Search results for 'Micah Levinson' (try it on Scholar)

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  1. Norman Schofield & Micah Levinson (2008). Modeling Authoritarian Regimes. Politics, Philosophy and Economics 7 (3):243-283.score: 240.0
    In the past few years, a body of ideas based on political economy theory has been built up by North and Weingast, Olson, Przeworski, and Acemoglu and Robinson. One theme that emerges from this literature concerns the transition to democracy: why would dominant elites give up oligarchic power? This article addresses this question by considering a formal model of an authoritarian regime, and then examining three historical regimes: the Argentine junta of 1976—83; Francoist Spain, 1938—75; the Soviet system, 1924—91. We (...)
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  2. Derek Matravers & Jerrold Levinson (2005). Jerrold Levinson. Aristotelian Society Supplementary Volume 79 (1):211–227.score: 180.0
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  3. Jerrold Levinson (2013). Reply to Nicholas Riggle's “Levinson on the Aesthetic Ideal”. Journal of Aesthetics and Art Criticism 71 (3):281-282.score: 180.0
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  4. Jerrold Levinson (2006). Contemplating Art: Essays in Aesthetics. Oxford University Press.score: 60.0
    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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  5. Jerrold Levinson (2005). What Are Aesthetic Properties? Aristotelian Society Supplementary Volume 79:191 - 227.score: 60.0
    [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 (...)
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  6. Derek Matravers & Jerrold Levinson, Aesthetic Properties 1 - Derek Matravers.score: 60.0
    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 (...)
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  7. Stephen C. Levinson (2000). Presumptive Meanings: The Theory of Generalized Conversational Implicature. MIT Press.score: 60.0
    When we speak, we mean more than we say. In this book Stephen C. Levinson explains some general processes that underlie presumptions in communication.
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  8. Jerrold Levinson (2011). Music, Art, and Metaphysics. OUP Oxford.score: 60.0
    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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  9. Jerrold Levinson (1997). Music in the Moment. Cornell University Press.score: 60.0
    Does aural understanding depend upon reflective awareness of musical architecture or large-scale musical structure? Jerrold Levinson thinks not.
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  10. Jerrold Levinson (ed.) (2003). The Oxford Handbook of Aesthetics. Oxford University Press.score: 60.0
    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 (...)
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  11. Bjorn Merker, Nicholas Evans & Stephen C. Levinson (2009). Returning Language to Culture by Way of Biology. Behavioral and Brain Sciences 32 (5):460.score: 60.0
    Conflation of our unique human endowment for language with innate, so-called universal, grammar has banished language from its biological home. The facts reviewed by Evans & Levinson (E&L) fit the biology of cultural transmission. My commentary highlights our dedicated learning capacity for vocal production learning as the form of our language endowment compatible with those facts.
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  12. Paul Levinson (1999). Digital Mcluhan: A Guide to the Information Millennium. Routledge.score: 60.0
    Marshall McLuhan died on the last day of 1980, on the doorstep of the personal computer revolution. Yet McLuhan's ideas anticipated a world of media in motion, and its impact on our lives on the dawn of the new millennium. Paul Levinson examines why McLuhan's theories about media are more important to us today than when they were first written, and why the Wired generation is now turning to McLuhan's work to understand the global village in the digital age.
     
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  13. Paul Levinson (1997). Soft Edge:Nat Hist&Future Info. Routledge.score: 60.0
    The Soft Edge is a one-of-a-kind history of the information revolution. In his lucid and direct style, Paul Levinson, historian and philosopher of media and communications, gives us more than just a history of information technologies. The Soft Edge is a book about theories on the evolution of technology, the effects that human choice has on this (r)evolution, and what's in store for us in the future. Paul Levinson's engaging voice guides us on a tour that explains how (...)
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  14. Jerrold Levinson (1980). What a Musical Work Is. Journal of Philosophy 77 (1):5-28.score: 30.0
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  15. Jerrold Levinson (1979). Defining Art Historically. British Journal of Aesthetics 19 (3):21-33.score: 30.0
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  16. Jerrold Levinson (2002). Hume's Standard of Taste: The Real Problem. Journal of Aesthetics and Art Criticism 60 (3):227–238.score: 30.0
  17. Jerrold Levinson (2005). Erotic Art and Pornographic Pictures. Philosophy and Literature 29 (1):228-240.score: 30.0
  18. Jerrold Levinson (2009). Philosophy and Music. Topoi 28 (2):119-123.score: 30.0
    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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  19. Jerrold Levinson (2010). Defending Hypothetical Intentionalism. British Journal of Aesthetics 50 (2):139-150.score: 30.0
    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 (2006). Why There Are No Tropes. Philosophy 81 (4):563-580.score: 30.0
    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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  21. Emily Brady & Jerrold Levinson (eds.) (2001). Aesthetic Concepts: Essays After Sibley. Oxford University Press.score: 30.0
    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 theory, and art criticism.
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  22. Jerrold Levinson (2004). Music as Narrative and Music as Drama. Mind and Language 19 (4):428–441.score: 30.0
    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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  23. Jerrold Levinson (1992). Pleasure and the Value of Works of Art. British Journal of Aesthetics 32 (4):295-306.score: 30.0
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  24. Jerrold Levinson (ed.) (1998). Aesthetics and Ethics: Essays at the Intersection. Cambridge University Press.score: 30.0
    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: Can (...)
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  25. Jerrold Levinson (2002). Review: Jokes: Philosophical Thoughts on Joking Matters. [REVIEW] Mind 111 (442):380-385.score: 30.0
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  26. Jerrold Levinson (1989). Refining Art Historically. Journal of Aesthetics and Art Criticism 47 (1):21-33.score: 30.0
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  27. Jerrold Levinson (1985). Titles. Journal of Aesthetics and Art Criticism 44 (1):29-39.score: 30.0
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  28. Jerrold Levinson (2010). Artistic Worth and Personal Taste. Journal of Aesthetics and Art Criticism 68 (3):225-233.score: 30.0
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  29. Nicholas Evans & Stephen C. Levinson (2009). With Diversity in Mind: Freeing the Language Sciences From Universal Grammar. Behavioral and Brain Sciences 32 (5):472-492.score: 30.0
    Our response takes advantage of the wide-ranging commentary to clarify some aspects of our original proposal and augment others. We argue against the generative critics of our coevolutionary program for the language sciences, defend the use of close-to-surface models as minimizing cross-linguistic data distortion, and stress the growing role of stochastic simulations in making generalized historical accounts testable. These methods lead the search for general principles away from idealized representations and towards selective processes. Putting cultural evolution central in understanding language (...)
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  30. Jerrold Levinson (1995). Messages in Art. Australasian Journal of Philosophy 73 (2):184 – 198.score: 30.0
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  31. Jerrold Levinson (1996). Art, Value, and Philosophy. Mind 105 (420):667-682.score: 30.0
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  32. Jerrold Levinson (2004). Intrinsic Value and the Notion of a Life. Journal of Aesthetics and Art Criticism 62 (4):319–329.score: 30.0
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  33. Jerrold Levinson (1984). Aesthetic Supervenience. Southern Journal of Philosophy 22 (S1):93-110.score: 30.0
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  34. Jerrold Levinson (1998). Wollheim on Pictorial Representation. Journal of Aesthetics and Art Criticism 56 (3):227-233.score: 30.0
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  35. Stephen C. Levinson & Asifa Majid (2014). Differential Ineffability and the Senses. Mind and Language 29 (4):407-427.score: 30.0
    Ineffability, the degree to which percepts or concepts resist linguistic coding, is a fairly unexplored nook of cognitive science. Although philosophical preoccupations with qualia or nonconceptual content certainly touch upon the area, there has been little systematic thought and hardly any empirical work in recent years on the subject. We argue that ineffability is an important domain for the cognitive sciences. For examining differential ineffability across the senses may be able to tell us important things about how the mind works, (...)
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  36. Jerrold Levinson (1996). The Pleasures of Aesthetics: Philosophical Essays. Cornell University Press.score: 30.0
    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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  37. Jerrold Levinson (1990). The Place of Real Emotion in Response to Fictions. Journal of Aesthetics and Art Criticism 48 (1):79-80.score: 30.0
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  38. Jerrold Levinson (1980). The Particularisation of Attributes. Australasian Journal of Philosophy 58 (2):102 – 115.score: 30.0
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  39. 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.score: 30.0
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  40. Bernard M. Levinson (forthcoming). Book Review: Sacred Attunement: A Jewish Theology. [REVIEW] Interpretation 64 (3):294-300.score: 30.0
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  41. Paul Smolensky, Emmanuel Dupoux, Nicholas Evans & Stephen C. Levinson (2009). Universals in Cognitive Theories of Language. Behavioral and Brain Sciences 32 (5):468.score: 30.0
    Generative linguistics' search for linguistic universals (1) is not comparable to the vague explanatory suggestions of the article; (2) clearly merits a more central place than linguistic typology in cognitive science; (3) is fundamentally untouched by the article's empirical arguments; (4) best explains the important facts of linguistic diversity; and (5) illuminates the dominant component of language's nature: biology.
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  42. Jerrold Levinson (1982). Gewirth on Absolute Rights. Philosophical Quarterly 32 (126):73-75.score: 30.0
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  43. Jerrold Levinson (1978). Properties and Related Entities. Philosophy and Phenomenological Research 39 (1):1-22.score: 30.0
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  44. Jerrold Levinson (2002). The Irreducible Historicality of the Concept of Art. British Journal of Aesthetics 42 (4):367-379.score: 30.0
    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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  45. Jerrold Levinson (1994). Being Realistic About Aesthetic Properties. Journal of Aesthetics and Art Criticism 52 (3):351-354.score: 30.0
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  46. Jerrold Levinson (1993). Art Historically Defined: Reply to Oppy. British Journal of Aesthetics 33 (4):380-385.score: 30.0
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  47. Nicholas Evans & Stephen C. Levinson (2009). The Myth of Language Universals: Language Diversity and its Importance for Cognitive Science. Behavioral and Brain Sciences 32 (5):429-448.score: 30.0
    Talk of linguistic universals has given cognitive scientists the impression that languages are all built to a common pattern. In fact, there are vanishingly few universals of language in the direct sense that all languages exhibit them. Instead, diversity can be found at almost every level of linguistic organization. This fundamentally changes the object of enquiry from a cognitive science perspective. This target article summarizes decades of cross-linguistic work by typologists and descriptive linguists, showing just how few and unprofound the (...)
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  48. Jerrold Levinson (1993). Extending Art Historically. Journal of Aesthetics and Art Criticism 51 (3):411-423.score: 30.0
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  49. Jerrold Levinson (2003). The Real Problem Sustained: Reply to Wieand. Journal of Aesthetics and Art Criticism 61 (4):398–399.score: 30.0
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  50. Jerrold Levinson (1980). Autographic and Allographic Art Revisited. Philosophical Studies 38 (4):367 - 383.score: 30.0
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