 Since the question of whether a notational system can be devised for a given art form is ultimately a question on the possibility of a “language” for that art form, i.e., at least of a notational scheme, art forms that use natural language bear interesting and sometimes surprising results. With a novel, poem, or the script used for a play or movie, the text is a character in a notational scheme. However, what counts as a work in such art forms is different. In theater or drama, a work is a set of performances compliant with what established in the script. As in the case of music, Goodman’s analyses involve a departure from the ordinary use of language: the dialogue of a play really works as a “score,” while stage directions and the like are a “script”—the former is fully notational, syntactically and semantically, the latter does not uniquely determine the performance, nor is it uniquely determined by the performance (1976, 210–11). It is the “score” part of the text that allows, in theater, for the work to be located in the set of performances. By contrast, with a novel or a poem, where no “score” is part of the text, and hence the text is a “script,” the work, Goodman claims, is the text itself (understood as a set of inscriptions fully corresponding, in spelling and punctuation, with each other). Even in the later work, Reconceptions, Goodman reemphasizes this claim (1988a, 49-65). While endorsing pluralism with regard to the number of correct interpretations (i.e., “applications”) a text may yield—indeed considering it often a positive feature of the artistic use of language—Goodman insists that the work, in literary art, is the text. Hence, in Jorge Luis Borges’s famous Pierre Menard case (that of a fictional French author trying to write a novel word-for-word identical to Cervantes’s Don Quixote [Borges 1962]), Goodman claims that what Menard produced was another inscription of Don Quixote’s text, hence an instance of the same work, albeit with his actions Menard may have suggested a possible, new interpretation of that work. Incidentally, the contrast between theater and the literature more narrowly conceived (i.e., as not including drama) may raise a question regarding poetry. Qua text with meaning (or “applications”, a poetic work is the text itself; yet, qua text to be performed, e.g., recited out loud for an audience, the poem would seem to be considered a character in a notational system, a “score” with as its field of reference the sounds to be uttered. On the other hand, in cinema, an art form Goodman does not address, again, one could identify, within the screenplay, a “score” in the parts that indicate dialogue, a “script” in the scene and instructions, with the ontology of the film itself, however, being that of a multiple art form made of the concrete reproductions of the visual and audio recordings that are displayed in the movie theater or on the TV screen.