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The Pleasures of Aesthetics: Philosophical Essays (Cornell Paperbacks), by Jerrold Levinson
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Book by Levinson, Jerrold
- Sales Rank: #2086095 in Books
- Brand: Brand: Cornell University Press
- Published on: 1996-04-18
- Original language: English
- Number of items: 1
- Dimensions: 9.05" h x .81" w x 6.09" l, 1.05 pounds
- Binding: Paperback
- 328 pages
- Used Book in Good Condition
Review
"The Pleasures of Aesthetics contains a wealth of detailed argument and presents views that are original and provocative, as well as interesting. With this collection, the importance of Levinson's contribution to philosophical aesthetics is confirmed."―Stephen Davis, Department of Philosophy, University of Auckland, The Journal of Aesthetics and Art Criticism, Vol. 57, No. 3, Summer 1999
Most helpful customer reviews
10 of 11 people found the following review helpful.
A book about Pleasure and the Value of Works of Art
By A Customer
Necessary reading for anyone interested in Aesthetics - Art - Philosophy - Music. JERROLD LEVINSON is Professor of Philosophy at the University of Maryland and has written again a book that promises to become influential.
Perhaps best known for his work as a philosopher of music, Jerrold Levinson is one of the most influential writers in contemporary aesthetics. In this new collection of his essays, music remains a central concern. Four essays are devoted exclusively to, and two others deal extensively with, the philosophy of music. Two major essays (" Musical Expressiveness" and " Work and Oeuvre") have not previously appeared in print, others are revised from their earlier publication.
Levinson takes up issues in the philosophy of art in general as well as issues in particular arts. He focuses on interpretation, understanding, and appreciation of art. Among the topics he considers are the nature of aesthetic pleasure and the relation between pleasure and value in art, the nature of competence in music listening and the manner of its acquistion, the aesthetics of song and opera, and the difference between performers' and critics' interpretations of music.He also addresses the ontology of works of fine art, the role of the writer's intentions and public identity in the interpretation of literature, and the potential of artworks to embody and convey messages.
The author's previous book MUSIC, ART, AND METAPHYSICS was praised as follows by the BRITISH JOURNAL OF AESTHETICS and by MIND: " should be read by anyone with a serious interest in the philosophy of art", and " (this book has) contributed significantltly to the renaissance aesthetics has enjoyed over the last two decades.
His new book merits certainly the same comments!
JAN A. MORTELMANS
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