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Jerrold Levinson
University of Maryland, College Park
  1. Aesthetic Contextualism.Jerrold Levinson - 2007 - Postgraduate Journal of Aesthetics 4 (3):1-12.
    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 and (...)
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  2.  87
    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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  3.  23
    Universals: An Opinionated Introduction.Jerrold Levinson & D. M. Armstrong - 1992 - Philosophical Review 101 (3):654.
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  4. What a Musical Work Is.Jerrold Levinson - 1980 - Journal of Philosophy 77 (1):5-28.
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  5. Hume's Standard of Taste: The Real Problem.Jerrold Levinson - 2002 - Journal of Aesthetics and Art Criticism 60 (3):227–238.
  6. 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 ...
  7.  51
    Music, Art, and Metaphysics: Essays in Philosophical Aesthetics.Jerrold Levinson - 1990 - Cornell University Press.
  8. Defining Art Historically.Jerrold Levinson - 1979 - British Journal of Aesthetics 19 (3):21-33.
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  9. Erotic Art and Pornographic Pictures.Jerrold Levinson - 2005 - Philosophy and Literature 29 (1):228-240.
  10. Jokes: Philosophical Thoughts on Joking Matters.Jerrold Levinson - 2002 - Mind 111 (442):380-385.
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  11. Wollheim on Pictorial Representation.Jerrold Levinson - 1998 - Journal of Aesthetics and Art Criticism 56 (3):227-233.
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  12. 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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  13. Refining Art Historically.Jerrold Levinson - 1989 - Journal of Aesthetics and Art Criticism 47 (1):21-33.
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  14. 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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  15. What a Musical Work Is, Again.Jerrold Levinson - 2011 - In Music, Art and Metaphysics. pp. 215-263.
     
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  16. 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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  17. 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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  18.  14
    Truth, Fiction, and Literature: A Philosophical Perspective.Jerrold Levinson - 1997 - Philosophy and Phenomenological Research 57 (4):964-968.
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  19.  9
    An Ontology of Art.Jerrold Levinson - 1992 - Philosophy and Phenomenological Research 52 (1):215-222.
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  20. Pleasure and the Value of Works of Art.Jerrold Levinson - 1992 - British Journal of Aesthetics 32 (4):295-306.
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  21.  56
    Extending Art Historically.Jerrold Levinson - 1993 - Journal of Aesthetics and Art Criticism 51 (3):411-423.
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  22. Artistic Worth and Personal Taste.Jerrold Levinson - 2010 - Journal of Aesthetics and Art Criticism 68 (3):225-233.
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  23. Aesthetic Pursuits: Essays in Philosophy of Art.Jerrold Levinson - 2016 - Oxford University Press.
    Aesthetic Pursuits is a new collection of essays from Jerrold Levinson, one of the most prominent philosophers of art today, focusing on literature, film, and visual art, while addressing issues of humour, beauty, and the emotions. More than half of the essays in the volume are previously unpublished.
     
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  24. 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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  25.  10
    Refining Art Historically.Jerrold Levinson - 1989 - Journal of Aesthetics and Art Criticism 47 (1):21-33.
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  26.  14
    Indication, Abstraction, and Individuation.Jerrold Levinson - 2013 - In Christy Mag Uidhir (ed.), Art and Abstract Objects. Oxford University Press. pp. 49.
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  27. The Pleasures of Aesthetics.Jerrold Levinson - 1998 - Philosophical Quarterly 48 (193):555-556.
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  28.  57
    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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  29. 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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  30. 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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  31. Musical Concerns: Essays in Philosophy of Music.Jerrold Levinson - 2015 - Oxford University Press.
    This volume presents a new collection of essays on music by Jerrold Levinson, one of the most prominent philosophers of art today. The essays are wide-ranging and represent some of the most stimulating work being done within analytic aesthetics. Three of the essays are previously unpublished, and four of them focus on music in the jazz tradition.
     
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  32.  68
    The Particularisation of Attributes.Jerrold Levinson - 1980 - Australasian Journal of Philosophy 58 (2):102 – 115.
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  33. Intrinsic Value and the Notion of a Life.Jerrold Levinson - 2004 - Journal of Aesthetics and Art Criticism 62 (4):319–329.
  34.  61
    The Irreducible Historicality of the Concept of Art.Jerrold Levinson - 2002 - British Journal of Aesthetics 42 (4):367-379.
    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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  35. 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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  36.  68
    Properties and Related Entities.Jerrold Levinson - 1978 - Philosophy and Phenomenological Research 39 (1):1-22.
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  37.  17
    Beauty is Not One: The Irreducible Variety of Visual Beauty.Jerrold Levinson - 2011 - In Elisabeth Schellekens & Peter Goldie (eds.), The Aesthetic Mind: Philosophy and Psychology. Oxford: Oxford University Press. pp. 190-207.
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  38. The Aesthetics of Music.Jerrold Levinson - 2000 - Philosophical Review 109 (4):608.
    As readers of this book will discover, from several disputes with me contained in its pages, Scruton and I are not in accord on a number of matters in the philosophy of music. Notwithstanding that, and more generally the fact that the book is controlled by a phenomenological-idealist perspective on music that I regard as fundamentally misplaced, in my estimation The Aesthetics of Music is the most valuable work to date on the subject of its title, one that addresses that (...)
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  39. The Oxford Handbook of Aesthetics.Jerrold Levinson - 2003 - Tijdschrift Voor Filosofie 65 (3):582-583.
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  40. The Art Circle.Jerrold Levinson - 1987 - Philosophical Review 96 (1):141-146.
  41. Music and Negative Emotions.Jerrold Levinson - 1982 - Pacific Philosophical Quarterly 63 (4):327.
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  42. Music and Negative Emotion.Jerrold Levinson - 1982 - In Jenefer Robinson (ed.), Pacific Philosophical Quarterly. Cornell University Press. pp. 327.
     
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  43.  74
    Narration in Light: Studies in Cinematic Point of View.Jerrold Levinson - 1989 - Journal of Aesthetics and Art Criticism 47 (3):290-292.
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  44. Approach to Aesthetics: Collected Papers on Philosophical Aesthetics.Frank Sibley, John Benson, Betty Redfern, Jeremy Roxbee Cox, Emily Brady & Jerrold Levinson - 2002 - Philosophical Quarterly 52 (207):237-246.
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  45. Aesthetic Supervenience.Jerrold Levinson - 1983 - Southern Journal of Philosophy 22 (S1):93-110.
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  46. 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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  47. Art and Pornography: Philosophical Essays.Hans Maes & Jerrold Levinson (eds.) - 2012 - Oxford University Press UK.
    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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  48. Art and Pornography: Philosophical Essays.Hans Maes & Jerrold Levinson (eds.) - 2012 - Oxford University Press UK.
    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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  49. 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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  50. 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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