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The only work of its kind, this exciting collection assembles a number of analytically minded philosophers, psychologists, and literary theorists, all of whom seek to provide fine-grained accounts of critical problems having to do with emotion and art. How best to explain emotions produced by works of art? What goes on when we feel emotion for an abstract art such as music? How is it that we can intelligibly feel emotion for persons and situations that we know are fictional? What is involved in our empathic experience of negative emotion through the art of tragedy? A strongly interdisciplinary volume that captures the richness of current debates about the role of agency in human emotional response, this collection also considers the influence of culture on emotion and demonstrates that cognitivist and social- constructivist perspectives need not be antagonistic and may actually work together in a complementary way. Essays cluster under four rubrics--"The Paradox of Fiction", "Emotion and its Expression through Art", "The Rationality of Emotional Responses to Art", and "The Value of Emotion"--and together they address questions of emotion in film, painting, music, dance, literature, and theater. With new work by leading thinkers in the field of aesthetics, and drawing upon state of the art scholarship from areas such as cognitive science, literary studies, and contemporary ethics, Emotion and the Arts is essential reading for those who study aesthetics, literature, theories of emotion, and the mind.
Jenefer Robinson uses modern psychological and neuroscientific research on the emotions to study our emotional involvement with the arts.
Atlas of Emotion is a highly original endeavour to map a cultural history of spatio-visual arts. In an evocative montage of words and pictures, emphasises that "sight" and "site" but also "motion" and "emotion" are irrevocably connected. In so doing, Giuliana Bruno touches on the art of Gerhard Richter and Annette Message, the film making of Peter Greenaway and Michelangelo Antonioni, the origins of the movie palace and its precursors, and her own journeys to her native Naples. Visually luscious and daring in conception, Bruno opens new vistas and understandings at every turn.
Can a good work of art be evil? 'Art, Ethics, and Emotion' explores this issue, arguing that artworks are always aesthetically flawed insofar as they have a moral defect that is aesthetically relevant. This book will be of interest to anyone who wants to understand the relation of art to morality.
Catalogue published in conjunction with an exhibition held at the Smart Museum of Art, University of Chicago, Feb. 10-June 5, 2011.
In this highly original work, John Ruskan explores the intricacies of feeling-oriented art. He presents radical insights about the nature of the art process that explain exactly what it is that artists do, how they can do it better, and how to make art an essential route to enlightenment through revealing and integrating the personal unconscious. He demystifies artistic manic-depressiveness, clarifying in remarkably simple terms how it forms and how it may be handled and reversed. His original three stages of art provide a road map for those traveling the glorious yet often perilous path of the artist, revealing those perils and how to avoid them. He will enable you to experience art, either as a viewer or creator, as a vital part of your evolutionary advancement.
The author's aim in this study is to show that what experiences of art and emotion have in common and what links them to the expression of emotion in non-artistic cases, is the role played by feeling.
Examining the relationship between emotional intensity and difficulty in works of avant-garde art, Jennifer Doyle seeks to develop a critical language for understanding affectively charged contemporary art.
In this innovative work which combines theory and practice, Suzanne Haeyen explores how art therapy can be useful to people with emotion regulation problems, or ‘personality disorders’, in diagnostic terms. Covering a number of basic themes encountered in clients with personality disorders, it offers insight into the theory behind art therapy techniques and discusses the current state of research in the field. In its second part the author provides a workbook based on aspects of dialectical behavioural therapy skill training developed by Marsha Linehan, including mindfulness, emotion regulation, interpersonal effectiveness and distress tolerance. This section also discusses the use of schema-focused therapy; a method developed by Jeffrey Young, and offers a number of exercises for use in specific practice situations. Alongside summaries of the theory, the author explores the multidisciplinary nature of these therapeutic methods and provides 106 exercises which have been developed in practice. This book offers new ideas and practical tools that will be invaluable to all art therapists working with clients who have difficulties expressing, recognising or coping with their feelings, and who find expressing their feelings through creative work easier than with words.
"[This] is a practical guide to building intentional and inspirational practice time, bringing true artistry to every element of a performance, and developing strong personal communication with an audience. For auadiences, the book explains the vital role of the audience in a performance, revealing to them a new level of involvement and collaboration with the performer and with other members of the audience. ..."--Book jacket.