'Blotting-Book Mind': Stratigraphic Approaches to Interdisciplinary Reading And
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Art and Emotions1
International Journal of Applied Psychoanalytic Studies Int. J. Appl. Psychoanal. Studies 10(2): 100–107 (2013) Published online in Wiley Online Library (wileyonlinelibrary.com) DOI: 10.1002/aps.1352 Art and Emotions1 PINCHAS NOY AND DORIT NOY-SHARAV ABSTRACT The article explores the different routes by which art, and especially music conveys and arouses emotions. Apart from the three formerly discussed routes: the narrative route of narration-identification, the direct route of isomorphism and the indirect route of ego mastery, a fourth route is presented, based on the emotions produced by the listener himself as the result of his active attempt to process the musical input in his mind. This is a “Meta emotion” reflecting the sum-total of all the disparate and opposing emotions conveyed or aroused by means of the other three routes. The point is made that the assimilation of classical polyphonic music, demands an active effort on the part of the listener. The same is true of other higher rank arts, each one of which has developed its specific means to transmit a wide spectrum of diverse emotions simultaneously. Attached to this challenge, there is the promise of earning a new experience – a Meta-emotion emanating from the ability to integrate the contrarieties inside us. Copyright © 2013 John Wiley & Sons, Ltd. Key words: aesthetic experience, polyphonic music, artistic enjoyment, emotional response, creativity, perfect form in art, art and emotions In a former paper “How Music Convey Emotions” (Noy, 1993) I presented three different routes by which the artist may succeed in evoking in his or her audience an emotional response. -
Cause and Affect War Art and Emotion
Canadian Military History Volume 21 Issue 1 Article 5 2015 Cause and Affect War Art and Emotion Laura Brandon Follow this and additional works at: https://scholars.wlu.ca/cmh Part of the Military History Commons Recommended Citation Laura Brandon "Cause and Affect War Art and Emotion." Canadian Military History 21, 1 (2015) This Canadian War Museum is brought to you for free and open access by Scholars Commons @ Laurier. It has been accepted for inclusion in Canadian Military History by an authorized editor of Scholars Commons @ Laurier. For more information, please contact [email protected]. : Cause and Affect War Art and Emotion Cause and Affect War Art and Emotion Laura Brandon ine years ago, I completed a which you bring things you know is a well-known Toronto-based Nhistory PhD here at Carleton and have experienced emotionally artist. She began painting military University. My thesis was published and with which through a dialogue subjects in the aftermath of the 1990 in 2006 as Art or Memorial? The with the artwork, its interpreters, to 1991 Gulf War and, 20 years later, Forgotten History of Canada’s War and other viewers you not only military portraiture remains at the Art.1 Influenced by the then relatively enrich your own understanding of heart of her practice. Her approach new memory theories, especially what you already recognize or have combines a certain accuracy of detail those pertaining to monuments as knowledge of emotionally but you born of her interest in historical “sites of memory,” I argued that also contribute to the emotional documentation combined with the through the act of looking, whether understanding of others. -
Some Psychoanalytical Meanings of the Skin in the Book of Job
Verbum et Ecclesia ISSN: (Online) 2074-7705, (Print) 1609-9982 Page 1 of 8 Original Research Some psychoanalytical meanings of the skin in the book of Job Author: Traditionally, there has been a tension between psychology and religion because of the 1 Pieter van der Zwan Freudian critique of religion. This research intends to show that a deeper understanding of Affiliation: religion leading hopefully to an even deeper religiosity can be achieved by studying bodily 1Department of Old features portrayed in a (religious) text from a psychoanalytic perspective. Just as any literary Testament Studies, University character can be ‘psychoanalysed’ to produce new perspectives on it and on the narrative as a of Pretoria, South Africa whole, the personality of Job invites the postmodern reader to continue understanding this Corresponding author: book on new levels. From this approach, it becomes clear that the protagonist struggles with Pieter van der Zwan, boundaries and individuation because of his depressive tendencies experienced in issues with [email protected] reality’s harsh touch, nakedness and distance. Dates: Intradisciplinary and/or interdisciplinary implications: Just as any literary character can be Received: 09 May 2016 ‘psychoanalysed’ to produce new perspectives on it and on the narrative as a whole, the Accepted: 01 Aug. 2017 Published: 21 Sept. 2017 personality of Job invites the postmodern reader to continue understanding this book on new levels. From this approach, it becomes clear that the protagonist struggles with boundaries How to cite this article: and individuation because of his depressive tendencies experienced in issues with reality’s Van der Zwan, P., 2017, ‘Some harsh touch, nakedness and distance. -
This Electronic Thesis Or Dissertation Has Been Downloaded from the King’S Research Portal At
This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ Inimitable? The Afterlives and Cultural Memory of Charles Dickens’s Characters England, Maureen Bridget Awarding institution: King's College London The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 08. Oct. 2021 1 INIMITABLE? THE AFTERLIVES AND CULTURAL MEMORY OF CHARLES DICKENS’S CHARACTERS Maureen Bridget England King’s College London Candidate Number: 1233164 Thesis for PhD in English Literature 2 This paper is dedicated to the two doctors in my life who inspired me to pursue this dream: Martin England and Jenna Higgins 3 ‘Any successfully evoked character, no matter how apparently insignificant, stands a good chance of surviving its creator.’ David Galef, The Supporting Cast (1993) 4 Table of Contents TABLE OF CONTENTS ........................................................................................................ -
The Distancing-Embracing Model of the Enjoyment of Negative Emotions in Art Reception
BEHAVIORAL AND BRAIN SCIENCES (2017), Page 1 of 63 doi:10.1017/S0140525X17000309, e347 The Distancing-Embracing model of the enjoyment of negative emotions in art reception Winfried Menninghaus1 Department of Language and Literature, Max Planck Institute for Empirical Aesthetics, 60322 Frankfurt am Main, Germany [email protected] Valentin Wagner Department of Language and Literature, Max Planck Institute for Empirical Aesthetics, 60322 Frankfurt am Main, Germany [email protected] Julian Hanich Department of Arts, Culture and Media, University of Groningen, 9700 AB Groningen, The Netherlands [email protected] Eugen Wassiliwizky Department of Language and Literature, Max Planck Institute for Empirical Aesthetics, 60322 Frankfurt am Main, Germany [email protected] Thomas Jacobsen Experimental Psychology Unit, Helmut Schmidt University/University of the Federal Armed Forces Hamburg, 22043 Hamburg, Germany [email protected] Stefan Koelsch University of Bergen, 5020 Bergen, Norway [email protected] Abstract: Why are negative emotions so central in art reception far beyond tragedy? Revisiting classical aesthetics in the light of recent psychological research, we present a novel model to explain this much discussed (apparent) paradox. We argue that negative emotions are an important resource for the arts in general, rather than a special license for exceptional art forms only. The underlying rationale is that negative emotions have been shown to be particularly powerful in securing attention, intense emotional involvement, and high memorability, and hence is precisely what artworks strive for. Two groups of processing mechanisms are identified that conjointly adopt the particular powers of negative emotions for art’s purposes. -
The Emotions and the Arts in Nineteenth-Century English Literature
GENERAL TOPIC: The Emotions and the Arts in Nineteenth-century English Literature SPECIFIC THEME: Literary Representations of the Emotions in the Arts Principal Researcher: Paula Alexandra Guimarães Centre for Humanistic Studies (University of Minho) Introductory Remarks Although generated by neurobiological processes, emotions (pathe, affectus) also consist in a process of appraisal and individual judgement, which depends on social and cultural norms and individual proclivities. As they heavily influence social relations and the behaviour of individuals and groups, emotions are socially relevant and, consequently, subject to scrutiny, judgement, and normative intervention. They fulfil social functions and follow social rules. Hence, they are potentially subject to change and are shaped by the society in which they operate. Although it can be argued that emotions are a universal phenomenon, they do have a history and are a very important subject of historical research. This applies both to emotions closely connected with socio-cultural norms (e.g. friendship, pity, honour, shame, pride) and to ‘basic emotions’ (e.g. fear, hope, joy, grief, disgust, despair, love, lust, envy). Emotions are important both as subject and as background of textual sources. Most (if not all) textual and pictorial sources at our disposal are directly or indirectly generated by emotions, display emotions or aim to arouse emotions. Admittedly, the emotional background is more evident and significant in some sources than in others. The study of the emotions is an emergent interdisciplinary ×eld, which means that scholars from different disciplines (mainly literature, history, philosophy and cultural geography) are interested in the subject, and come together to work out how to discuss it. -
Etherology, Or, the Philosophy of Mesmerism
TUFTS COLLEGE Tufts College Library « PHRENOLOG1.0AL BUST. See Page 164. • E THEE 0 LOG Y; OR, THE PHILOSOPHY OF MESMERISM . AND PHRENOLOGY: INCLUDING A NEW PHILOSOPHY OF SLEEP AND OF CONSCIOUSNESS, WITH A REVIEW OF THE PRETENSIONS OF NEUROLOGY AND PHRENO-MAGNETISM BY J. STANLEY GRIMES, COUNSELLOR AT LAW, FORMERLY PRESIDENT OF THE WESTERN PHRENOLOGICAL SOCIETY, PROFESSOR OF MEDICAL JURISPRUDENCE IN THE CASTLETON MEDICAL COLLEGE AND AUTHOR OF 4 A NEW SYSTEM OF PHRENOLOGY.' All the known phenomena of the universe may he referred to three general princi- ples, viz.: Matter, Motion, and Consciousness.—p. 17. NEW YORK: SAXTON AND MILES, NO. 205 BROADWAY PHILADELPHIA :-J AMES M. CAMPBELL. BOSTON I SAXTON, PEIRCE & CO. 1845. year by Entered according to Act of Congress, in the 1845, J. STANLEY GRIMES, the Southern District In the Clerk's Office of the District Court of of New York. 1 i m CONTENTS. SECTION I. page. SYNOFSIS OF ETHEROLOGY . 17 SECTION II. HISTORY OF ETHERIUM ..... 39 Ignorance of the Ancients concerning the causes of Ethe- rean Phenomena — Witchcraft — Divination — Magic — Discoveries which led to a Scientific Knowledge of Ethe- ropathy—Van Helmot—Mesmer—His Career—D'Eslon —Adverse Report of the French Commissioners—Foissac and the Academy of Medicine—Their favorable report —Gall—La Place. SECTION III. NATURE OF ETHERIUM ..... 75 Theory of Light—Of Heat—Of Electricity—Of Magnetism— Of Gravitation—Newton's Conjecture—Rev. Mr. Town- shend on the Mesmeric Medium—Sunderland's Notions —Animal Electricity—Experiments of Crosse—Electric Fishes. SECTION IV. OXYGEN ........ 127 SECTION V. PHILOSOPHY OF SLEEP 130 Liebig's Error. -
Oxford Scholarship Online
The Arts, Emotion, and Evolution University Press Scholarship Online Oxford Scholarship Online Aesthetics and the Sciences of Mind Greg Currie, Matthew Kieran, Aaron Meskin, and Jon Robson Print publication date: 2014 Print ISBN-13: 9780199669639 Published to Oxford Scholarship Online: September 2014 DOI: 10.1093/acprof:oso/9780199669639.001.0001 The Arts, Emotion, and Evolution Noël Carroll DOI:10.1093/acprof:oso/9780199669639.003.0009 Abstract and Keywords In this chapter, Carroll attempts to defend the view that art is an adaptation on that grounds that by means of provoking contagious emotions it promotes fellow feeling and thereby abets social cohesion. Keywords: art and emotion, evolution, emotional contagion, Leo Tolstoy, function of art, group selection, origin of art 8.1 Introduction In the opening chapters of What is Art?, Tolstoy comments at length—and often satirically —on the vast investment of resources and labour that went into the production of the art of his day. He writes: For the production of every ballet, circus, opera, operetta, exhibition, picture, concert or printed book, the intense and unwilling labor of thousands of people is Page 1 of 24 PRINTED FROM OXFORD SCHOLARSHIP ONLINE (www.oxfordscholarship.com). (c) Copyright Oxford University Press, 2015. All Rights Reserved. Under the terms of the licence agreement, an individual user may print out a PDF of a single chapter of a monograph in OSO for personal use (for details see http://www.oxfordscholarship.com/page/privacy-policy). Subscriber: CUNY Graduate Center; date: 22 July 2015 The Arts, Emotion, and Evolution needed at what is often harmful and humiliating work. -
¬タワhow Does This Artwork Make You Feel?¬タン a ¬タワno-No¬タン
“How Does This Artwork Make You Feel?” A “No-No” Question in Art Museum Education? Olga M. Hubard The Journal of Aesthetic Education, Volume 49, Number 2, Summer 2015, pp. 82-98 (Article) Published by University of Illinois Press For additional information about this article https://muse.jhu.edu/article/582500 Access provided by Columbia University (4 Jun 2017 14:33 GMT) “How Does This Artwork Make You Feel?” A “No-No” Question in Art Museum Education? OLGA M. HUBARD “Never ask students how an artwork makes them feel. If the work makes them feel happy, or sad, or whatever, that’s fine, but it’s not our concern as educators.” This is advice I received years ago when I became a museum educator and was learning to facilitate group dialogues about works of art. Group dialogues have become central to art museum education over the last two decades. Distinct from traditional lectures, these dialogues involve extended viewing sessions where, guided by an educator, visitors observe individual artworks closely, share insights and impressions, and ultimately make meaning of the works for themselves.1 “What we care about as educators is how spectators are learning to think,” my instructor added, “not about their emotions, which are subjective.” My instructor suggested that, instead of asking spectators how works of art made them feel, educators should ask, “What emotion does this artwork suggest?” followed by, “What do you see that makes you say that?” These questions, she explained, would shift the focus away from the viewers’ subjective emotional states and direct them toward the objective traits of the artwork. -
The Impact of Vision Theories on Late Nineteenth-Century Victorian Literature
University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2019 Concerning the Perceptive Gaze: The Impact of Vision Theories on Late Nineteenth-Century Victorian Literature Lindsay Rushworth University of Central Florida Part of the English Language and Literature Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Rushworth, Lindsay, "Concerning the Perceptive Gaze: The Impact of Vision Theories on Late Nineteenth- Century Victorian Literature" (2019). Electronic Theses and Dissertations, 2004-2019. 6420. https://stars.library.ucf.edu/etd/6420 CONCERNING THE PERCEPTIVE GAZE: THE IMPACT OF VISION THEORIES ON LATE NINTEENTH-CENTURY VICTORIAN LITERATURE by LINDSAY RUSHWORTH B.A. University of Florida, 2012 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Department of English in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Spring Term 2019 ABSTRACT This thesis examines two specific interventions in vision theory—namely, Herbert Spencer’s theory of organic memory, which he developed by way of Lamarckian genetics and Darwinian evolution in A System of Synthetic Philosophy (1864), and the Aesthetic Movement (1870s–1890s), famously articulated by Walter Pater in The Renaissance: Studies in Art and Poetry (1873 and 1893). I explore the impact of these theories on late nineteenth-century fiction, focusing on two novels: Thomas Hardy’s Two on a Tower (1882) and Edith Johnstone’s A Sunless Heart (1894). -
The Resurrection of Jesus: a Clinical Review of Psychiatric Hypotheses for the Biblical Story of Easter
Scholars Crossing LBTS Faculty Publications and Presentations 2015 The Resurrection of Jesus: A Clinical Review of Psychiatric Hypotheses for the Biblical Story of Easter Joseph Bergeron Gary R. Habermas Liberty University, [email protected] Follow this and additional works at: https://digitalcommons.liberty.edu/lts_fac_pubs Part of the Christianity Commons, and the Religious Thought, Theology and Philosophy of Religion Commons Recommended Citation Bergeron, Joseph and Habermas, Gary R., "The Resurrection of Jesus: A Clinical Review of Psychiatric Hypotheses for the Biblical Story of Easter" (2015). LBTS Faculty Publications and Presentations. 402. https://digitalcommons.liberty.edu/lts_fac_pubs/402 This Article is brought to you for free and open access by Scholars Crossing. It has been accepted for inclusion in LBTS Faculty Publications and Presentations by an authorized administrator of Scholars Crossing. For more information, please contact [email protected]. The Resurrection of Jesus: a Clinical Review of Psychiatric Hypotheses for the Biblical Story of Easter Joseph W. Bergeron, M.D. and Gary R. Habermas, Ph.D.1 ABSTRACT Jesus’ resurrection to bodily life after death by crucifixion is foundational to orthodox Christianity. The disciples had encounters with Jesus after his crucifixion which caused them to believe he had been bodily resurrected to life again. Psychiatric hypotheses have been proposed as naturalistic explanations for his disciples’ beliefs, which include hallucinations, conversion disorder, and bereavement experiences. Since they propose hallucinatory symptoms that suggest the presence of underlying medical pathology, clinical appraisal of these hypotheses for the disciples’ encounters with the resurrected Jesus is warranted. Psychiatric hypotheses for the disciples’ belief in Jesus’ resurrection are found to be inconsistent with current medical understanding and do not offer plausible explanations for the biblical story of Easter. -
Society in the First World War
Caroline E. Playne Society in the First World War The Pre-War Mind in Britain Society at War 1914-1916 Britain Holds On 1917, 1918 The Neuroses of the Nations GogLiB ebooks ISBN: 9788897527428 First edition: March 2018 (A) Copyright © GogLiB , March 2018 www.goglib.com All rights reserved. 1 Contents FOREWORD: CAROLINE PLAYNE, PACIFIST AND SOCIAL ANTHROPOLOGIST A Tetralogy on the First World War The Vision of the Problem of War Some Implicit Postulates Sources on Caroline Playne Note to the 2018 electronic edition PW - THE PRE-WAR MIND IN BRITAIN PW - Original title page PW - PREFACE PW - INTRODUCTION PW - CHAPTER I - A GENERATION IN A HURRY PW - CHAPTER II - PANICS AND THE PRESS PW - CHAPTER III - THE TEACHING OF MILITARISM PW - CHAPTER IV - THE EARLIER IMPERIALISM PW - CHAPTER V - THE LATER IMPERIALISM PW - CHAPTER VI - IMPERIALIST MOODS PW - CHAPTER VII - ANGLO-GERMAN ANTAGONISM PW - CHAPTER VIII - THE DAYS BEFORE THE FLOOD PW - CHAPTER IX - IN FULLNESS OF TIME PW - CHAPTER X - THE BREAKDOWN PW - CHAPTER XI - THE FATEFUL PLUNGE PW - CHAPTER XII - A SUMMARY AND REACTIONS IN OTHER LANDS PW - CONCLUSION PW - INDEX SW - SOCIETY AT WAR 1914—1916 SW - Original title page SW - PREFACE 2 SW - INTRODUCTION SW - CHAPTER I - “FALLING IN” SW 1.1. War Had Come SW 1.2. Why We Are Fighting SW 1.3. An Appeal Without Precedent SW - CHAPTER II - THE DAY OF IDEALISM SW 2.1. The Idealism of Those Who Went SW 2.2. The Ideal They Pursued SW 2.3. Reactions at Home SW - CHAPTER III - THE CITIZENS’ WAR SW 3.1.