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Profile: Jerrold Levinson (University of Maryland, College Park)
  1. Hume's Standard of Taste: The Real Problem.Jerrold Levinson - 2002 - Journal of Aesthetics and Art Criticism 60 (3):227–238.
  2.  22
    Music, Art, and Metaphysics: Essays in Philosophical Aesthetics.Jerrold Levinson - 1990 - Cornell University Press.
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  3.  12
    Peter Kivy and the Philosophy of Music.Jerrold Levinson - forthcoming - British Journal of Aesthetics:ayx017.
    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 series of (...)
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  4.  70
    The Pleasures of Aesthetics: Philosophical Essays.Jerrold Levinson - 1996 - Cornell University Press.
    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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  5. What a Musical Work Is.Jerrold Levinson - 1980 - Journal of Philosophy 77 (1):5-28.
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  6. Erotic Art and Pornographic Pictures.Jerrold Levinson - 2005 - Philosophy and Literature 29 (1):228-240.
  7.  69
    Music, Art, and Metaphysics.Jerrold Levinson - 2011 - Oxford University Press.
    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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  8.  98
    The Aesthetics of Music.Jerrold Levinson & Roger Scruton - 2000 - Philosophical Review 109 (4):608.
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  9. Defining Art Historically.Jerrold Levinson - 1979 - British Journal of Aesthetics 19 (3):21-33.
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  10. Contemplating Art: Essays in Aesthetics.Jerrold Levinson - 2006 - 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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  11. Aesthetics and Ethics: Essays at the Intersection.Jerrold Levinson (ed.) - 1998 - Cambridge University Press.
    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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  12. Wollheim on Pictorial Representation.Jerrold Levinson - 1998 - Journal of Aesthetics and Art Criticism 56 (3):227-233.
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  13. Refining Art Historically.Jerrold Levinson - 1989 - Journal of Aesthetics and Art Criticism 47 (1):21-33.
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  14. Aesthetic Concepts: Essays After Sibley.Emily Brady & Jerrold Levinson (eds.) - 2001 - Oxford University Press.
    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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  15.  82
    The Oxford Handbook of Aesthetics.Jerrold Levinson (ed.) - 2003 - 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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  16. Philosophy and Music.Jerrold Levinson - 2009 - 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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  17.  52
    The Particularisation of Attributes.Jerrold Levinson - 1980 - Australasian Journal of Philosophy 58 (2):102 – 115.
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  18.  81
    Artistic Worth and Personal Taste.Jerrold Levinson - 2010 - Journal of Aesthetics and Art Criticism 68 (3):225-233.
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  19.  58
    Properties and Related Entities.Jerrold Levinson - 1978 - Philosophy and Phenomenological Research 39 (1):1-22.
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  20. Intrinsic Value and the Notion of a Life.Jerrold Levinson - 2004 - Journal of Aesthetics and Art Criticism 62 (4):319–329.
  21.  42
    Extending Art Historically.Jerrold Levinson - 1993 - Journal of Aesthetics and Art Criticism 51 (3):411-423.
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  22. Why There Are No Tropes.Jerrold Levinson - 2006 - 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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  23.  21
    Music-Specific Emotion: An Elusive Quarry.Jerrold Levinson - 2016 - Estetika: The Central European Journal of Aesthetics 53 (2):115-131.
    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 (...)
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  24. Film Music and Narrative Agency.Jerrold Levinson - 1996 - In David Bordwell Noel Carroll (ed.), Post-Theory: Reconstructing Film Studies. U Wisconsin Press.
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  25. Pleasure and the Value of Works of Art.Jerrold Levinson - 1992 - British Journal of Aesthetics 32 (4):295-306.
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  26.  2
    Universals: An Opinionated Introduction.Jerrold Levinson & D. M. Armstrong - 1992 - Philosophical Review 101 (3):654.
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  27.  42
    Art & Pornography: Philosophical Essays.Hans Maes & Jerrold Levinson (eds.) - 2012 - 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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  28. Intention and Interpretation: A Last Look.Jerrold Levinson - 1992 - In Gary Iseminger (ed.), Intention and Interpretation. Temple University Press. pp. 221--56.
     
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  29. Sound, Gesture, Spatial Imagination, and the Expression of Emotion in Music.Jerrold Levinson - 2002 - European Review of Philosophy 5:137-150.
     
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  30. Defending Hypothetical Intentionalism.Jerrold Levinson - 2010 - 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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  31.  11
    An Error Concerning Noses.Gregory Currie & Jerrold Levinson - 2017 - Journal of Aesthetics and Art Criticism 75 (1):9-13.
    We identify a strategy for getting beliefs from fiction via three assumptions: a certain causal generality holds in the fiction and does so because causal generalities in fiction are carried over from what the author takes to be fact; the author is reliable on this topic, so what the author takes to be fact is fact. We do not question. While will, in particular cases, be doubtful, the strategy is vulnerable more generally to the worry that what looks like a (...)
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    Artist Versus Aesthete.Jerrold Levinson - 2017 - In Anja Weiberg & Stefan Majetschak (eds.), Aesthetics Today: Contemporary Approaches to the Aesthetics of Nature and of Arts. Proceedings of the 39th International Wittgenstein Symposium in Kirchberg. De Gruyter. pp. 95-108.
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  33.  14
    Music, Art, and Metaphysics: Essays in Philosophical Aesthetics.Jerrold Levinson - 1992 - Journal of Aesthetics and Art Criticism 50 (4):327-329.
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  34.  84
    Titles.Jerrold Levinson - 1985 - Journal of Aesthetics and Art Criticism 44 (1):29-39.
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  35. What Are Aesthetic Properties?Jerrold Levinson - 2005 - 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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  36.  42
    Music in the Moment.Jerrold Levinson - 1997 - Cornell University Press.
    Does aural understanding depend upon reflective awareness of musical architecture or large-scale musical structure? Jerrold Levinson thinks not.
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  37.  63
    The Place of Real Emotion in Response to Fictions.Jerrold Levinson - 1990 - Journal of Aesthetics and Art Criticism 48 (1):79-80.
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  38. Music as Narrative and Music as Drama.Jerrold Levinson - 2004 - 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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  39.  11
    The Editor and the Associate Editors Thank the Consulting Editors, the Members of the Editorial Board and the Following Philosophers for Their Help with Refereeing Papers During the Period July 1994 to June 1995. Adeney, Douglas Kennett, Jeanette Agar, Nicholas Lamarque, Peter. [REVIEW]David Armstrong, Rae Langton, Robert Audi, Jerrold Levinson, John Bacon, David Lewis, Rick Benitez, Gary Malinas, John Biro & Jeff Malpas - 1995 - Australasian Journal of Philosophy 73 (4).
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  40.  41
    Autographic and Allographic Art Revisited.Jerrold Levinson - 1980 - Philosophical Studies 38 (4):367 - 383.
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  41. What a Musical Work Is, Again.Jerrold Levinson - 2011 - In Music, Art and Metaphysics. pp. 215-263.
     
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  42. Aesthetic Supervenience.Jerrold Levinson - 1983 - Southern Journal of Philosophy 22 (S1):93-110.
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  43.  76
    Zemach on Paintings.Jerrold Levinson - 1987 - British Journal of Aesthetics 27 (3):278-283.
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  44. Review: Jokes: Philosophical Thoughts on Joking Matters. [REVIEW]Jerrold Levinson - 2002 - Mind 111 (442):380-385.
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  45.  86
    Messages in Art.Jerrold Levinson - 1995 - Australasian Journal of Philosophy 73 (2):184 – 198.
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  46.  53
    Colourization Ill-Defended.Jerrold Levinson - 1990 - British Journal of Aesthetics 30 (1):62-67.
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  47. The Oxford Handbook of Aesthetics.Jerrold Levinson - 2003 - Tijdschrift Voor Filosofie 65 (3):582-583.
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  48. Review of Currie 1989. [REVIEW]Jerrold Levinson - 1992 - Philosophy and Phenomenological Research 52:215-22.
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  49.  26
    Derek Matravers.Derek Matravers & Jerrold Levinson - 2005 - Aristotelian Society Supplementary Volume 79 (1):191–210.
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    Musical Profundity Misplaced.Jerrold Levinson - 1992 - Journal of Aesthetics and Art Criticism 50 (1):58-60.
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