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7Intention and interpretation: A last lookIn Gary Iseminger (ed.), Intention and interpretation, Temple University Press. pp. 221--56. 1992.
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Philosophical aesthetics: An overviewIn The Oxford handbook of aesthetics, Oxford University Press. pp. 3--24. 2003.
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6About aboutness: poema pazzo pour ArturoRivista di Estetica 35 (2): 397-398. 2007.“What’s it all about?”,on a demandé, il y a cinquante ans,d’un certain Alfie, incarnò mémorablement par Michael Caine.Mais c’est pas clair quii a jamais su répondre. Tuttavia, è venuto, un po’ dopo,un filosofo, che si chiama Danto, Arturo.Lui sapeva assai bene rispondervi,cambiando, però, la domanda. Perché Danto s’è domandato, non“What’s it all about?”, ma piuttostoWhat is always about something?” E a questa domanda, ha risposto,in parte, “L’arte”. But other things are about other things,...
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95The irreducible historicality of the concept of artBritish Journal of Aesthetics 42 (4): 367-379. 2002.In this short paper I begin by underlining the sense in which my intentional-historical theory of art, first proposed in 1979, attributes to art a certain irreducible historicality. I next defend the theory, in broad outline, against a number of objections that have been raised against it in the past ten years. I conclude with some remarks on the similarities and differences between ordinary artefact concepts and the concept of an artwork.
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152Messages in artAustralasian Journal of Philosophy 73 (2). 1995.This Article does not have an abstract
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414Defending hypothetical intentionalismBritish Journal of Aesthetics 50 (2): 139-150. 2010.I here defend hypothetical intentionalism, the view of literary and cinematic interpretation that I endorse, from some recent criticisms, and then illustrate the appeal of the view in connection with a recent film of enigmatic cast
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166Music as narrative and music as dramaMind and Language 19 (4). 2004.In this paper I address the issue of narrativity in music. The central question is the extent to which pure instrumental music in the classical tradition can or should be understood as narrative, that is, as narrating a story of some kind. I am interested in the varying potential and aptness for narrative construal of different sorts of instrumental music, and in what the content of such narratives might plausibly be thought to be. But ultimately I explore, at greater length, an alternative way …Read more
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161Contemplating art: essays in aestheticsOxford University Press. 2006.Contemplating Art is a compendium of writings from the last ten years by one of the leading figures in aesthetics, Jerrold Levinson. The twenty-four essays range over issues in general aesthetics and those relating to specific arts--in particular music, film, and literature. It will appeal not only to philosophers but also to musicologists, literary theorists, art critics, and reflective lovers of the arts.
