15 ideas
| 8447 | In 'Etna is higher than Vesuvius' the whole of Etna, including all the lava, can't be the reference [Frege] |
| 8448 | Any object can have many different names, each with a distinct sense [Frege] |
| 8446 | We understand new propositions by constructing their sense from the words [Frege] |
| 8449 | Senses can't be subjective, because propositions would be private, and disagreement impossible [Frege] |
| 12163 | Literary meaning emerges in comparisons, and tradition shows which comparisons are relevant [Scruton] |
| 12162 | In literature, word replacement changes literary meaning [Scruton] |
| 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] |
| 12160 | In aesthetic interest, even what is true is treated as though it were not [Scruton] |
| 12161 | We can be objective about conventions, but love of art is needed to understand its traditions [Scruton] |