Jerrold Levinson's Aesthetic Pursuits: Essays in Philosophy of Art PDF

By Jerrold Levinson

ISBN-10: 0198767218

ISBN-13: 9780198767213

Jerrold Levinson, probably the most trendy philosophers of artwork this present day, provides a brand new selection of essays, following on from his 4 earlier collections, Music, artwork and Metaphysics (1990), The Pleasures of Aesthetics (1996), Contemplating Art (2006), and Musical Concerns (2015).

Aesthetic Pursuits in particular enhances Levinson's final quantity, Musical Concerns, via accumulating fresh essays no longer interested in track, yet as a substitute targeting literature, movie, and visible paintings, whereas addressing problems with humour, good looks, and the feelings. The essays in Aesthetic Pursuits, that are wide-ranging, will allure strongly to aestheticians, paintings fanatics, and philosophers alike.

The quantity includes seven formerly unpublished essays through Levinson, during which the writer severely engages with impressive modern contributions to aesthetic theory.

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Sample text

In a similar vein Carroll remarks that one might take note of features of Katharine Hepburn’s body, face, speech, and gestures, and see how they fit with the edginess that her film characters are meant to project, “and yet one may take no pleasure, nor suffer any other affect, while doing so. On what grounds would it be denied that this is an aesthetic experience? ”15 Well, it might be a cognitive experience, a perceptual experience, an analytical experience, an informative experience, and so on.

Iseminger, Gary (2005). “The Aesthetic State of Mind,” in M. , Contemporary Debates in Aesthetics and the Philosophy of Art (Blackwell). Kemp, Gary (1999). “The Aesthetic Attitude,” BJA 39. Levinson, Jerrold (1992). “Pleasure, aesthetic,” in D. , Companion to Aesthetics (Blackwell). ”] Levinson, Jerrold (1996). The Pleasures of Aesthetics (Cornell University Press). Levinson, Jerrold (2006). ,” in Contemplating Art (Oxford University Press). Levinson, Jerrold (2008). “Pleasure, aesthetic,” in S.

In other words, what stands in the way of simply identifying aesthetic states of mind and aesthetic experiences? 21  TOWARD AN ADEQUATE CONCEPTION OF AESTHETIC EXPERIENCE Here for future reference is Robert Stecker’s statement of the argument: [C]onsider Jerome and Charles, who are both engaged in the experience of viewing a painting by Picasso. Jerome values the experience for its own sake, which does not preclude him also valuing it for additional benefits that come in its wake. What this specifically does require is that if the benefits could be delivered in some other way, then Jerome would feel that he was still missing out on something he values in missing the experience of the Picasso.

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Aesthetic Pursuits: Essays in Philosophy of Art by Jerrold Levinson


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