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| Preface | |
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| Introduction | |
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| Performing Arts | |
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| The Representational Content View of Artworks | |
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| A Minimalist Argument for the RC View of Plays | |
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| Having and Eating One's Representational Cake | |
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| Advantages of the Double Content Approach | |
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| More on Plays | |
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| Plays and Fictional Worlds | |
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| Comparisons with Walton's View | |
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| Premature Theorizing, and Explanation of Fictions | |
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| A Defense of the Fictionalist Approach | |
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| Fictions and the Real World | |
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| An Apparent Counterexample | |
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| Spatiotemporal Location and Existence | |
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| More on the Inseparability of Play and Fictional World | |
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| More on Internal versus External Views | |
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| Conclusion | |
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| Criticisms of Type Theories of Plays | |
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| The Nontypehood of Representation | |
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| The Variety of Representations of Plays | |
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| Types, Tokens, and Interpretations | |
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| How the Property Transfer Condition Ensures the Failure of Type Theory | |
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| Interpretation and Wollheim's Incompleteness Condition | |
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| A Double Performance Counterexample to Type Theory | |
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| Plays Are Particulars Rather than Types | |
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| Conclusion | |
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| Visual Arts | |
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| An RC Theory of the Visual Arts | |
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| Artifacts, Artworks, and Counterexamples | |
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| Type-Token Theory versus the RC View | |
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| Features of an RC Theory of Visual Artworks | |
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| RC Theory versus Danto | |
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| Overcoming an Objection | |
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| Artistic Medium and Subject Matter | |
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| Art Media and Medium Content | |
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| Nonphysical Aspects of Media | |
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| A "Meaning Nontransmission" Argument | |
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| Actions, Traces, and Medium | |
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| Objections | |
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| Medium Content versus Subject Matter Content | |
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| The Possible Indispensability of Medium Content | |
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| How Artworks Make Statements | |
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| Broader Horizons | |
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| A Defense of Three Depictive Views | |
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| Three Depictive Views | |
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| Wollheim and Twofoldness | |
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| Medium Content and "a Medium" | |
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| An Interpretive Twofoldness Thesis | |
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| Questioning Interpretive Twofoldness | |
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| Gombrich Vindicated | |
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| Artworks, Designs, and Orientation | |
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| Artworks and Designs | |
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| Art, Design, and Intentions | |
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| Two Sculptures, One Object | |
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| Two Designers, One Design | |
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| More on the Concept of a Design | |
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| Piggyback Sortal Designs | |
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| Literary versus Visual Designs | |
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| Reorienting Artistic Printmaking | |
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| Intrinsic and Field Orientation | |
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| An Example: Anna's Printmaking | |
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| Diagnosis | |
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| Identifying and Consequent Interpretations | |
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| Constitutive Interpretation | |
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| Differences and Similarities in the Pictures | |
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| A Defense of Anna's Method | |
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| Pictures Are Not Types | |
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| Justifying the Example | |
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| The Functional Nature of Intrinsic Orientation of Concrete Objects | |
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| Varieties of Visual Representation | |
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| Pictures and Orientation | |
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| Pictorial Versus Delineative Representation | |
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| Maps | |
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| Structural Representation | |
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| Aspect Representation | |
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| Aspectual versus "Contra-Aspectual" Delineations | |
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| Integrative Representation | |
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| Possible Pictures versus Delineations | |
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| Uses of Delineations and Depictions | |
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| Four Theories of Inversion in Art and Music | |
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| A Pictorial Example | |
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| More Inversion Theory | |
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| The Four Theories | |
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| A Musical Example | |
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| Theory 1 (The OX Theory) | |
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| Theory 2 (The MX Theory) | |
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| Taking Stock: Issues of Interpretation | |
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| Theories 3 and 4 (The MFE and MFA Theories) | |
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| Conclusion | |
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| Representation | |
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| External and Internal Representation | |
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| Internal versus External Representation | |
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| Possible Objections | |
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| The Impossibility of Seeing Through | |
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| A Wider Context | |
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| Internal Representation | |
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| Allaying Ontological Anxieties | |
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| Representation and the Intensional/Extensional Distinction | |
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| The Nonidentity of Internal and External Objects of Representation | |
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| Nonidentity, and Actual versus Representational Truth | |
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| The Logical Status of Fictional Entities | |
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| More on the Status of Fictional Entities | |
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| Further Developments | |
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| Issues Resolved | |
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| The Two Kinds of Representation (CA and AS) in a DC Theory | |
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| Aspect Representation Generalized | |
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| The Integration of AS and Intrinsic Representation | |
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| The Integration of Orientation and Medium Content | |
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| Artistic Realism | |
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| Orientational Summary, and the Nature of Fields | |
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| Modifications of Artistic Realism | |
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| DC Theory in Depth: Artistic Realism, Misrepresentation and the IP-US/UP-IS Duality, and More | |
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| A Conflict of Information Problem | |
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| Stages in Cognitive Processing of Artworks, and Misrepresentation | |
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| Representation Stages Are Not Completely Separate | |
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| Duality Cases Involve Common Tops | |
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| Common Fields and Misrepresentation | |
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| Actual Changes in Field Orientation | |
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| The Special Case of Spatial Orientation Properties | |
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| The Iteration (Nesting) Issue | |
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| The Nature of a Medium, and of Artistic Style | |
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| Aspectual and Intrinsic Form versus Substantive Content of Artworks | |
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| Inseparability versus Independence of Subject Matter | |
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| DC Theory as an Eight-Factor Representational Theory | |
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| A Naturalist Argument for the DC Theory | |
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| Bibliography | |
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| Subject Index | |
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| Name Index | |