. The Epic Gilgamesh was ascertained by Said Ghanimi to be unauthentic. The contentions by S. N. Kramer and Taha Baqir were with regard to the differences of (...) language usage in the Epic Gilgamesh either Sumerian or Akkadian as well. The acknowledgment of the West on Iliad and Odyssey by Homer as the first document written in world history was unfounded although this was highlighted by B. Lansberger in 7th conference in Paris on 1958. The Code Hamurabbi is a well preserved Babylonian Code of laws, unfortunately, it was considered as a fabrication of Old Testament which came 800 years later, especially on the narration of Big Flood Story as mentioned in the Book of Genesis. It is regrettable that the paucity of materials on the ancient history of the ancient people available from the Muslim sources poses as constrain on this study. The research is compelled to refer almost entirely to Western and Jews sources. Thus, the approach used in this study is based primarily on historical and linguistic analysis of ancient literary works. (shrink)

Playing with the reader is one of the main characteristics of V. Nabokov’s creativity. His books is a ‘literary crossword puzzle‘, charade, and mystification that demand parity, intellectually equal, and with the similar art preferences reader. Reader equally participates with author in an esthetic process. The reader follows the writer-‘wizard‘ in the text, and first, enters game process to take esthetic ‘pleasure from the text‘; second, he is getting involved in the ‘composite games by rules‘. The main means of (...) the organization of literary game in Russian-language novels of V. Nabokov is a play with ‘someone else’s word‘. V. Nabokov addressed to someone else’s texts to mock social writers or to degrade a certain hero in parodic and ironic ways. The writer in ‘someone else’s word‘ did not mock predecessors similar to his own spirit, but discredited a modern person who disappeared from the world of the real culture. One of the important composition elements of game in V. Nabokov’s novels is symbolics of key. The theme of keys obviously or indirectly sounds both in the debut Nabokov’s novel ‘Mashenka‘, and in later books: ‘Invitation to execution‘, ‘Luzhin’s Protection‘, ‘Feat‘, and ‘Gift‘. A number of motives is connected with the theme of keys and the closed doors: wandering, homelessness, downtime, initiation, and crossing. The process of searching for those keys is an attempt to find answers to ontological questions, and this is essential for V. Nabokov. (shrink)

Still, in this paper I’m not going to be laudatory, enthusiastic, or appreciative, but instead address the distinctly philosophical question of what a forgery is—investigate the concept of a forgery, as philosophers used to say, and sometimes still do. Only after that question and a few others have been answered should we ask the question that everyone wants to ask straight off: What, if anything, is aesthetically wrong with a forgery? Interesting as that question is, space limitations prevent me from (...) addressing it here. (shrink)

Forgery in eighteenth-century London was more than a crime of opportunity; it completely undermined the economic, social and political orders of that society. Using the works of authors such as Randall McGowen, John Beattie, Craig Muldrew, and others, this paper examines cases tried in the London Old Bailey from 1700- 1740 in the context of the financial revolution and the rise of the bloody code. The paper looks at the implications this crime had on the greater London society, the changes (...) in legislation that came about as a result of forgery, and the changes in punishment for the crime. Ultimately, it examines at the reasons for the radical change in people‟s perception of this crime in such a short time period. (shrink)

I argue that there is no distinction between allographic and autographic representations. One consequence of this is that replicative forgeries have the same aesthetic and artistic value as originals, and are accurate records of actions. I end with some reflections on the pragmatic structure of forgery.

The article is an attempt to outline a long-neglected issue and relate a general category, usually placed outside the achievements of “traditional” art, to stricte literary phenomena. The first chapter, Na tropach kiczu (On the trail of trash), concentrates on establishing the range of meaning of the term discussed. It is not aimed at constructing an unambiguous definition but at producing a brief outline of the complex character of the issue. The author does not limit herself to a negative (...) understanding of the phenomenon, but also emphasizes its multi-aspect presence in widely termed culture. The second chapter, О kiczu literaturze (On trash in literature), deals with the general ways in which the phenomenon functions and the ways of revealing the phenomenon in literary works and discusses various manifestations of the problem in particular texts. It presents instances of plain trash as well as pieces of writing where trash appears at the level of the world presented and where it is often subject to all sorts of tricks and many kinds of mystification. Chapter third, entitled Kicz opisany i sparodiowany: proza Manueli Gretkowskiej (Trash described and parodied: the prose by Manuela Gretkowska), is directly connected with the issues raised in the title of the article. The subjecl of this part of the publication is the literary output of this contemporary Polish writer, particularly her first three novels: My zdies' emigranty [1992], Tarot paryski (The Paris Tarot) [1993] and Kabaret Metafizyczny (Metaphysical Cabaret) [1994]. However, the aim of this chapter is not to characterize the novels but to comprehensively present the issue of trash in actual practice; that is, to give examples of the problems briefly discussed above. In the prose trash manifests itself at various levels of meaning and is subject to parody, the aim of which is not only to discredit or mock the phenomenon, but also to reach its essence and reveal its unique mechanisms. In the texts discussed here trash seems to lead to parody and parody to trash, which means that both the categories are closely and inseparably linked with each other. This is especially visible at the level of the strategy of reception, which is part ol the novels. The issue is discussed in the fourth chapter, entitled Gdzie jest czytelnik, gdy go nie ma? Strategia odbioru według Manuell Gretkowskiej (Where is the reader when there is no reader? The strategy of reception by Manuela Gretkowska). The last chapter, with the title Wokół postmodernizmu (On postmodernism), is an attempt to summarize the above issues and place them in a wider context. It presents the three novels against a background of the achievements of contemporary literature and art, which are usually regarded as postmodernist, makes them part of aesthetics, using a specific sort of style called camp-art by Susan Sontag, which consists in deliberate staggering on the borderland between bad and good tastes, an apotheosis of exaggeration as well as exhibiting trash perceived as a cultural element, a symptom of “new sensitivity” and an absolutely ambiguous phenomenon. (shrink)

The topic of art forgery draws attention in many quarters: major art fraud schemes make big news, books are written that bring forgers fame, the buyers and sellers of art look for assurance they are getting the genuine article, authentication specialists strain to spot phony items, museums present special exhibitions of forgeries, and theorists tackle the topic on occasion ranging from a postmodern perspective extolling the virtues of forgery to more traditional concerns about its ontological status. The dark side (...) of the art world is often brought into the light. Forgery is a commonly, if uncomfortably, recognized force. It might be assumed, then, that the meaning of the term “forgery” is uniformly established:... (shrink)

Latin ‘plvs.’—To begin somewhat remotely, I am not satisfied with the current explanation of Lat. plus. As regards pleores, to pass over Cuny's mistaken derivation in MSL. 16. 322, the explanation from plēyōses is correct— IE. plēyo. : plēyos–:: Sk. návya: compv. návyas, cf. pánya: pányas and távya: távyas. IE. plēyes also appears, not only in Sanskrit as prắyas and in πλε–ων , but, by a quite rigorous phonetic, in O.Norse fleiri, from a primate flaiz-an (...) ‘sow,’ borrowed from a North Germanic verb-stem sā–ya shrink)

Original paintings and forgeries are not sufficiently the same sort of thing to have many comparable aesthetic qualities. 1) many aesthetic quality predicates have the form of attributives: they are two-place relations between an object and a class of objects and have a semantic account which requires that the object belongs to the class to which it is related; 2) there is no useful semantic class which contains an original and its forgery and 3) therefore these paintings are not (...) to be compared in at least many aesthetic qualities. attention is given to style predicates, which are defined. (shrink)

V. 1 is a detailed analysis of a previously unknown proof copy of the first edition of Galileo's Sidereus nuncius, in which watercolor drawings appear in place of the etchings of the published edition, consigned in 2005 to the antiquarian bookselling firm of Martayan Lan. V. 2 is an account of the composition and production of the edition, based on analysis of extant copies as well as the New York proof copy. V. 3 was written in response to the discovery, (...) soon after the publication of v. 2, that the proof copy was in fact an elaborate forgery produced between 2003 and 2005 under the direction of Marino Massimo de Caro, as first reported in the article "A very rare book," by Nicholas Schmidle, in The New Yorker issue of 16 December 2013. V. 4, in German, is a heavily revised edition of Horst Bredekamp's Galilei der Künstler, which had included a chapter on the then unrecognized forgery. (shrink)

A common contention of literary criticism is that literary forms can express, reflect, shape, represent or otherwise give form to human life. Literature can seem to offer the same idea as a promise of life’s meaningfulness; where expressive form is powerful, life need not be empty. Can literary forms give form to human life? I will argue for one sense in which this is true. As will become clear, at stake in this inquiry is not simply an (...) idea about the meaningfulness of literature’s poetry, but a way of answering the question of what it means to be human. (shrink)

Legal norms serve as practical standards for individuals and officials. While this ‘normative aspect’ of law is widely acknowledged, its significance for theories of law remains contested. In this paper, I examine three views on the matter. First, that we should explain legal norms as reason-giving. Second, that we should explain legal discourse as being about reasons for action. Third, that we should explain law as capable of being reason-giving. I survey some challenges associated with each of these views. What (...) they have in common is an implicit assumption about the form that normative explanation must take: that it must be a linear, non-reductive explanation. There is an alternative model for normative explanation available, however. That model explains normative notions in terms of the practices and attitudes involved in recognizing, offering, and demanding them. I highlight the potentials, and limitations, of this practice-centered alternative. (shrink)

The field of scientific image integrity presents a challenging research bottleneck given the lack of available datasets to design and evaluate forensic techniques. The sensitivity of data also creates a legal hurdle that restricts the use of real-world cases to build any accessible forensic benchmark. In light of this, there is no comprehensive understanding on the limitations and capabilities of automatic image analysis tools for scientific images, which might create a false sense of data integrity. To mitigate this issue, we (...) present an extendable open-source algorithm library that reproduces the most common image forgery operations reported by the research integrity community: duplication, retouching, and cleaning. We create a large scientific forgery image benchmark with enriched ground truth using this library and realistic scientific images. All figures within the benchmark are synthetically doctored using images collected from creative commons sources. While collecting the source images, we ensured that the they did not present any suspicious integrity problems. Because of the high number of retracted papers due to image duplication, this work evaluates the state-of-the-art copy-move detection methods in the proposed dataset, using a new metric that asserts consistent match detection between the source and the copied region. All evaluated methods had a low performance in this dataset, indicating that scientific images might need a specialized copy-move detector. The dataset and source code are available at https://github.com/phillipecardenuto/rsiil. (shrink)

In this article I look at changes in the role of literary criticism in Russian literature since perestroika. The article draws on the research of Sergej Čuprinin and Birgit Menzel. Based on my readings of the debate among literary critics about what literary criticism is and should be, and focusing on the interrelationship in the triangle writer-critic-reader, I establish a typology of contemporary literary criticism: 1. the critic as a master of the “literary process”, 2. (...) the critic as co-writer, 3. the critic as a guide for the reader. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Walter Glannon WHAT LITERARY THEORY MISSES IN WITTGENSTEIN Wittgenstein's stock is rising in literary criticism. The market value of expressions such as "language games" and "form oflife" is increasing in that they seem to lend themselves to the notion of interpretive communities endorsed by diose of reader-response persuasion.1 Wittgenstein's style is also apparently at a premium, in light of a recent attempt by a proponent of deconstruction (...) to relate the philosopher's writing to that movement's use of rhetorical strategies in dealing with texts.2 There are affinities between Wittgenstein's repudiation (in the Investigations and the Remarks on the Foundations of Mathematics) of the metaphysical realism in the Tractatus and die arguments from reader-response critics against the notion of unmediated facts, as well as the rejection of the metaphysics of presence by deconstructionists. All diree oppose the idea that truth and falsity are conferred on our statements about the world by properties independent of diese statements. Insofar as these two critical schools are concerned primarily with language, they share Wittgenstein's aspiration to "bring words back from their metaphysical to their everyday use" (PI, I, § 116), for we can arrest the tendency to postulate objective, unmediated facts by "looking into the workings of our language" (PI, I, § 109). Moreover, Wittgenstein avoids psychology which involves the mental faculties. Presumably, this puts him at one with die concerted effort of many critics to rid texts of die author and with it the problem of intentionality. At first blush, then, the relation between Wittgenstein and literary criticism appears to be an attractive one. Yet Wittgenstein's antirealism does not militate against his passion for truth, that is, his intense desire to achieve complete understanding in the areas ofphilosophy that vexed him most.3 Nor does it debar him from thinking about the inexpressible realm 263 264Philosophy and Literature of the mystical, since, despite his concern for language, Wittgenstein never ceased being attracted to "things that cannot be put into words" (TLP, 6.522). This is not at all congenial to die purpose ofliterary theory, which admits ofno such shadowy domain beyond words and our linguistic practices. Indeed, I shall illustrate that Wittgenstein's resdess search for truth, spiritual concerns, and the dialectical structure of his works for the most part put him radically at odds with a critical enterprise whose aversion to truth and penchant for rhetorical analysis and conventions blinds it to both his view of literature and his aim in doing philosophy. I Since die advent of the New Criticism, literary theory has in great measure addressed itself to die discourse ramer than the story in texts. With the focus on literature as a rhetorical construct, more traditional humanistic interpretations have been excised. A more recent development of this shift to the discursive side of diings has been the effort to blur the distinction between literature and philosophy.4 With neidier discipline having a privileged status, both have been reduced to a textual discourse with no lines ofdemarcation, a reduction diat is at variance with Wittgenstein on two counts. First, he compartmentalized literature and philosophy as having distinct purposes: the literary works that interested him were stories ofmoral import; philosophy was to be practiced for the sake of clarity in thought. To the extent diat such clarity, if attainable, pointed toward an ethical dimension that lay beyond the bounds of language, literature and philosophy for him did have a common goal; but the paths leading to it were distinct. Second, and more importantly, Wittgenstein had no concern for the discourse of the literature diat he read. Rather, it was the moral import of the stories that attracted him. Most noteworthy on this score were the writings of Tolstoy, who had a profound influence on Wittgenstein's view oflife, and Dostoevsky.5 Wittgenstein often recommended Tolstoy's Twenty-three Tales to his friends, and while a schoolmaster in Lower Austria from 1920 to 1926, he constantly read The Brothers Karamazov, doing so aloud on one occasion in die presence of the village priest. He was especially impressed with Dostoevsky's character the Elder Zossima, "who could see into people's hearts and direct diem" (Rhees... (shrink)

The deepest crises cannot destroy the universal model of literariness. It maintains its appeal for participants in literary communication as a -contradictory- model. This thought recurs in many epochs. Literariness involves suspending the formal or logical norms of contradiction ("lex contraditionis"). In everyday speech, it is not permissible for -A- to simultaneously be -not-A-; in literary structures this is the norm. This is both in the ideas, and in the tensions between the artificiality and naturalness of speech, the (...) structure and the chaos of the plot, experimentation and revitalization of tradition, objective observation and a biased vision of the world, its visibility and invisibility, expressibility and inexpressibility, and a realistic and an imaginative focus. Executions of this model are gradative.". (shrink)

Outlining an improved approach that meets the expectations of 21st-century students and teachers, the author proposes a new definition of that object of study which addresses inconsistencies in the literary canon by including nontraditional narratives such as films, comic books and pop songs.

The debate over objectivity and relativism, science and postmodernism, which for the past eight months has been rocking American academic circles -- particularly those of the political left -- has apparently now arrived in France. And with what a bang! Following Denis Duclos..

Suppositional reasoning can seem spooky. Suppositional reasoners allegedly (e.g.) “extract knowledge from the sheer workings of their own minds” (Rosa), even where the knowledge is synthetic a posteriori. Can literary fiction pull such a rabbit out of its hat? Where P is a work’s fictional ‘premise’, some hold that some works reason declaratively (supposing P, Q), imperatively (supposing P, do Q), or interrogatively (supposing P, Q?), and that this can be a source of knowledge if the reasoning is good. (...) True, I will argue, although only within the context of judicious critical interpretation. Further evident constraints include that the form of the suppositional reasoning needs to be declarative or imperative, and that the fictional ‘premise’ of the work needs to be a metaphysical counterfactual possibility, not merely a temporal counterfactual and not merely an epistemic possibility or probabilistic supposition. (shrink)

Kierkegaard is more than a theologian, existentialist, or philosopher. Ziolkowski gives us a sequence of exhaustively researched chapters that are fine-tuned accounts of the Kierkegaard who assiduously and enthusiastically read Cervantes, Shakespeare, Wolfram, and Aristophanes. He also introduces us to a literary powerhouse who comes to influence great writers of the late 19th and 20th centuries: Ibsen, Rilke, and Kafka; Isak Dinesen, Ortega, and Unamuno; Auden, David Lodge and John Updike. The volume is a pleasure to read, an indispensable (...) source, and a pathbreaking account of “the literary Kierkegaard.”. (shrink)

In this essay, we provide an overview of Dostoevsky’s reception within Turkish scholarship, drawing on one definitive source: the Literary Journal HECE, Dostoevsky Special Issue (vol 1, vol 2), edited by Birsen Karaca and published in Ankara in 2022 to commemorate Dostoevsky’s bicentenary. The special issue of HECE also examines how the early Dostoevsky in the literature and scholarship of various region—such as China, Pakistan, Azerbaijan, and Turkmenistan—has influenced Turkish Dostoevsky scholarship. This comparative cross-cultural reception of Dostoevsky within Turkish (...) “dostoevedenie” is unique to Turkish scholarship and enables us to understand how Dostoevsky’s works were transmitted from European to Asian culture. (shrink)

The metaphysical ethics of Levinas appeals to many philosophers of education because it seems to promise ethics and social justice without recourse to moral norms, ‘totalising’ political systems or religious belief. However, the notion that the subject can be detached from its worldly being—that one can posit a primordial metaphysical pre-conscious pre-phenomenal self which stands in ethical relation to a primordial metaphysical pre-conscious pre-phenomenal Other—is highly questionable. From an empirical perspective, our experience of the world and of ourselves can only (...) be conceived in social, cultural and linguistic terms; the self-referential lexicon Levinas employs to depict the relation between the transcendental subject and the Other ‘in his alterity’ renders his metaphysical assertions impossible to evaluate or give determinate form. From a transcendental perspective, Levinas's metaphysical abstractions simply do not have the power to motivate people to behave ethically. Instead of contributing toward the transformation of education and society envisaged by many philosophers of education, the ‘ethics of the Other’ merely generates an esoteric discourse. (shrink)

The paper proposes a radical change of focus for understanding the fundamental purpose and value of literary interpretation. It criticises an orthodox view in analytical philosophy of literature, according to which theories of meaning in the philosophy of language, in particular Gricean or speech act or other pragmatic theories, offer the most illuminating way to grasp the relevant principles of interpretation. The argument here is that the application of such theories in this context is not just wrong in detail (...) (this or that theory needs revising) but wrong in principle. The focus is wrong. The importation of philosophy of language distorts the essential character of interpretation, which should be seen as involving not so much meaning as value, not individual sentences but whole works, not obsessed with authorial intention but focused on the protocols of reading. (shrink)