Green war banners in central Copenhagen: A recent political struggle over interpretation—and some implications for art interpretation as such

TY - CHAP

T1 - Green war banners in central Copenhagen

T2 - A recent political struggle over interpretation—and some implications for art interpretation as such

AU - Stjernfelt, Frederik

PY - 2015/7/29

Y1 - 2015/7/29

N2 - This paper addresses the issue of the role of Quasi-Urteile—Quasi-Propositions—in the arts. Stemming from Ingarden’s Aesthetics, the notion of Quasi-Propositions addresses the idea that artworks employ proposition-like structures even if their reference deviates—to larger or lesser degrees—from that of propositions in non-arts contexts. Here, the Peircean doctrine of Dicisigns—propositions—is introduced, with a much wider range of sign vehicle types able to instantiate propositional content, such as signs involving pictures, diagrams, gestures, etc. Taking a particular Danish controversy—that of a military “cartouche” at a Copenhagen barracks—as an analytical example, the chapter argues that filling-in is constrained by context, genre as well as aspects of the work itself, making it possible to categorize certain filling-ins as wrong, going against the potentialities of the work. The case, simultaneously, makes necessary a softening up of Ingarden’s rigid distinction between fictions and non-fictions.

AB - This paper addresses the issue of the role of Quasi-Urteile—Quasi-Propositions—in the arts. Stemming from Ingarden’s Aesthetics, the notion of Quasi-Propositions addresses the idea that artworks employ proposition-like structures even if their reference deviates—to larger or lesser degrees—from that of propositions in non-arts contexts. Here, the Peircean doctrine of Dicisigns—propositions—is introduced, with a much wider range of sign vehicle types able to instantiate propositional content, such as signs involving pictures, diagrams, gestures, etc. Taking a particular Danish controversy—that of a military “cartouche” at a Copenhagen barracks—as an analytical example, the chapter argues that filling-in is constrained by context, genre as well as aspects of the work itself, making it possible to categorize certain filling-ins as wrong, going against the potentialities of the work. The case, simultaneously, makes necessary a softening up of Ingarden’s rigid distinction between fictions and non-fictions.

KW - Faculty of Humanities

KW - Aesthetics

KW - Ingarden

KW - filling-in

KW - spots of indeterminacy

KW - Bronze

KW - sculpture

KW - interpretation

KW - heraldry

KW - military art

M3 - Book chapter

SN - 978-3-319-14089-6

T3 - Contributions to Phenomenology

SP - 209

EP - 223

BT - Investigations Into the Phenomenology and the Ontology of the Work of Art

A2 - Bundgaard, Peer

A2 - Stjernfelt, Frederik

PB - Springer

ER -