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2111Aesthetic ContextualismPostgraduate Journal of Aesthetics 4 (3): 1-12. 2007.Let me begin with a quote: “The universal organum of philosophy—the ground stone of its entire architecture—is the philosophy of art.”1 This statement, made in 1800 by the German Idealist philosopher Friedrich Schelling, is rather striking, not only because of its grandiosity, but also because it contrasts with what the majority of contemporary philosophers would be prepared to say on the subject. There is nevertheless a grain of truth in the claim that there is a peculiar connection between art…Read more
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732Erotic art and pornographic picturesPhilosophy and Literature 29 (1): 228-240. 2005.In lieu of an abstract, here is a brief excerpt of the content:Erotic Art and Pornographic PicturesJerrold LevinsonOnly in primitive art, with its urgent need to evoke the sources of fertility, are the phallus and the vulva emphasized, as it were innocently. By ancient Greek and Roman times there already existed the special category of the pornographic—graphic art or writing supposed, like a harlot, or porne, to sexually stimulate.1IAS REGARDS PHILOSOPHICAL ANALYSIS of the opposition between the…Read more
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461Hume's standard of taste: The real problemJournal of Aesthetics and Art Criticism 60 (3). 2002.
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440Defending 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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414What Are Aesthetic Properties?Aristotelian Society Supplementary Volume 79. 2005.[Derek Matravers] Jerrold Levinson maintains that he is a realist about aesthetic properties. This paper considers his positive arguments for such a view. An argument from Roger Scruton, that aesthetic realism would entail the absurd claim that many aesthetic predicates were ambiguous, is also considered and it is argued that Levinson is in no worse position with respect to this argument than anyone else. However, Levinson cannot account for the phenomenon of aesthetic autonomy: namely, that we …Read more
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360The Oxford handbook of aesthetics (edited book)Oxford University Press. 2003.The Oxford Handbook of Aesthetics brings the authority, liveliness, and multi-disciplinary scope of the Handbook series to a fascinating theme in philosophy and the arts. Jerrold Levinson has assembled a hugely impressive range of talent to contribute 48 brand-new essays, making this the most comprehensive guide available to the theory, application, history, and future of the field. This Handbook will be invaluable to academics and students across philosophy and all branches of the arts, both as…Read more
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357Philosophy and musicTopoi 28 (2): 119-123. 2009.This essay explores some aspects of the relation between philosophy and music. First, how music can inspire philosophy; second, how philosophy can inspire music. Mathematics as a middle term between music and philosophy, the idea of wholeness in a musical composition or a philosophical text, music as a mode of thought displaying traits such as logic, coherence, and sense—these are some ways in which music and philosophy may be seen to be connected. Also, composers sometimes have explicit recours…Read more
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297Wollheim on pictorial representationJournal of Aesthetics and Art Criticism 56 (3): 227-233. 1998.
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286La créativitéIn Julien A. Deonna & Emma Tieffenbach (eds.), Petit Traité des Valeurs, Edition D’ithaque. 2018.La créativité est une valeur aujourd’hui abondamment conférée à des objets fort divers. Ainsi, bien qu’elle soit principalement discutée dans le domaine de l’art, on en parle souvent à propos des sciences, du sport, de l’entrepreneuriat, de la politique, de la pédagogie ou encore de situations plus ordinaires, telles que la créativité culinaire ou humoristique. En quoi ces diverses formes de créativité se ressemblent-elles ? Qu’est-ce qui fait leur valeur et en quoi se distinguent-elles de proch…Read more
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234Why there are no tropesPhilosophy 81 (4): 563-580. 2006.This paper effectively inverts the argument of an earlier paper of mine, “The Particularisation of Attributes”, to argue that there are no necessarily particularised and unshareable attributes of the sort that contemporary metaphysics calls tropes. In that earlier paper I distinguished two kinds of attributes, namely, properties and qualities, and argued that if there were tropes they could only be particularised qualities, i.e. particularisations of, say, redness, rather than particularisations…Read more
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226The pleasures of aesthetics: philosophical essaysCornell University Press. 1996.What Is Aesthetic Pleasure? When is pleasure in an object properly denominated aesthetic? The characterization of aesthetic pleasure is something that ...
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192Aesthetic concepts: essays after Sibley (edited book)Oxford University Press. 2001.Exploring key topics in contemporary aesthetics, this work analyzes the issues that arise from the unique works of Frank Sibley (1923-1996), who developed a distinctive aesthetic theory through a number of papers published between 1955 and 1995. Here, thirteen philosophical aestheticians bring Sibley's insight into a contemporary framework, exploring the ways his ideas foster important new discussion about issues in aesthetics. This collection will interest anyone interested in philosophy, art t…Read more
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189Artistic Worth and Personal TasteJournal of Aesthetics and Art Criticism 68 (3): 225-233. 2010.
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185Music, Art, and MetaphysicsOxford University Press. 2011.This is a long-awaited reissue of Jerrold Levinson's 1990 book which gathers together the writings that made him a leading figure in contemporary aesthetics. These highly influential essays are essential reading for debates on the definition of art, the ontology of art, emotional response to art, expression in art, and the nature of art forms.
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179Music 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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177Aesthetics and Ethics: Essays at the Intersection (edited book)Cambridge University Press. 1998.This major collection of essays stands at the border of aesthetics and ethics and deals with charged issues of practical import: art and morality, the ethics of taste, and censorship. As such its potential interest is by no means confined to professional philosophers; it should also appeal to art historians and critics, literary theorists, and students of film. Prominent philosophers in both aesthetics and ethics tackle a wide array of issues. Some of the questions explored in the volume include…Read more
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165Contemplating 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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164Messages in artAustralasian Journal of Philosophy 73 (2). 1995.This Article does not have an abstract
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142Music, art, and metaphysics: essays in philosophical aestheticsCornell University Press. 1990.This is a long-awaited reissue of Jerrold Levinson's 1990 book which gathers together the writings that made him a leading figure in contemporary aesthetics. These highly influential essays are essential reading for debates on the definition of art, the ontology of art, emotional response to art, expression in art, and the nature of art forms.
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140Art and Pornography: Philosophical Essays (edited book)Oxford University Press UK. 2012.Art and Pornography presents a series of essays which investigate the artistic status and aesthetic dimension of pornographic pictures, films, and literature, and explores the distinction, if there is any, between pornography and erotic art. Is there any overlap between art and pornography, or are the two mutually exclusive? If they are, why is that? If they are not, how might we characterize pornographic art or artistic pornography, and how might pornographic art be distinguished, if at all, fr…Read more
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130The place of real emotion in response to fictionsJournal of Aesthetics and Art Criticism 48 (1): 79-80. 1990.
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125The 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