Intentional fallacy
Encyclopedia
Intentional fallacy, in literary criticism
, addresses the assumption that the meaning intended by the author
of a literary work is of primary importance. By characterizing this assumption as a "fallacy
", a critic suggests that the author's intention
is not important. The term is an important principle of New Criticism
and was first used by W.K. Wimsatt and Monroe Beardsley
in their essay "The Intentional Fallacy" (1946 rev. 1954): "the design or intention of the author is neither available nor desirable as a standard for judging the success of a work of literary art." The phrase "intentional fallacy" is somewhat ambiguous, but it means "a fallacy about intent
" and not "a fallacy committed on purpose."
Wimsatt and Beardsley divide the evidence used in making interpretations of literary texts (although their analysis can be applied equally well to any type of art) into three categories:
Thus, a text's internal evidence — the words themselves, and their meanings — is fair game for literary analysis. External evidence — anything not contained within the text itself, such as information about the poet's life — belongs to literary biography, not literary criticism. Preoccupation with the author "leads away from the poem." According to New Criticism, a poem does not belong to its author, but rather "it is detached from the author at birth and goes about the world beyond his power to intend about it or control it. The poem belongs to the public." It is the Contextual evidence that presents the greatest potential for intentional fallacies of interpretation. Analysis using this type of evidence can easily become more concerned with external evidence than the internal content of the work.
Roland Barthes
expressed a similar dismissal of authorial intentionality in the 1968 essay "The Death of the Author".
Literary criticism
Literary criticism is the study, evaluation, and interpretation of literature. Modern literary criticism is often informed by literary theory, which is the philosophical discussion of its methods and goals...
, addresses the assumption that the meaning intended by the author
Author
An author is broadly defined as "the person who originates or gives existence to anything" and that authorship determines responsibility for what is created. Narrowly defined, an author is the originator of any written work.-Legal significance:...
of a literary work is of primary importance. By characterizing this assumption as a "fallacy
Fallacy
In logic and rhetoric, a fallacy is usually an incorrect argumentation in reasoning resulting in a misconception or presumption. By accident or design, fallacies may exploit emotional triggers in the listener or interlocutor , or take advantage of social relationships between people...
", a critic suggests that the author's intention
Authorial intentionality
In literary theory and aesthetics, authorial intent refers to an author's intent as it is encoded in his or her work.-Literary theory:In literary studies, the question of the validity of the methods of determining authorial intent has been debated since the early twentieth century. New Criticism,...
is not important. The term is an important principle of New Criticism
New Criticism
New Criticism was a movement in literary theory that dominated American literary criticism in the middle decades of the 20th century. It emphasized close reading, particularly of poetry, to discover how a work of literature functioned as a self-contained, self-referential aesthetic...
and was first used by W.K. Wimsatt and Monroe Beardsley
Monroe Beardsley
Monroe Curtis Beardsley was an American philosopher of art. He was born and raised in Bridgeport, Connecticut, and educated at Yale University , where he received the John Addison Porter Prize...
in their essay "The Intentional Fallacy" (1946 rev. 1954): "the design or intention of the author is neither available nor desirable as a standard for judging the success of a work of literary art." The phrase "intentional fallacy" is somewhat ambiguous, but it means "a fallacy about intent
Authorial intentionality
In literary theory and aesthetics, authorial intent refers to an author's intent as it is encoded in his or her work.-Literary theory:In literary studies, the question of the validity of the methods of determining authorial intent has been debated since the early twentieth century. New Criticism,...
" and not "a fallacy committed on purpose."
Wimsatt and Beardsley divide the evidence used in making interpretations of literary texts (although their analysis can be applied equally well to any type of art) into three categories:
(1) Internal evidence. Internal evidence is the actual details present inside a given work. The apparent content of a work is the internal evidence, including any historical knowledge and past expertise or experience with the kind of art being interpreted that is required to understand what that work is: its forms and traditions. The form of epic poetry, the meter, quotations etc. are internal to the work. This information is internal to the type (or genre) of art that is being examined, and includes those things physically present in the work itself. Analysis of an artwork based on internal evidence never presents an intentional fallacy.
(2) External evidence. What is not literally contained in the work itself is external to that work, including all statements the artist made privately or published in journals about the work, or in conversations, e-mail, etc. External evidence is concerned with claims about why the artist made the work: reasons external to the fact of the work in itself. Evidence of this type is directly concerned with what the artist may have intended to do even or especially when it is not apparent from the work itself, and is an example of an intentional fallacy.
(3) Contextual evidence. The third type of evidence concerns any meanings produced from a particular work's relationship to other art made by the same artist—including its exhibition (where, when and by whom). The use of biographical information in a discussion of an artwork does not necessarily indicate an intentional fallacy. The meaning of an artist's work may be affected by the particulars of who does the work (identity) without necessarily that interpretation as an intentional fallacy.
Thus, a text's internal evidence — the words themselves, and their meanings — is fair game for literary analysis. External evidence — anything not contained within the text itself, such as information about the poet's life — belongs to literary biography, not literary criticism. Preoccupation with the author "leads away from the poem." According to New Criticism, a poem does not belong to its author, but rather "it is detached from the author at birth and goes about the world beyond his power to intend about it or control it. The poem belongs to the public." It is the Contextual evidence that presents the greatest potential for intentional fallacies of interpretation. Analysis using this type of evidence can easily become more concerned with external evidence than the internal content of the work.
Roland Barthes
Roland Barthes
Roland Gérard Barthes was a French literary theorist, philosopher, critic, and semiotician. Barthes' ideas explored a diverse range of fields and he influenced the development of schools of theory including structuralism, semiotics, existentialism, social theory, Marxism, anthropology and...
expressed a similar dismissal of authorial intentionality in the 1968 essay "The Death of the Author".
Further reading
- Hix, H. L.H. L. HixHarvey Lee Hix , who signs his work H. L. Hix, is an American poet and academic.Hix is the author of books of poetry, criticism and essays and has been awarded a fellowship from the NEA. He has also won the KCAI Teaching Excellence Award and the T. S...
Morte d'Author: An Autopsy. Philadelphia: Temple University Press, 1990. - Devlin, Daniel Late Modern. Susak Press, 2005.