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3A Note on Categorical Properties and Contingent IdentityJournal of Philosophy 85 (12): 718-722. 1988.
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2Eduard Hanslick, On the Musically Beautiful, trans. Geoffrey Payzant Reviewed byPhilosophy in Review 7 (10): 405-408. 1987.
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114The Aesthetic Appreciation of MusicBritish Journal of Aesthetics 49 (4): 415-425. 2009.This essay offers a sketch of what aesthetic appreciation of music fundamentally consists in, underlining both why such engagement counts as aesthetic and why such engagement counts as appreciation, and emphasizing the role of perception of gesture in the grasp of musical expressiveness. The analysis is illustrated by a piece of chamber music of Gabriel Fauré. In the last section of the essay I address some remarks of Roger Scruton on the connection between music and dance, ones whose relevance …Read more
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44Making BelieveDialogue 32 (2): 359-. 1993.Kendall Walton's Mimesis as Make-Believe is the most significant event in Anglo-American aesthetics in many a year, and joins a small pantheon of landmark books such as Nelson Goodman's Languages of Art, Richard Wollheim's Art and Its Objects and Arthur Danto's Transfiguration of the Commonplace. Walton's aim is to provide a comprehensive account of the representational arts—literature, drama, cinema, painting, drawing, sculpture—from both the generative and the receptive points of view. That is…Read more
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60Reply to Nicholas Riggle's “Levinson on the Aesthetic Ideal”Journal of Aesthetics and Art Criticism 71 (3): 281-282. 2013.
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20L’appréciation esthétique de la musiqueNouvelle Revue d'Esthétique 15 (1): 135-147. 2015.Cet essai propose une esquisse de ce en quoi consiste fondamentalement l’appréciation esthétique de la musique, soulignant à la fois pourquoi un tel engagement compte comme esthétique et pourquoi il compte comme appréciation, et mettant en avant le rôle de la perception du geste dans la saisie de l’expressivité musicale. L’analyse est illustrée par une pièce de musique de chambre de Gabriel Fauré. Dans la dernière section, je fais écho à quelques remarques de Roger Scruton sur la connexion entre…Read more
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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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Pourquoi il n'ya pas de tropesIn Jean-Maurice Monnoyer (ed.), La Structure du Monde, Vrin, Paris. pp. 371--386. 2004.
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13Aesthetic Pursuits: Essays in Philosophy of ArtOxford University Press. 2016.Aesthetic Pursuits is a new collection of essays from Jerrold Levinson, one of the most prominent philosophers of art today, focusing on literature, film, and visual art, while addressing issues of humour, beauty, and the emotions. More than half of the essays in the volume are previously unpublished.
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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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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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152Messages in artAustralasian Journal of Philosophy 73 (2). 1995.This Article does not have an abstract
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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.
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283Wollheim on pictorial representationJournal of Aesthetics and Art Criticism 56 (3): 227-233. 1998.
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4Book Reviews (review)Metaphilosophy 9 (2): 163-180. 2007.Book reviewed in this article: JohnKing‐FarlowandWilliamNielsChristensen. Faith and the Life of Reason. CharlesTravis. Saying and Understanding (A Generative Theory of Illocutions). MichaelOakeshott. On Human Conduct.