123 research outputs found
Deeper than reason : emotion and its role in literature, music, and art /
No full textJenefer Robinson uses modern psychological and neuroscientific research on the emotions to study our emotional involvement with the arts.Originally published: 2005.Includes bibliographical references and index.Part 1. What are Emotions and How Do They Operate? -- 1. Emotions as Judgements -- 2. Boiling of the Blood -- 3. Emotion as Process -- Part 2. Emotion in Literature -- 4. The Importance of Being Emotional -- 5. Puzzles and Paradoxes -- 6. A Sentimental Education -- 7. Formal Devices as Coping Mechanisms -- Part 3. Expressing Emotion in the Arts -- 8. Pouring Forth the Soul -- 9. A New Romantic Theory of Expression -- Part 4. Music and the Emotions -- 10. Emotional Expression in Music -- 11. The Expression of Emotion in Instrumental Music -- 12. Listening with Emotion: How Our Emotions Help Us to Understand Music -- 13. Feeling the Music -- 14. Epilogue.Jenefer Robinson uses modern psychological and neuroscientific research on the emotions to study our emotional involvement with the arts
Can Music Function as a Metaphor of Emotional Life?
No full textOn distinguera les métaphores descriptives des métaphores «structurelles» qui organisent l'ensemble de la composition. Ainsi, on peut écouter un quatuor de Haydn comme s 'il était une conversation : cette métaphore explique la structure ou la forme du quatuor, mais elle révèle aussi les qualités expressives du quatuor : son «esprit», sa «bonhomie. » Ces métaphores «structurelles» font le pont entre le «musical» et l' « extra-musical » — c' est-à-dire, la vie.Robinson Jenefer. Can Music Function as a Metaphor of Emotional Life?. In: Revue Française d'Etudes Américaines, N°86, octobre 2000. Aspects de l'esthétique américaine. pp. 77-89
Planning for the Future: Future Time Orientation and Life Project Scales
No full textProject files are comprised of 1 page pdf and presentation recording in mp4 format.Planning for the Future: International Future Time Orientation and Life Project Scales Author: Smith, Madeleine, Educational Foundations Major and Vinicius Coscioni, University of Coimbra, Portugal Abstract: Throughout the years, extensive research has been done on what influences people’s decisions. What prompts a student to apply to one school over another? Do future goals really influence a student’s academic performance in a class? Researchers have found that psychological future and personal goals play a vital role in an individual’s present behavior, decision making, and self-concept. More specifically, future time orientation (FTO) is the degree to which people’s thoughts of the future influence their present-day actions (Husman & Lens, 1999). Similarly, the theory of Life Project (LP) refers to a set of short to long-term goals that shape self-concept and identity (Little, Salmela-Aro, & Phillips, 2017). This project will develop an International Future Time Orientation Scale and Life Project Scale working in conjunction with research teams in Portugal, Brazil, Spain, the United States, and Uruguay. FTO and LP constructs have recently been created by Portuguese research teams. The remaining research teams will conduct focus groups for construct evaluation. This evaluation will focus on main constructs such as distance, connectedness, and valence from FTO as well as organization, identification, and involvement from LP. The structures of both scales’ factors will be analyzed quantitatively with exploratory and confirmatory factor analysis. The development of reliable international FTO and LP scales are a necessary instrument as they could be applicable to larger populations. Overall, this exciting research focuses on what influences an individual’s decisions and can greatly benefit prospective psychological and educational studies
Expression And Expressiveness In Art
No full textThe concept of expression in the arts is Janus-faced. On the one hand expression is an author-centered notion: many Romantic poets, painters, and musicians thought of themselves as pouring our or ex-pressing their own emotions in their artworks. And on the other hand, expression is an audience-centered notion, the communication of what is expressed by an author to members of an audience. Typically the word “expression” is used for the author-centered aspect of expression as a whole, and the word “expressiveness” is used for the audience-centered aspect, and I shall keep to this usage. In this paper I shall argue that although expression is closely related to expressiveness, the two concepts are distinct and, in particular, expressiveness cannot be analyzed in terms of expression, as has been recently suggested by Stephen Davies and Jerrold Levinson. Nonetheless, the richest examples of expression in the arts involve both expression and expressiveness
Music and drama
No full textEs una traducción de: Music and drama en "Music and meaning", ed. Jenefer Robinson, "Music theory spectrum" 10, pp. 56-73, © 1988 by Music Theory Spectrum.Juan Carlos Lores Gil (traductor)
Robinson and Self-Conscious Emotions : Appreciation beyond (fellow) feeling
No full textJenefer Robinson believes that feelings can play an important role in the critical evaluation of artworks. In this paper, I want to put some pressure on two important notions in her theory: emotional understanding and affective empathy. I will do this by focusing on the nature of self-conscious emotions. My strategy will be, firstly, to demonstrate the difficulty that Robinson’s two-step theory of emotions has in accommodating higher cognitive emotional responses to art. Second, I will discuss how the tight connection to the ‘self’ involved in self-conscious emotions makes it difficult to take the emotional perspective of another person, as empathy requires. From here, I suggest that Peter Goldie’s feeling- towards and his critique of perspective-shifting may give a better understanding of the role of emotions in the appreciation of art, particularly in the case of reflective emotions.</p
Persona (non) grata. Does the absolute music need a narrator?
No full textSome narrative interpreters of absolute music canon — as Jenefer Robinson or Edward T. Cone — tend to perceive it as the symbolic utterance of a virtual musical character. This character, called musical persona, is supposed to have the ability to sustain listener’s interest as characters in literary fi ction do. The explanation for the fact that the piece of music is „powerfully moving” is that it depicts a „musical persona’s psychological drama”. In my paper I want to concentrate on Jenefer Robinson’s infl uential book Deeper than Reason and her conception of musical persona which seems to be highly controversial
Robinson and Self-Conscious Emotions: Appreciation Beyond (Fellow) Feeling
No full textJenefer Robinson believes that feelings can play an important role in the critical evaluation of artworks. In this paper, I want to put some pressure on two important notions in her theory: emotional understanding and affective empathy. I will do this by focusing on the nature of self-conscious emotions. My strategy will be, firstly, to demonstrate the difficulty that Robinson’s two step theory of emotions has in accommodating higher cognitive emotional responses to art. Secondly, I will discuss how the tight connection to the ‘self’ involved in self-conscious emotions makes it difficult to take the emotional perspective of another person as empathy requires. From here, I suggest that Peter Goldie’s feeling-towards and his critique of perspective-shifting may give a better understanding of the role of emotions in the appreciation of art, particularly in the case of reflective emotions. This issue will be explored through a discussion of the expression of autobiographical nostalgia in the work of the avant-garde filmmaker Jonas Mekas
Understanding : moral evaluation and the ethics of imagining
No full textAnalytic ethics often neglects the exploration and appreciation of morality as it is actually practised on a day-to-day basis. But by looking at how, in a practical sense, we are able to interact with others in a morally appropriate way we can construct a compelling picture of what some of our most pervasive obligations are. This thesis takes such an approach through the concept of understanding – understanding essentially taken here to involve those processes involved in detecting and correctly responding to beings typically possessing inherent moral significance. In the first two chapters ‘understanding’ and the understanding approach are themselves explicated, and placed in the context of several other related approaches in the English-speaking tradition – Adam Smith’s Theory of Moral Sentiments, Nel Noddings’ ethics of care and Richard Hare’s preference utilitarianism. This approach is then used to provide us with an alternative idea about what our moral reasoning suggests to be of fundamental ethical significance, and of what kinds of activity morality recommends to us. The activity explored in most detail here is that of engaging with fiction – or more broadly, fictive imaginings. While understanding shows us that fictional characters and events themselves cannot have an inherent moral valence or significance, it also shows us when and how it is possible and appropriate to ethically assess fictive engagement, be it as creator or consumer. This is seen after exploring how and in what ways our moral understanding can be appropriately applied to and exercised by fictions at all, and why fiction should be of particular interest to the understanding agent, looking at the work of Martha Nussbaum, Jenefer Robinson, Peter Lamarque and others on aesthetic cognitivism. Ultimately this leads us to discern a minimal ethical constraint on our interpretation of fiction and art in general, further proving understanding’s usefulness
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