The irreducible historicality of the concept of art -- Artworks as artifacts -- Emotion in response to art -- Elster on artistic creativity -- Sound, gesture, space, and the expression of emotion in music -- Musical expressiveness as hearability-as-expression -- Nonexistent artforms and the case of visual music -- Music as narrative and music as drama -- Film music and narrative agency -- Evaluating music -- Musical thinking -- Musical chills -- Wollheim on pictorial representation -- What is erotic art? -- Erotic art and pornographic pictures -- Two notions of interpretation -- Who's afraid of a paraphrase? -- Hypothetical intentionalism : statement, objections, and replies -- Aesthetic properties, evaluative force, anddifferences of sensibility -- What are aesthetic properties? -- Schopenhauer's aesthetics -- Hume's Standard of taste : the real problem -- The concept of humor -- Intrinsic value and the notion of a life
Includes bibliographical references and index
'Contemplating Art' is a compendium of writings by one of the leading figures in aesthetics, Jerrold Levinson. The 24 essays range over issues in general aesthetics and those relating to specific arts - in particular music, film, and literature
Verlag:
Oxford University Press, Oxford
;
ProQuest, Ann Arbor, Michigan
Contemplating Art is a compendium of writings from the last ten years by one of the leading figures in aesthetics, Jerrold Levinson. The book contains twenty-four essays and is divided into seven parts. The first is about issues relating to art in...
mehr
Contemplating Art is a compendium of writings from the last ten years by one of the leading figures in aesthetics, Jerrold Levinson. The book contains twenty-four essays and is divided into seven parts. The first is about issues relating to art in general, not specific to one art form. The second and longest part of the book is about philosophical problems specific to music. The third part focuses on pictorial art, and the fourth on interpretation, in particular the interpretation of literature and literary language. In the remaining parts of the book Levinson discusses aesthetic properties, issues in historical aesthetics, humour, and intrinsic value. These lively essays, rigorous but accessible, will appeal not only to philosophers but also to musicologists, literary theorists, art critics, and reflective lovers of the arts.
