In their respective responses, the rival continuators present two unique visions of the
allographic sequelist's qualifications to succeed the autographic originator, namely, Montemayor.
Thus, if one of the qualities of digital materials is to be
allographic, that is, to enable copying and manipulation and to be used in different ways and for different purposes, this aspect may need to be accommodated in the process of preservation.
In the House of Fame words miraculously take on the appearance of the man who spoke them, and so, analogously, does Caxton in his
allographic imitation and signature assume the persona of Chaucer within his print shop in order to end his poem: "And hath so verray his lyknesse/ That spak the word, that thou wilt gesse/ That it the same body be" (1079-1081).
A cognitive analysis of an acquired dysgraphic patient with an '
allographic' writing disorder.
Now, Goodman's ontology of art long has been criticized by contextualists, who have challenged his distinction between autographic and
allographic art.
Genette's distinction between autographic and
allographic manifestations raises questions.
The proximate consequences are these: Goodman's distinction between autographic and
allographic art collapses--all art is autographic (to speak
The philosopher Nelson Goodman offers a way to think about the idea of authenticity in the arts: if a copy of an artwork does nor count as an instance of it, the artwork is autographic; if a copy does count as an instance, the artwork is
allographic. Thus a copy of the Mona Lisa, however accurate, is not the painting, but an accurate copy of "Dover Beach," in pen, pencil, or skywriting, is a genuine instance of the poem.
Referring to the fact that in Western music a "work" is exemplified by performances--which are instances of it--Nelson Goodman has characterized music as "two-stage" (or "multiple") and "
allographic" (in his "Variations upon Variation, or Picasso back to Bach," in Essays on the Philosophy of Music, ed.
Developed under the influence of Happenings, performance art, and institutional critique, this model privileges the actor's singular, bodily presence as opposed to the reproducible role, thereby emphasizing the autographic as opposed to
allographic component of performance.
Whether the work in question is
allographic (as in the case of a literary work, where any copy is an instance of it) or autographic (as in the case of a painting, where the physical object is identical with it), we have traditionally come to the question of the work with a series of assumptions: that the work is in some sense objective, standing over and apart from its maker and its perceivers and that, conversely, its histories of making and reception stand over and apart from its essential nature as a work; that the work has the potential to persist over time; and that it has an identity that sustains true descriptions of it (for example, that the Iliad is in hexameter).
An assertion that does not represent the communis opinio and therefore is out of place in a general treatment without at least a reference to the usual view is that the acute and grave accents of Greek are
allographic variants, both of which mark high pitch (p.
