| 7270 | Historical interpretation aims to recapture the author's view of the work [Croce] |
| 20432 | When viewing art, rather than flowers, we are aware of purpose, and sympathy with its creator [Fry] |
| 23903 | When we admire a work, we see ourselves as its creator [Weil] |
| 20400 | Intentions either succeed or fail, so external evidence for them is always irrelevant [Wimsatt/Beardsley, by Davies,S] |
| 7266 | The author's intentions are irrelevant to the judgement of a work's success [Wimsatt/Beardsley] |
| 7268 | The thoughts of a poem should be imputed to the dramatic speaker, and hardly at all to the poet [Wimsatt/Beardsley] |
| 7267 | Poetry, unlike messages, can be successful without communicating intentions [Wimsatt/Beardsley] |
| 7269 | The intentional fallacy is a romantic one [Wimsatt/Beardsley] |
| 7271 | Biography can reveal meanings and dramatic character, as well as possible intentions [Wimsatt/Beardsley] |
| 12159 | Without intentions we can't perceive sculpture, but that is not the whole story [Scruton] |
| 20395 | The title of a painting can be vital, and the artist decrees who the portrait represents [Davies,S] |
| 20396 | We must know what the work is meant to be, to evaluate the artist's achievement [Davies,S] |
| 20399 | Intentionalism says either meaning just is intention, or ('moderate') meaning is successful intention [Davies,S] |
| 20401 | The meaning is given by the audience's best guess at the author's intentions [Davies,S] |