The Pleasures of Aesthetics: Philosophical Essays (Paperback)

by Jerrold Levinson (Author) "When is pleasure in an object properly denominated aesthetic?..." (more)
Key Phrases: New York, Cornell University Press, Interpreting Art (more...)

Product Details

• Paperback: 312 pages
• Publisher: Cornell University Press; First Edition edition (May 1996)
• Language: English
• ISBN-10: 0801482267
• ISBN-13: 978-0801482267
• Product Dimensions: 8.8 x 6 x 0.8 inches
• Shipping Weight: 11.2 ounces (View shipping rates and policies)
• Average Customer Review: 5.0 out of 5 stars See all reviews (1 customer review)
• Amazon.com Sales Rank: #1,894,806 in Books (See Bestsellers in Books)

Customer Reviews

Most Helpful Customer Reviews

9 of 10 people found the following review helpful:

5.0 out of 5 stars A book about Pleasure and the Value of Works of Art, April 22, 1997

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