-
113The place of real emotion in response to fictionsJournal of Aesthetics and Art Criticism 48 (1): 79-80. 1990.
-
101The particularisation of attributesAustralasian Journal of Philosophy 58 (2). 1980.This Article does not have an abstract
-
100Being realistic about aesthetic propertiesJournal of Aesthetics and Art Criticism 52 (3): 351-354. 1994.
-
92A note on categorical properties and contingent identityJournal of Philosophy 85 (12): 718-722. 1988.Stephen Yablo has attempted recently to revive the notion of contingent identity, identifying this with a relation of L coincidence between objects that are "distinct by nature but the same in the circumstances" (296). Yablo argues convincingly for the need of essentialist metaphysics to recognize some relation of this sort, a relation of "intimate identity-like connections between things" (296) if it is to acknowledge properly the intuitive difference between (i) the nonidentity of a bust B and…Read more
-
90The 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.
-
84Narration in Light: Studies in Cinematic Point of ViewJournal of Aesthetics and Art Criticism 47 (3): 290-292. 1989.
-
80Sexual PerversityThe Monist 86 (1): 30-54. 2003.Ivan is a gifted pianist, but spends most of his time at the keyboard playing simple blues progressions over and over. Sarah is fluent in French, but avoids every opportunity to converse in that language. Greg lives in a household whose kitchen offers an assortment of tantalizing foods, yet he never eats anything except bagels and cream cheese. Melinda has many friends, with whom she would enjoy socializing, but she forgoes their company to devote all her free time to video games. Clive is a cha…Read more
-
75Music in the momentCornell University Press. 1997.Does aural understanding depend upon reflective awareness of musical architecture or large-scale musical structure? Jerrold Levinson thinks not.
-
70Artful intentions: Paisley Livingston, art and intention: A philosophical study. Art and intention: A philosophical study by Livingston, PaisleyJournal of Aesthetics and Art Criticism 65 (3). 2007.
-
69Music-Specific Emotion: An Elusive QuarryEstetika: The European Journal of Aesthetics 53 (2): 115-131. 2016.Expressive music, almost everyone agrees, evokes an emotional response of some kind in receptive listeners, at least some of the time, in at least some conditions of listening. But is such an emotional response distinctive of or unique to the music that evokes it? In other words, is there such a thing as music-specific emotion? This essay is devoted to an exploration of that question and others related to it. In the main part of the essay a sixpart component model of a standard emotion is set ou…Read more
-
67Peter Kivy and the Philosophy of MusicBritish Journal of Aesthetics 57 (3): 269-282. 2017.In the beginning—or more exactly, the seventies, when I was in graduate school at the University of Michigan—was the void, and darkness was upon the face of the waters. Philosophical reflection on the experience, meaning, and powers of music by analytic philosophers was almost non-existent. And then, as the 1980s dawned, came Peter Kivy. Suddenly there was light, and analytic philosophy of music was born. In this piece I summarize the substance of the successive instalments in the astounding ser…Read more
-
64The real problem sustained: Reply to WieandJournal of Aesthetics and Art Criticism 61 (4). 2003.
-
56Reply to Nicholas Riggle's “Levinson on the Aesthetic Ideal”Journal of Aesthetics and Art Criticism 71 (3): 281-282. 2013.
-
54Concatenationism, Architectonicism, and the Appreciation of MusicRevue Internationale de Philosophie 4 (4): 505-514. 2006.
-
52Jazz Vocal Interpretation: A Philosophical AnalysisJournal of Aesthetics and Art Criticism 71 (1): 35-43. 2013.
-
50Contextualisme esthétiquePhilosophiques 32 (1): 125-133. 2005.Je me fixe deux objectifs dans ce texte. Le premier est de situer l’esthétique ou la philosophie de l’art par rapport à la philosophie en général et d’expliquer pourquoi elle a été la préoccupation centrale de tant de philosophes dans la tradition. Mon second objectif est de définir un courant dominant de l’esthétique des trente dernières années, que je nomme « contextualisme », et d’expliquer son importance en ce qui concerne les réflexions des artistes, critiques, théoriciens et publics à prop…Read more
-
48Who's Afraid Of A Paraphrase?Theoria 67 (1): 7-23. 2001.I first show why Davidson was wrong to maintain that there is no such thing as metaphorical meaning, that which paraphrases strive to capture. I then sketch a conception of metaphors as utterances in contexts, and suggest how such utterances can acquire metaphorical meanings despite there being no semantic rules for the projection of such meanings. I next urge the essentiality of a metaphor's verbal formulation to its being the metaphor it is, and I conclude with some reflections on common and u…Read more