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Jerrold Levinson
University of Maryland, College Park
  1. What a Musical Work Is.Jerrold Levinson - 1980 - Journal of Philosophy 77 (1):5-28.
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  2. 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. Defining Art Historically.Jerrold Levinson - 1979 - British Journal of Aesthetics 19 (3):21-33.
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  4.  27
    Universals: An Opinionated Introduction.Jerrold Levinson & D. M. Armstrong - 1992 - Philosophical Review 101 (3):654.
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  5.  60
    Music, Art, and Metaphysics: Essays in Philosophical Aesthetics.Jerrold Levinson - 1990 - Cornell 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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  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 ...
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  7. Hume's Standard of Taste: The Real Problem.Jerrold Levinson - 2002 - Journal of Aesthetics and Art Criticism 60 (3):227–238.
  8. Refining Art Historically.Jerrold Levinson - 1989 - Journal of Aesthetics and Art Criticism 47 (1):21-33.
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  9. Erotic Art and Pornographic Pictures.Jerrold Levinson - 2005 - Philosophy and Literature 29 (1):228-240.
  10. Wollheim on Pictorial Representation.Jerrold Levinson - 1998 - Journal of Aesthetics and Art Criticism 56 (3):227-233.
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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. Jokes: Philosophical Thoughts on Joking Matters.Jerrold Levinson - 2002 - Mind 111 (442):380-385.
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  13. 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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  14. 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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  15. 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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  16. What a Musical Work Is, Again.Jerrold Levinson - 2011 - In Music, Art and Metaphysics. pp. 215-263.
     
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  17. Pleasure and the Value of Works of Art.Jerrold Levinson - 1992 - British Journal of Aesthetics 32 (4):295-306.
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  18.  77
    The Particularisation of Attributes.Jerrold Levinson - 1980 - Australasian Journal of Philosophy 58 (2):102 – 115.
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  19.  58
    Extending Art Historically.Jerrold Levinson - 1993 - Journal of Aesthetics and Art Criticism 51 (3):411-423.
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  20.  71
    Properties and Related Entities.Jerrold Levinson - 1978 - Philosophy and Phenomenological Research 39 (1):1-22.
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  21.  11
    An Ontology of Art.Jerrold Levinson - 1992 - Philosophy and Phenomenological Research 52 (1):215-222.
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  22. 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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  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. Artistic Worth and Personal Taste.Jerrold Levinson - 2010 - Journal of Aesthetics and Art Criticism 68 (3):225-233.
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  25.  11
    Refining Art Historically.Jerrold Levinson - 1989 - Journal of Aesthetics and Art Criticism 47 (1):21-33.
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  26.  15
    Truth, Fiction, and Literature: A Philosophical Perspective.Jerrold Levinson - 1997 - Philosophy and Phenomenological Research 57 (4):964-968.
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  27. The Pleasures of Aesthetics.Jerrold Levinson - 1998 - Philosophical Quarterly 48 (193):555-556.
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  28. Music and Negative Emotion.Jerrold Levinson - 1982 - In Jenefer Robinson (ed.), Pacific Philosophical Quarterly. Cornell University Press. pp. 327.
     
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  29.  17
    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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  30.  58
    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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  31. Intrinsic Value and the Notion of a Life.Jerrold Levinson - 2004 - Journal of Aesthetics and Art Criticism 62 (4):319–329.
  32. Music and Negative Emotions.Jerrold Levinson - 1982 - Pacific Philosophical Quarterly 63 (4):327.
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  33. 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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  34. 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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  35.  65
    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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  36. Aesthetic Supervenience.Jerrold Levinson - 1984 - Southern Journal of Philosophy 22 (S1):93-110.
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  37. 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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  38.  20
    Nonexistent Objects.Jerrold Levinson - 1980 - Journal of Aesthetics and Art Criticism 40 (1):96-99.
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  39.  58
    Autographic and Allographic Art Revisited.Jerrold Levinson - 1980 - Philosophical Studies 38 (4):367 - 383.
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  40. The Art Circle.Jerrold Levinson - 1987 - Philosophical Review 96 (1):141-146.
  41. 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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  42.  77
    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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  43. 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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  44.  20
    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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  45.  46
    Hybrid Art Forms.Jerrold Levinson - 1984 - Journal of Aesthetic Education 18 (4):5-14.
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  46.  18
    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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  47. Suffering Art Gladly: The Paradox of Negative Emotions in Art.Jerrold Levinson (ed.) - 2014 - Palgrave/Macmillan.
  48. Messages in Art.Jerrold Levinson - 1995 - Australasian Journal of Philosophy 73 (2):184 – 198.
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  49.  86
    Zemach on Paintings.Jerrold Levinson - 1987 - British Journal of Aesthetics 27 (3):278-283.
  50. 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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