Description
Book SynopsisCritics and artists (including performing artists) claim the title of ''interpreter'' for themselves. Scientists do not so readily describe themselves in this way. But is the formulation of explanatory hypotheses in science so different from the interpretive work of artists? Making Sense recognizes that whenever interpretation occurs there may be a plurality of competing successful interpretations. It offers a philosophical theory that views the interpretive enterprise as an attempt to make sense of things by representing them in ways that can be accommodated within various significance-systems.
Trade ReviewThom's framework is important and along the right lines. Anyone interested in interpretation should give careful consideration to these views. * British Journal of Aesthetics *
This is a very lucid and precise text, which is richly textured with illuminating and intriguing discussions of examples from painting, theatre, music, opera and the sciences. I would recommend it as a text for undergraduate courses on Interpretation —and I would have all teachers read chapter 3!> -- Jennifer A. McMahon * Australasian Journal of Philosophy *
This book is suitable for those with an interest in the performing arts and are looking for a general theory that provides a conceptual framework by which to assess different performative interpretations of a piece of work. * Philosophy in Review *
This is a very lucid and precise text, which is richly textured with illuminating and intriguing discussions of examples from painting, theatre, music, opera and the sciences. I would recommend it as a text for undergraduate courses on Interpretation —and I would have all teachers read chapter 3! -- Jennifer A. McMahon * Australasian Journal of Philosophy *
Table of ContentsChapter 1 Introduction Chapter 2 1 Data and Difficulties: The La Scala Eracle, Lavoisier's Oxygen, and Various People's Shakespeare Chapter 3 2 Structure: Schikaneder's Flugwerk, Gilda's Body, and Horowitz's Liszt Chapter 4 3 Process: Greek Meteorology, The Potato Eaters, and Madonna's "Fever" Chapter 5 4 Kinds Chapter 6 5 General Rules: The Uninspired Archaeologist and Freud's Macbeth Chapter 7 6 Special Rules: The Offstage Piano and Elvis's "Hound Dog" Chapter 8 7 Conclusions Chapter 9 Bibliography Chapter 10 Index Chapter 11 About the Author
