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Profile: Jerrold Levinson (University of Maryland, College Park)
  1. Jerrold Levinson (forthcoming). Philosophy as an Art. Journal of Aesthetic Education.
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  2. Jerrold Levinson & Pierre Destree (eds.) (forthcoming). Suffering Art Gladly. Palgrave/ Macmillan.
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  3. Jerrold Levinson (ed.) (2014). Suffering Art Gladly: The Paradox of Negative Emotions in Art. Palgrave/Macmillan.
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  4. Jerrold Levinson (2013). Causal History, Actual and Apparent. Behavioral and Brain Sciences 36 (2):150 - 151.
    Attention is drawn to the distinction between the actual (or factual) and the apparent (or ostensible) causal history of a work of art, and how the authors' recommendation in the name of understanding works of art blurs that distinction, thus inadvertently reinforcing the hoary idea, against which the authors otherwise rightly battle, that what one needs to properly appreciate an artwork can be found in even suitably framed observation of the work alone.
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  5. Jerrold Levinson (2013). Indication, Abstraction, and Individuation. In Christy Mag Uidhir (ed.), Art and Abstract Objects. Oxford University Press. 49.
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  6. Jerrold Levinson (2013). Jazz Vocal Interpretation: A Philosophical Analysis. Journal of Aesthetics and Art Criticism 71 (1):35-43.
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  7. Jerrold Levinson (2013). Reply to Nicholas Riggle's “Levinson on the Aesthetic Ideal”. Journal of Aesthetics and Art Criticism 71 (3):281-282.
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  8. Jerrold Levinson (2013). Reply to Riggle: Aesthetic History, Personality, and Profile. Journal of Aesthetics and Art Criticism 71 (3):281-282.
     
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  9. Jerrold Levinson (2012). Musical Beauty. Teorema: Revista Internacional de Filosofía 31 (3):127-135.
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  10. Jerrold Levinson (2012). Popular Song as Moral Microcosm: Life Lessons From Jazz Standards. Royal Institute of Philosophy Supplement 71:51-66.
    In a recent paper devoted to my topic, music and morality, my fellow philosopher of music Peter Kivy makes a helpful tripartite distinction among ways in which music could be said to have moral force. The first is by embodying and conveying moral insight; Kivy labels that epistemic moral force. The second is by having a positive moral effect on behavior; Kivy labels that behavioral moral force. And the third is by impacting positively on character so as to make someone (...)
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  11. Hans Maes & Jerrold Levinson (eds.) (2012). Art & Pornography: Philosophical Essays. Oxford University Press.
    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, from erotic art? (...)
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  12. Jerrold Levinson (2011). L'instrument de musique : réflexions sur le geste, l'écoute et la création. Methodos 11.
    Le son musical est vibration, et dépend des instruments utilisés. Être fidèle aux instruments prévus par le compositeur ne répond pas à un simple souci d’authenticité. Notre écoute de l’œuvre musicale dépend des gestes instrumentaux pratiqués par les musiciens (gestes que nous voyons au concert, ou que nous supposons si la musique est enregistrée). Les gestes proprement musicaux (liés à l’expressivité de la musique) sont fonction des gestes effectifs pratiqués par l’instrumentiste. Chaque instrument dispose ainsi d’un véritable répertoire gestuel, plus (...)
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  13. Jerrold Levinson (2011). Music, Art, and Metaphysics. Oup Oxford.
    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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  14. Jerrold Levinson (2011). Plaisanteries immorales. Nouvelle Revue d'Esthétique 6.
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  15. Jerrold Levinson (2011). Titoli. Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 4 (2).
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  16. Jerrold Levinson (2011). Variety of Visual Beauty. In Elisabeth Schellekens & Peter Goldie (eds.), The Aesthetic Mind: Philosophy and Psychology. Oxford University Press. 190.
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  17. Jerrold Levinson (2011). What a Musical Work Is, Again. In Music, Art and Metaphysics. 215-263.
     
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  18. Jerrold Levinson (2010). Artistic Worth and Personal Taste. Journal of Aesthetics and Art Criticism 68 (3):225-233.
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  19. Jerrold Levinson (2010). Defending Hypothetical Intentionalism. British Journal of Aesthetics 50 (2):139-150.
    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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  20. Jerrold Levinson (2009). Philosophy and Music. Topoi 28 (2):119-123.
    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 recourse to philosophical (...)
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  21. Jerrold Levinson (2009). The Aesthetic Appreciation of Music. British Journal of Aesthetics 49 (4):415-425.
    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 to (...)
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  22. Jerrold Levinson (2007). Artworks as Artifacts. In Eric Margolis & Stephen Laurence (eds.), Creations of the Mind: Theories of Artifacts and Their Representation. Oxford University Press. 74--82.
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  23. Jerrold Levinson (2007). Artful Intentions: Paisley Livingston, Art and Intention: A Philosophical Study. Art and Intention: A Philosophical Study by Livingston, Paisley. Journal of Aesthetics and Art Criticism 65 (3):299–305.
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  24. Jerrold Levinson (2007). Review: Artful Intentions: Paisley Livingston, Art and Intention: A Philosophical Study. [REVIEW] Journal of Aesthetics and Art Criticism 65 (3):299 - 305.
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  25. Jerrold Levinson (2007). 1. The Intentional-Historical Conception of Art. In Eric Margolis & Stephen Laurence (eds.), Creations of the Mind: Theories of Artifacts and Their Representation. Oxford University Press. 74.
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  26. Jerrold Levinson (2006). Concatenationism, Architectonicism, and the Appreciation of Music. Revue Internationale de Philosophie 4:505-514.
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  27. Jerrold Levinson (2006). Contemplating Art: Essays in Aesthetics. Oxford University Press.
    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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  28. Jerrold Levinson (2006). Why There Are No Tropes. Philosophy 81 (4):563-580.
    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 of, say, being red. While continuing to hold that there cannot (...)
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  29. Jerrold Levinson (2005). Contextualisme esthétique. Philosophiques 32 (1):125-133.
    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 propos (...)
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  30. Jerrold Levinson (2005). Erotic Art and Pornographic Pictures. Philosophy and Literature 29 (1):228-240.
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  31. Jerrold Levinson (2005). What Are Aesthetic Properties? Aristotelian Society Supplementary Volume 79:191 - 227.
    [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 cannot be put in (...)
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  32. Derek Matravers & Jerrold Levinson, Aesthetic Properties 1 - 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 cannot be put in a position (...)
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  33. Derek Matravers & Jerrold Levinson (2005). Derek Matravers. Aristotelian Society Supplementary Volume 79 (1):191–210.
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  34. Derek Matravers & Jerrold Levinson (2005). Jerrold Levinson. Aristotelian Society Supplementary Volume 79 (1):211–227.
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  35. Jerrold Levinson (2004). Introduction. Journal of Aesthetics and Art Criticism 62 (2):89–93.
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  36. Jerrold Levinson (2004). Intrinsic Value and the Notion of a Life. Journal of Aesthetics and Art Criticism 62 (4):319–329.
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  37. Jerrold Levinson (2004). Music as Narrative and Music as Drama. Mind and Language 19 (4):428–441.
    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, (...)
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  38. Jerrold Levinson (2004). Pourquoi Il N'ya Pas de Tropes. In Jean-Maurice Monnoyer (ed.), La Structure du Monde. Vrin, Paris. 371--386.
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  39. Jerrold Levinson (2003). Frissons Musicaux. Rivista di Estetica 43 (23):72-83.
     
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  40. Jerrold Levinson (2003). Musical Thinking. Midwest Studies in Philosophy 27 (1):59–68.
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  41. Jerrold Levinson (ed.) (2003). Oxford Companion to Aesthetics. Oxford University Press.
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  42. Jerrold Levinson (2003). Philosophical Aesthetics: An Overview. In , The Oxford Handbook of Aesthetics. Oxford University Press. 3--24.
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  43. Jerrold Levinson (2003). Sexual Perversity. The Monist 86 (1):30-54.
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  44. Jerrold Levinson (ed.) (2003). The Oxford Handbook of Aesthetics. Oxford University Press.
    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 the reference work of choice (...)
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  45. Jerrold Levinson (2003). The Real Problem Sustained: Reply to Wieand. Journal of Aesthetics and Art Criticism 61 (4):398–399.
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  46. Jerrold Levinson (2002). Hume's Standard of Taste: The Real Problem. Journal of Aesthetics and Art Criticism 60 (3):227–238.
  47. Jerrold Levinson (2002). On Colin McGinn, Ethics, Evil, and Fiction. SATS: Northern European Journal of Philosophy 3 (1).
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  48. Jerrold Levinson (2002). Review Essay. On Colin McGinn, Ethics, Evil, and Fiction. SATS: Northern European Journal of Philosophy 3 (1).
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  49. Jerrold Levinson (2002). Review: Jokes: Philosophical Thoughts on Joking Matters. [REVIEW] Mind 111 (442):380-385.
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  50. Jerrold Levinson (2002). Review of Aesthetics of Music by Roger Scruton. [REVIEW] Philosophical Review 109:608-614.
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