Search Results

1 - 8 of 8 items :

  • "aesthetic emotion" x
Clear All


Humans know when they themselves experience beauty, even though the term itself has been difficult to define adequately for a variety of reasons. Given this centuries’ old failure to give an adequate definition of beauty, perhaps the time has come to enquire whether the experience of beauty, regardless of its source, can be defined in neural terms.

Arts , 35 (2), 194-213. doi: 10.1177/0276237416683499 Cooper, J. M., & Silvia, P. J. (2009). Opposing art: Rejection as an action tendency of hostile aesthetic emotions. Empirical Studies of the Arts , 27 , 111–128. Cupchik, G. C. (2011). The digitized self in the internet age. Psychology of Aesthetics, Creativity, and the Arts , 5 (4), 318–328. doi: 10.1037/a0024820 Cupchik, G. C. (2016). The aesthetics of emotion: Up the down staircase of the mind-body . Cambridge, UK: Cambridge University Press. Cupchik, G. C., & Gignac, A

). Humor appreciation as an adaptive esthetic emotion. Humor, 19 (1), 1–26. Wolf, A. (2000). Emotional expression online: Gender differences in emoticon use. CyberPsychology & Behavior , 3 (5), 827-833. Zaman, M., Anandarajan, M., & Dai, Q. (2010). Experiencing flow with instant messaging and its facilitating role on creative behaviors. Computers in Human Behavior, 26 (5), 1009–1018.

of lack of artistic force and/or give the impression that he is “plucking the sleeve” of the spectator. The success of the contemporary artist is therefore also standing in his ability to delimit the artistic emotion, the genuine emotion that he has discovered and which he wishes to convey, of the practical emotions of the everyday existence and the general-aesthetic emotions that the spectator of every kind frequently has when coming in contact with art. Objects in the world of performance are essentially nothing else but representations of the existing

comprehension. Plessner chooses to describe it according to the laws of sound. It is our intention to place it in relationship with the perception of meaning, of the unconditional, of Mystery that can be perceived in engaging (implied) vibration, in dazzling joy, in resplendent color of sonorous vibrations of all music and of the Musical Idea. 3. Theology of Experience: Music as language of transcendence 3.1 Proposal for a Theology of Experience of aesthetic emotion that leads to feeling I would like to present very briefly some of the questions that, in my opinion, can

– a metaphysical substrate that makes this theatre inimitable. Vişniec is, as he himself explains, an old-fashioned author, someone who believes with fateful naivety in the power of the word and the message emanating from the aesthetic emotion of a story. His stories (in which the oneiric, the surreal, the nightmare are always infiltrated) contain, beyond appearances, profound messages about the contradictions of the 1918-2018: 100 Years of Theatre Research in Iași 138 contemporary world. Through them, Matei Vişniec often builds a world of

. “Film Cultures”, 73-90. Berne: Peter Lang. Jullier, Laurent. 2014. Alice au pays des travellings. Imaginaire visuel et dispositifs de mediation optique. Écranosphère, 1(Hiver 2014): 1-20. Jullier, Laurent. 2015. L’analyse de séquences. Paris: Armand Colin. Jullier, Laurent. 2016. Le cinéma comme forme de communication floue. Revue française des sciences de l’information et de la communication 9, no.9 (2016): 1-18. Juslin, Patrick N. 2013. From everyday emotions to aesthetic emotions: Towards a unified theory of musical emotions, Physics of Life Reviews, 10

episodic memory associated with the 62 See, for example, the musical emotion concept of melancholy in Barrett (2017: 146; notes 385). 63 For an extensive review of the mechanisms that elicit “everyday” and “aesthetic emotions” in “musical events” based on pattern recognition, see Juslin (2013). His framework, in which the mechanisms of emotion induction are considered “information-processing devices” which utilize the contextual information relevant for future behavior, can be