The question of the relativity of interpretations and the relevance of the author's intentions for interpretation has been at the center of controversy for the past century in different philosophical traditions, but there has been very little effort to examine the different ways this question has been addressed in contemporary philosophy within the space of a single book. Relativism and Intentionalism in Interpretation. Davidson, Hermeneutics, and Pragmatism brings diverse philosophical viewpoints to bear on these issues, addressing them through analytic philosophy, hermeneutics, and pragmatism. Kalle Puolakka develops a view of interpretation drawing on Donald Davidson's late philosophy of language and mind defending the role of authorial intentions against criticisms intentionalist views have received particularly in hermeneutics and pragmatism. In addition to relativism and intentionalism, the book discusses such issues as the role of imagination and aesthetic experience in interpretation, and it presents a thorough critique of hermeneutic conceptions of interpretation which emphasize the essential historical nature of our understanding. Relativism and Intentionalism in Interpretation shows how it is possible to combine a pluralistic attitude towards art without resurrecting the role of the author's intentions in interpretation.

The Routledge Companion to Philosophy of Literature is an in-depth examination of literature through a philosophical lens, written by distinguished figures across the major divisions of philosophy. Its 40 newly-commissioned essays are divided into six sections: historical foundations what is literature? aesthetics & appreciation meaning & interpretation metaphysics & epistemology ethics & political theory The Companion opens with a comprehensive historical overview of the philosophy of literature, including chapters on the study’s ancient origins up to the 18th-20th centuries. The second part defines literature and its different categories. The third part covers the aesthetics of literature. The fourth and fifth sections discuss the meaning and consequences of philosophical interpretation of literature, as well as epistemological and metaphysical issues such as literary cognitivism and imaginative resistance. The sixth section contextualizes the place of philosophy of literature in the "real world" with essays on topics such as morality, politics, race and gender. Fully indexed, with helpful further reading sections at the end of each chapter, this Companion is an ideal starting point for those coming to philosophy of literature for the first time as well as a valuable reference for readers more familiar with the subject.

From the Preface: "Contemporary theory has usefully analyzed how alternative modes of interpretation produce different meanings, how reading itself is constituted by the variable perspectives of readers, and how these perspectives are in turn defined by prejudices, ideologies, interests, and so forth. Some theorists gave argued persuasively that textual meaning, in literature and in literary interpretation, is structured by repression and forgetting, by what the literary or critical text does not say as much as by what it does. All these claims are directly relevant to legal hermeneutics, and thus it is no surprise that legal theorists have recently been turning to literary theory for potential insight into the interpretation of law. This collection of essays is designed to represent the especially rich interactive that has taken place between legal and literary hermeneutics during the past ten years."

Pointing the way toward a revitalized future for the study of literature, Reconstruction in Literary Studies draws on philosophical pragmatism to justify the academic study of literature. In turn, Vescio connects the changing field to its social function as an institution.

Interpretation and Meaning in Philosophy and Religion synthesizes cutting-edge philosophical reflections on interpretation with their application to religion. For this, new theoretical insights on interpretation by Krausz, Lamarque, Leddy, Hagberg, and Gibson are examined. Topics cover multiplism (i.e. interpretative pluralism), the goal of interpretation and its starting point. These concepts are then studied in relation to the practice of interpreting religious texts. For example, Grube proposes that the action-relevance of religious interpretations limits the possibility of tolerating divergent interpretations, Karrer-Grube challenges Lamarque’s insistence on a firm starting point, and Gokhale challenges Krausz by arguing that Vedantic practices of interpretation are non-multiplist.

The SAGE Handbook of Tourism Management is a critical, state-of-the-art and authoritative review of tourism management, written by leading international thinkers and academics in the field. With a strong focus on theories, concepts and disciplinary approaches to tourism studies, the chapters in this volume are framed as critical synoptic pieces covering key developments, current issues and debates, and emerging trends and future considerations for the field. Part One: Researching Tourism Part Two: Social Analysis Part Three: Economic Analysis Part Four: Technological Analysis Part Five: Environmental Analysis Part Six: Political Analysis This handbook offers a fresh, contemporary and definitive look at tourism management, making it an essential resource for academics, researchers and students.

Contemporary television has been marked by such exceptional programming that it is now common to hear claims that TV has finally become an art. In Appreciating the Art of Television, Nannicelli contends that televisual art is not a recent development, but has in fact existed for a long time. Yet despite the flourishing of two relevant academic subfields—the philosophy of film and television aesthetics—there is little scholarship on television, in general, as an art form. This book aims to provide scholars active in television aesthetics with a critical overview of the relevant philosophical literature, while also giving philosophers of film a particular account of the art of television that will hopefully spur further interest and debate. It offers the first sustained theoretical examination of what is involved in appreciating television as an art and how this bears on the practical business of television scholars, critics, students, and fans—namely the comprehension, interpretation, and evaluation of specific televisual artworks.