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Work and ObjectExplorations in the Metaphysics of Art$
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Peter Lamarque

Print publication date: 2010

Print ISBN-13: 9780199577460

Published to Oxford Scholarship Online: September 2010

DOI: 10.1093/acprof:oso/9780199577460.001.0001

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Distinctness and Indiscernibility in the Allographic Arts

Distinctness and Indiscernibility in the Allographic Arts

Chapter:
(p.78) 4 Distinctness and Indiscernibility in the Allographic Arts
Source:
Work and Object
Author(s):

Peter Lamarque (Contributor Webpage)

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780199577460.003.0004

Nelson Goodman defines allographic arts, such as music and literature, as arts that are not forgeable by producing a notationally identical copy (so-called ‘referential forgery’). Autographic arts, in contrast, are such that a copy indiscernible from an original might count as a forgery because it has the wrong history of production. Jerrold Levinson has challenged the distinction, arguing that even for allographic arts ‘referential’ forgery is possible and facts about origin are relevant to a work's identity. This chapter argues that although Levinson is right to suppose that two notationally identical types might be distinct works, he has not shown that referential forgery is possible in all cases. Purported examples of forgery are discussed, as is Jorge Luis Borges's famous case of Pierre Menard.

Keywords:   Goodman, forgery, allographic, autographic, referential forgery, Levinson, Borges, Pierre Menard

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