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Aesthetic Emotions
Aesthetic emotions are emotions that are felt during aesthetic activity or appreciation. These emotions may be of the everyday variety (such as fear, wonder or sympathy) or may be specific to aesthetic contexts. Examples of the latter include the sublime, the beautiful, and the kitsch. In each of these respects, the emotion usually constitutes only a part of the overall aesthetic experience, but may play a more or less definitive function for that state. Types Visual arts and film The relation between aesthetic emotions and other emotions is traditionally said to rely on the disinterestedness of the aesthetic experience (see Kant especially). Aesthetic emotions do not motivate practical behaviours in the way that other emotions do (such as fear motivating avoidance behaviours). The capacity of artworks to arouse emotions such as fear is a subject of philosophical and psychological research. [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Emotions
Emotions are mental states brought on by neurophysiological changes, variously associated with thoughts, feelings, behavioral responses, and a degree of pleasure or displeasure. There is currently no scientific consensus on a definition. Emotions are often intertwined with mood, temperament, personality, disposition, or creativity. Research on emotion has increased over the past two decades with many fields contributing including psychology, medicine, history, sociology of emotions, and computer science. The numerous theories that attempt to explain the origin, function and other aspects of emotions have fostered more intense research on this topic. Current areas of research in the concept of emotion include the development of materials that stimulate and elicit emotion. In addition, PET scans and fMRI scans help study the affective picture processes in the brain. From a mechanistic perspective, emotions can be defined as "a positive or negative experience that is a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Horror Films
Horror is a film genre that seeks to elicit fear or disgust in its audience for entertainment purposes. Horror films often explore dark subject matter and may deal with transgressive topics or themes. Broad elements include monsters, apocalyptic events, and religious or folk beliefs. Cinematic techniques used in horror films have been shown to provoke psychological reactions in an audience. Horror films have existed for more than a century. Early inspirations from before the development of film include folklore, religious beliefs and superstitions of different cultures, and the Gothic and horror literature of authors such as Edgar Allan Poe, Bram Stoker, and Mary Shelley. From origins in silent films and German Expressionism, horror only became a codified genre after the release of ''Dracula'' (1931). Many sub-genres emerged in subsequent decades, including body horror, comedy horror, slasher films, supernatural horror and psychological horror. The genre has been produc ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Art And Emotion
In psychology of art, the relationship between art and emotion has newly been the subject of extensive study thanks to the intervention of esteemed art historian Alexander Nemerov. Emotional or aesthetic responses to art have previously been viewed as basic stimulus response, but new theories and research have suggested that these experiences are more complex and able to be studied experimentally. Emotional responses are often regarded as the keystone to experiencing art, and the creation of an emotional experience has been argued as the purpose of artistic expression. Research has shown that the neurological underpinnings of perceiving art differ from those used in standard object recognition. Instead, brain regions involved in the experience of emotion and goal setting show activation when viewing art. Basis for emotional responses to art Evolutionary ancestry has hard-wired humans to have affective responses for certain patterns and traits. These predispositions lend themselves ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Eduard Hanslick
Eduard Hanslick (11 September 18256 August 1904) was an Austrian music critic, aesthetician and historian. Among the leading critics of his time, he was the chief music critic of the ''Neue Freie Presse'' from 1864 until the end of his life. He was a conservative critic and championed absolute music over programmatic music for much of his career. As such, he sided with and promoted the faction of Robert Schumann and Johannes Brahms in the so-called "War of the Romantics", often deriding the works of composers such as Franz Liszt and Richard Wagner. His best known work, the 1854 treatise ''Vom Musikalisch-Schönen'' (''On the Musically Beautiful''), was a landmark in the aesthetics of music and outlines much of his artistic and philosophical beliefs on music. Biography Hanslick was born in Prague (then in the Austrian Empire), the son of Joseph Adolph Hanslik, a bibliographer and music teacher from a German-speaking family, and one of Hanslik's piano pupils, the daughter of a J ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Johann Wolfgang Von Goethe
Johann Wolfgang von Goethe (28 August 1749 – 22 March 1832) was a German poet, playwright, novelist, scientist, statesman, theatre director, and critic. His works include plays, poetry, literature, and aesthetic criticism, as well as treatises on botany, anatomy, and colour. He is widely regarded as the greatest and most influential writer in the German language, his work having a profound and wide-ranging influence on Western literary, political, and philosophical thought from the late 18th century to the present day.. Goethe took up residence in Weimar in November 1775 following the success of his first novel, ''The Sorrows of Young Werther'' (1774). He was ennobled by the Duke of Saxe-Weimar, Karl August, in 1782. Goethe was an early participant in the ''Sturm und Drang'' literary movement. During his first ten years in Weimar, Goethe became a member of the Duke's privy council (1776–1785), sat on the war and highway commissions, oversaw the reopening of silver min ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Wagner
Wilhelm Richard Wagner ( ; ; 22 May 181313 February 1883) was a German composer, theatre director, polemicist, and conductor who is chiefly known for his operas (or, as some of his mature works were later known, "music dramas"). Unlike most opera composers, Wagner wrote both the libretto and the music for each of his stage works. Initially establishing his reputation as a composer of works in the romantic vein of Carl Maria von Weber and Giacomo Meyerbeer, Wagner revolutionised opera through his concept of the ''Gesamtkunstwerk'' ("total work of art"), by which he sought to synthesise the poetic, visual, musical and dramatic arts, with music subsidiary to drama. He described this vision in a series of essays published between 1849 and 1852. Wagner realised these ideas most fully in the first half of the four-opera cycle ''Der Ring des Nibelungen'' (''The Ring of the Nibelung''). His compositions, particularly those of his later period, are notable for their complex textures, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Brahms
Johannes Brahms (; 7 May 1833 – 3 April 1897) was a German composer, pianist, and conductor of the mid-Romantic period. Born in Hamburg into a Lutheran family, he spent much of his professional life in Vienna. He is sometimes grouped with Johann Sebastian Bach and Ludwig van Beethoven as one of the "Three Bs" of music, a comment originally made by the nineteenth-century conductor Hans von Bülow. Brahms composed for symphony orchestra, chamber ensembles, piano, organ, violin, voice, and chorus. A virtuoso pianist, he premiered many of his own works. He worked with leading performers of his time, including the pianist Clara Schumann and the violinist Joseph Joachim (the three were close friends). Many of his works have become staples of the modern concert repertoire. Brahms has been considered both a traditionalist and an innovator, by his contemporaries and by later writers. His music is rooted in the structures and compositional techniques of the Classical masters. Embe ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Program Music
Program music or programatic music is a type of instrumental art music that attempts to musically render an extramusical narrative. The narrative itself might be offered to the audience through the piece's title, or in the form of program notes, inviting imaginative correlations with the music. A well-known example is Sergei Prokofiev's ''Peter and the Wolf''. The genre culminates in the symphonic works of Richard Strauss that include narrations of the adventures of Don Quixote, ''Till Eulenspiegel'', the composer's domestic life, and an interpretation of Nietzsche's philosophy of the Übermensch. Following Strauss, the genre declined and new works with explicitly narrative content are rare. Nevertheless the genre continues to exert an influence on film music, especially where this draws upon the techniques of 19th-century late romantic music. Similar compositional forms also exist within popular music, including the concept album and rock opera. The term is almost exclusive ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Absolute Music
Absolute music (sometimes abstract music) is music that is not explicitly 'about' anything; in contrast to program music, it is non- representational.M. C. Horowitz (ed.), ''New Dictionary of the History of Ideas'', , vol.1, p. 5 The idea of absolute music developed at the end of the 18th century in the writings of authors of early German Romanticism, such as Wilhelm Heinrich Wackenroder, Ludwig Tieck and E. T. A. Hoffmann but the term was not coined until 1846 where it was first used by Richard Wagner in a programme to Beethoven's Ninth Symphony. The aesthetic ideas underlying absolute music derive from debates over the relative value of what was known in the early years of aesthetic theory as the fine arts. Kant, in his '' Critique of Judgment'', dismissed music as "more a matter of enjoyment than culture" and "less worth in the judgement of reason than any other of the fine arts" because of its lack of conceptual content, thus treating as a deficit the very feature of music ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Philosophy Of Music
Philosophy of music is the study of "fundamental questions about the nature of music and our experience of it".Andrew Kania,The Philosophy of Music, ''The Stanford Encyclopedia of Philosophy'', Spring 2014 edition, edited by Edward N. Zalta. The philosophical study of music has many connections with philosophical questions in metaphysics and aesthetics. The expression was born in the 19th century and has been used especially as the name of a discipline since the 1980s.Daniel Martín Sáez,The Expression »Philosophy of Music«. A Brief History and Some Philosophical Considerations, ''International Review of the Aesthetics and Sociology of Music'', vol. 52, nº 2 (December 2021), pp. 203-220. Some basic questions in the philosophy of music are: * What is the definition of music? (what are the necessary and sufficient conditions for classifying something as music?) * What is the relationship between music and mind? * What is the relationship between music and language? * What does mu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Melodrama
A modern melodrama is a dramatic work in which the plot, typically sensationalized and for a strong emotional appeal, takes precedence over detailed characterization. Melodramas typically concentrate on dialogue that is often bombastic or excessively sentimental, rather than action. Characters are often flat, and written to fulfill stereotypes. Melodramas are typically set in the private sphere of the home, focusing on morality and family issues, love, and marriage, often with challenges from an outside source, such as a "temptress", a scoundrel, or an aristocratic villain. A melodrama on stage, filmed, or on television is usually accompanied by dramatic and suggestive music that offers cues to the audience of the drama being presented. In scholarly and historical musical contexts, ''melodramas'' are Victorian dramas in which orchestral music or song was used to accompany the action. The term is now also applied to stage performances without incidental music, novels, films, tel ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tragedies
Tragedy (from the grc-gre, τραγῳδία, ''tragōidia'', ''tragōidia'') is a genre of drama based on human suffering and, mainly, the terrible or sorrowful events that befall a main character. Traditionally, the intention of tragedy is to invoke an accompanying catharsis, or a "pain hatawakens pleasure", for the audience. While many cultures have developed forms that provoke this paradoxical response, the term ''tragedy'' often refers to a specific tradition of drama that has played a unique and important role historically in the self-definition of Western civilization. That tradition has been multiple and discontinuous, yet the term has often been used to invoke a powerful effect of cultural identity and historical continuity—"the Greeks and the Elizabethans, in one cultural form; Hellenes and Christians, in a common activity," as Raymond Williams puts it. From its origins in the theatre of ancient Greece 2500 years ago, from which there survives only a fract ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
