When we speak, we mean more than we say. In this book Stephen C. Levinson explains some general processes that underlie presumptions in communication.

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 (...) universal characteristics of language are, once we honestly confront the diversity offered to us by the world's 6,000 to 8,000 languages. After surveying the various uses of “universal,” we illustrate the ways languages vary radically in sound, meaning, and syntactic organization, and then we examine in more detail the core grammatical machinery of recursion, constituency, and grammatical relations. Although there are significant recurrent patterns in organization, these are better explained as stable engineering solutions satisfying multiple design constraints, reflecting both cultural-historical factors and the constraints of human cognition.Linguistic diversity then becomes the crucial datum for cognitive science: we are the only species with a communication system that is fundamentally variable at all levels. Recognizing the true extent of structural diversity in human language opens up exciting new research directions for cognitive scientists, offering thousands of different natural experiments given by different languages, with new opportunities for dialogue with biological paradigms concerned with change and diversity, and confronting us with the extraordinary plasticity of the highest human skills. (shrink)

Those aspects of language use that are crucial to an understanding of language as a system, and especially to an understanding of meaning, are the acknowledged concern of linguistic pragmatics. Yet until now much of the work in this field has not been easily accessible to the student, and was often written at an intimidating level of technicality. In this textbook, however, Dr Levinson has provided a lucid and integrative analysis of the central topics in pragmatics - deixis, implicature, presupposition, (...) speech acts, and conversational structure. A central concern of the book is the relation between pragmatics and semantics, and Dr Levinson shows clearly how a pragmatic approach can resolve some of the problems semantics have been confronting and simplifying semantic analyses. The complexity of these issues is not disguised, but the exposition is always clear and supported by helpful exemplification. The detailed analyses of selected topics give the student a clear view of the empirical rigour demanded by the study of linguistic pragmatics, but Dr Levinson never loses sight of the rich diversity of the subject. An introduction and conclusion relate pragmatics to other fields in linguistics and other disciplines concerned with language usage - psychology, philosophy, anthropology and literature. Many students in these disciplines, as well as students of linguistics, will find this a valuable textbook. (shrink)

The Demands of Liberal Education analyses and applies contemporary liberal political theory to certain key problems within the field of educational theory. Levinson examines problems centred around determining appropriate educational aims, content and institutional structure and argues that liberal governments should exercise a much greater control over education than they now do. Combining theoretical with empirical research, this book will interest and provoke scholars, policy makers, educators, parents, and all citizens interested in education politics.

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.

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.

What Is Aesthetic Pleasure? When is pleasure in an object properly denominated aesthetic? The characterization of aesthetic pleasure is something that ...

My goal in this paper 1 is, first, to collect together a number of themes and observations that have usually been kept apart, locked up in their respective disciplines. When these are brought together, some general and far reaching implications become really rather clear. In particular, I want to make a case for the implicit coherence of these themes in the idea that.

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, (...) how different modalities talk to one another, and how language does, or does not, interact with other mental faculties. (shrink)

Public health agencies regularly survey randomly selected anonymous students to track drug use, sexual activities, and other risk behaviors. Students are unidentifiable, but a recent project that i...

Classical cognitive science was launched on the premise that the architecture of human cognition is uniform and universal across the species. This premise is biologically impossible and is being actively undermined by, for example, imaging genomics. Anthropology (including archaeology, biological anthropology, linguistics, and cultural anthropology) is, in contrast, largely concerned with the diversification of human culture, language, and biology across time and space—it belongs fundamentally to the evolutionary sciences. The new cognitive sciences that will emerge from the interactions with the (...) biological sciences will focus on variation and diversity, opening the door for rapprochement with anthropology. (shrink)

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 (...) art be morally enlightening and, if so, how? If a work of art is morally better does that make it better as art? Is morally deficient art to be shunned, or even censored? Do subjects of artworks have rights as to how they are represented? Do artists have duties as artists and duties as human beings, and if so, to whom? How much tension is there between the demands of art and the demands of life? (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Erotic Art and Pornographic PicturesJerrold LevinsonOnly in primitive art, with its urgent need to evoke the sources of fertility, are the phallus and the vulva emphasized, as it were innocently. By ancient Greek and Roman times there already existed the special category of the pornographic—graphic art or writing supposed, like a harlot, or porne, to sexually stimulate.1IAS REGARDS PHILOSOPHICAL ANALYSIS of the opposition between the erotic and the pornographic, (...) there are a number of reasonable goals one might have: to preserve as many considered intuitions about the opposition as possible; to present the opposition in a clearer light than it enjoys when casually invoked; to modestly "sharpen" the standard opposition that either accounts for our experience in this domain more fully, or allows us to organize our thinking about the domain more perspicuously. I hope in this paper to make progress toward some of those goals. Though the scope of the erotic/pornographic opposition goes beyond the visual, my focus here will be the opposition as it exists in the visual sphere, and even more narrowly, in the sphere of images. In addition to preserving and clarifying a distinction between erotic art and pornography, I hope also to make an intelligible place for erotica, as something intermediate between the other two.Here, then, are some intuitions on the erotic and the pornographic: [End Page 228]1. the erotic and the pornographic are both concerned with sexual stimulation or arousal.2. while the term "erotic" is neutral or even approving, the term "pornographic" is pejorative or disapproving.3. while "erotic art" is a familiar, if somewhat problematic, notion, "pornographic art" seems an almost oxymoronic one.4. whereas pornography has a paramount aim, namely, the sexual satisfaction of the viewer, erotic art, even if it also aims at sexual satisfaction on some level, includes other aims of significance.5. whereas we appreciate (or relish) erotic art, we consume (or use) pornography. In other words, our interactions with erotic art and pornography are fundamentally different in character, as reflected in the verbs most appropriate to the respective engagements.In what follows I try to accommodate all of those intuitions. As I will need a distinction invoked in the first of them (between sexual stimulation and sexual arousal) let me spell that out before proceeding. By sexual stimulation I will mean the inducing of sexual thoughts, feelings, imaginings, or desires that would generally be regarded as pleasant in themselves. By sexual arousal I mean the physiological state that is prelude and prerequisite to sexual release, involving in the male, at least, some degree of erection. And by sexual release I mean something that I take it needs no spelling out.How to differentiate erotic art from pornography, and from erotica as well, is of course not the only important philosophical question about erotic art. Here are two others: 1) How is the erotic aspect of erotic art compatible with the disinterested or distanced frame of mind that seems required for aesthetic engagement with or appreciation of a work of visual art? 2) How is the degree of eroticness of a work of erotic art related to its artistic value? I will briefly address those two questions toward the end of the paper, but most of my effort will be devoted to the prior question, that of the differentiation of erotic art, erotica, and pornography.IIHow, then, to effect that differentiation in the domain of visual images to which I have restricted my inquiry? One possibility would [End Page 229] concern the specific kind of response aimed at. Thus, erotic art might be said to involve images intended to sexually stimulate, but also to reward artistic interest; erotica to involve images intended to sexually stimulate but not to reward artistic interest; pornography to involve images intended to sexually arouse in the interests of sexual release. Another possibility would be by the character of the sexual representation involved, so that pornography would involve sexually explicit images, erotic art would involve sexually inexplicit images, and erotica images would be intermediate in their explicitness, irrespective of the ends for which the images were fashioned. A third possibility would be by... (shrink)

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.

Educators and policy makers confront challenging questions of ethics, justice, and equity on a regular basis. Should teachers retain a struggling student if it means she will most certainly drop out? Should an assignment plan favor middle-class families if it means strengthening the school system for all? These everyday dilemmas are both utterly ordinary and immensely challenging, yet there are few opportunities and resources to help educators think through the ethical issues at stake. Drawing on research and methods developed in (...) the Justice in Schools project at the Harvard Graduate School of Education,_ Dilemmas of Educational Ethics_ introduces a new interdisciplinary approach to achieving practical wisdom in education, one that honors the complexities inherent in educational decision making and encourages open discussion of the values and principles we should collectively be trying to realize in educational policy and practice. At the heart of the book are six richly described, realistic accounts of ethical dilemmas that have arisen in education in recent years, paired with responses written by noted philosophers, empirical researchers, policy makers, and practitioners, including Pedro Noguera, Howard Gardner, Mary Pattillo, Andres A. Alonso, Jamie Ahlberg, Toby N. Romer, and Michael J. Petrilli. The editors illustrate how readers can use and adapt these cases and commentaries in schools and other settings in order to reach a difficult decision, deepen their own understanding, or to build teams around shared values. (shrink)

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.

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.

_Teaching in a democracy is challenging and filled with dilemmas that have no easy answers._ For example, how do educators meet their responsibilities of teaching civic norms and dispositions while remaining nonpartisan? _Democratic Discord in Schools_ features eight normative cases of complex dilemmas drawn from real events designed to help educators practice the type of collaborative problem solving and civil discourse needed to meet these challenges of democratic education. Each of the cases also features a set of six commentaries written (...) by a diverse array of scholars, educators, policy makers, students, and activists with a range of political views to spark reflection and conversation. Drawing on research and methods developed in the Justice in Schools project at the Harvard Graduate School of Education (HGSE), _Democratic Discord in Schools_ provides the tools that allow educators and others to practice the deliberative skills they need in order to find reasonable solutions to common ethical dilemmas in politically fraught times. (shrink)

Does aural understanding depend upon reflective awareness of musical architecture or large-scale musical structure? Jerrold Levinson thinks not.

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 (...) philosophy and in the claim that aesthetics is a central area of philosophy. First of all, it is worth noting that, even if the philosophy of art has not played a role in the systems of all the indisputably great philosophers, or even of most of them, it has occupied an important place in the thought of quite a few, among them Plato, Aristotle, Hume, Kant, Schopenhauer, Nietzsche, Hegel and Sartre. And a good number of philosophers of lesser rank—including Croce, Collingwood, Dewey, Bergson, Santayana, Gadamer and, evidently, Schelling, also had a philosophy of art; one finds them perhaps more interested in it than in, say, ethics. Why this natural, even if not inevitable, link between philosophy and art? (shrink)