Jerrold Levinson ist Professor für Philosophie, dessen Werk sich mit der Ästhetik der Musik beschäftigt. Er erforscht auch die Suche nach Bedeutung und Ontologie in Film, Kunst und Humor. Seine Schriften untersuchen tiefgreifende Fragen über die Natur der Kunst und unser Verständnis davon.
The collection features twenty-four essays by Jerrold Levinson, a prominent figure in aesthetics, exploring diverse issues in general aesthetics and specific art forms, particularly music, film, and literature. It serves as a valuable resource for philosophers, musicologists, literary theorists, art critics, and anyone with a deep appreciation for the arts, offering insights into the complexities of artistic expression and interpretation over the past decade.
Exploring the paradox of tragedy, this collection of newly composed essays delves into the allure of artworks that evoke negative or difficult emotions. With a blend of historical and contemporary perspectives, the authors examine why audiences are drawn to such pieces, challenging conventional notions of appreciation and emotional response. This thought-provoking work invites readers to reconsider the complexities of art and its impact on human experience.
Jerrold Levinson's new book, Music in the Moment, makes a major contribution to the now flourishing field of philosophy of music. He has a daring thesis about music listening that is going to shake up the experts, and pose for them, and for us all...
The book delves into a specific academic or thematic area, building upon its previous edition published by Cornell University Press in 1990. It likely explores new insights, research, or perspectives relevant to its subject matter, enhancing the reader's understanding of the topic. The updated edition may include contemporary examples or revised theories, making it a valuable resource for scholars and enthusiasts alike.
This volume presents a new collection of essays on music by Jerrold Levinson, one of the most prominent philosophers of art today. The essays are wide- ranging and represent some of the most stimulating work being done within analytic aesthetics. Three of the essays are previously unpublished, and four of them focus on music in the jazz tradition.