在分析哲學的美學中，關於意圖與詮釋的主要爭論點在於作者意圖是否與作品的詮釋相關，此一議題筆者稱之為「分析詮釋學」（以別於歐陸的詮釋學）。自從哲學家Monroe Beardsley以及文學評論家William Wimsatt於1946年發表極具爭議性與影響力的論文〈意圖謬誤〉之後，許多詮釋理論應運而生。當今最重要的立場包括反意圖主義、真實意圖主義、假設意圖主義、虛構意圖主義（常被視為假設意圖主義的一個版本）以及價值最大化理論（常被視為反意圖主義的一個版本）。本計畫主要研究分析詮釋學及其周邊問題，規劃為三年期，對應三個相關的研究主題，每個主題以兩篇英文期刊論文作為成果。三個主題如下：（一）對於真實意圖主義的批評；（二）對於虛構意圖主義的分析與辯護；（三）將分析詮釋學的五種重要立場應用到特定的作品，測試其可行性。
The main issue of the debate over intention and interpretation in analytic aesthetics is whether the author's intention is relevant to the interpretation of her work. Many theories of interpretation have been proposed since 1946 with the appearance of Wimsatt and Beardsley's seminal paper "The Intentional Fallacy." The most important contemporary positions are anti-intentionalism, actual intentionalism, hypothetical intentionalism, fictionalist intentionalism (normally classed as a version of hypothetical intentionalism), and the value-maximizing theory (often seen as a version of anti-intentionalism). This three-year research project aims to argue for fictionalist intentionalism as the most convincing position on interpretation, and to present criticisms of other positions hitherto never or little discussed. More specifically, the project is to be realized in six papers, which can be grouped into three types in terms of their philosophical aims: (1) arguments against actual intentionalism; (2) critical analyses of fictionalist intentionalism; (3) the applicability of the major theories of interpretation to a particular work.
