A compendium of writings by one of the leading figures in aesthetics. This work contains twenty-four essays, which range over issues in general aesthetics and those relating to specific arts - in particular music, film, and literature. It is useful for philosophers, musicologists, literary theorists, art critics, and reflective lovers of the arts.
A compendium of writings by one of the leading figures in aesthetics. This work contains twenty-four essays, which range over issues in general aesthetics and those relating to specific arts - in particular music, film, and literature. It is useful for philosophers, musicologists, literary theorists, art critics, and reflective lovers of the arts.
Jerrold Levinson is Distinguished Professor of Philosophy at the University of Maryland, College Park. His publications include Music, Art, and Metaphysics (1990), The Pleasures of Aesthetics (1998), and Music in the Moment (1998). He is the editor of The Oxford Handbook of Aesthetics (2003) and co-editor of Aesthetic Concepts (2001). He is Past President of the American Society for Aesthetics and serves on the editorial board of the Journal of Aesthetics. His work is widely anthologized and translated into various languages.
Inhaltsangabe
Introduction Part One. Art 1: The Irreducible Historicality of the Concept of Art 2: Artworks as Artifacts 3: Emotion in Response to Art 4: Elster on Artistic Creativity Part Two. Music 5: Sound, Gesture, Space, and the Expression of Emotion in Music 6: Musical Expressiveness as Hearability-as-Expression 7: Non-existent Artforms and the Case of Visual Music 8: Music as Narrative and Music as Drama 9: Film Music and Narrative Agency 10: Evaluating Music 11: Musical Thinking 12: Musical Chills Part Three. Pictures 13: Wollheim on Pictorial Representation 14: What Is Erotic Art? 15: Erotic Art and Pornographic Pictures Part Four. Interpretation 16: Two Notions of Interpretation 17: Who's Afraid of a Paraphrase? 18: Hypothetical Intentionalism: Statement, Objections, and Replies Part Five. Aesthetic Properties 19: Aesthetic Properties, Evaluative Force, and Differences of Sensibility 20: What Are Aesthetic Properties? Part Six. History 21: The Aesthetics of Schopenhauer 22: Hume's Standard of Taste: The Real Problem Part Seven. Other Matters 23: The Concept of Humour 24: Intrinsic Value and the Notion of a Life
Introduction Part One. Art 1: The Irreducible Historicality of the Concept of Art 2: Artworks as Artifacts 3: Emotion in Response to Art 4: Elster on Artistic Creativity Part Two. Music 5: Sound, Gesture, Space, and the Expression of Emotion in Music 6: Musical Expressiveness as Hearability-as-Expression 7: Non-existent Artforms and the Case of Visual Music 8: Music as Narrative and Music as Drama 9: Film Music and Narrative Agency 10: Evaluating Music 11: Musical Thinking 12: Musical Chills Part Three. Pictures 13: Wollheim on Pictorial Representation 14: What Is Erotic Art? 15: Erotic Art and Pornographic Pictures Part Four. Interpretation 16: Two Notions of Interpretation 17: Who's Afraid of a Paraphrase? 18: Hypothetical Intentionalism: Statement, Objections, and Replies Part Five. Aesthetic Properties 19: Aesthetic Properties, Evaluative Force, and Differences of Sensibility 20: What Are Aesthetic Properties? Part Six. History 21: The Aesthetics of Schopenhauer 22: Hume's Standard of Taste: The Real Problem Part Seven. Other Matters 23: The Concept of Humour 24: Intrinsic Value and the Notion of a Life
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