Authorial intentionality

In literary theory and aesthetics, authorial intent refers to an author's intent as it is encoded in their work.

New Criticism, as espoused by Cleanth Brooks, W. K. Wimsatt, T. S. Eliot, and others, argued that authorial intent is irrelevant to understanding a work of literature. Wimsatt and Monroe Beardsley argue in their essay "The Intentional Fallacy" that "the design or intention of the author is neither available nor desirable as a standard for judging the success of a work of literary art". The author, they argue, cannot be reconstructed from a writing—the text is the primary source of meaning, and any details of the author's desires or life are secondary. Wimsatt and Beardsley argue that even details about the work's composition or the author's intended meaning and purpose that might be found in other documents such as journals or letters are "private or idiosyncratic; not a part of the work as a linguistic fact" and are thus secondary to the trained reader's rigorous engagement with the text itself.

Wimsatt and Beardsley divide the evidence used in making interpretations of poetry (although their analysis can be applied equally well to any type of art) into three categories:

Thus, a text's internal evidence—the words themselves and their meanings—is open for literary analysis. External evidence—anything not contained within the text itself, such as statements made by the poet about the poem that is being interpreted—does not belong to literary criticism. Preoccupation with the authorial intent "leads away from the poem." According to Wimsatt and Beardsley, a poem does not belong to its author but rather "is detached from the author at birth and goes about the world beyond his power to intend about it or control it. The poem belongs to the public."

In psychoanalytic criticism, the author's biography and unconscious state were seen as part of the text, and therefore the author's intent could be revived from a literary text—although the intent might be an unconscious one.

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