Art's Emotions

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A01=Damien Freeman
aesthetic philosophy
Affective Appraisals
affective neuroscience
art perception theory
Author_Damien Freeman
Belshazzar's Feast
Belshazzar’s Feast
Category=QDTN
Creature's Emotional Condition
Creature’s Emotional Condition
diff
Discrete Interactions
economy
Elgar's Cello Concerto
Elgar’s Cello Concerto
emotional
emotional cognition
Emotional Economy
Emotional Engagement
emotional response in visual art
eq_isMigrated=1
eq_isMigrated=2
eq_nobargain
erence
erent
experience
expressive behaviour analysis
Expressive Perception
externalized
Externalized Property
Facial Contortion
Good Life
Hadleigh Castle
Heavenly Hurt
Higher Order Ways
Mental Dispositions
moral psychology
Muscular Contortion
Perceiver's Emotion
Perceptual Aspect
Plenty Coups
projective
Projective Properties
properties
Psychological Agent
Vice Versa
ways
Wollheim's Account
Wollheim's Conception
Wollheim's Theory
Wollheim’s Account
Wollheim’s Theory

Product details

  • ISBN 9781844655120
  • Weight: 440g
  • Dimensions: 156 x 234mm
  • Publication Date: 01 Dec 2011
  • Publisher: Taylor & Francis Ltd
  • Publication City/Country: GB
  • Product Form: Paperback
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Despite the very obvious differences between looking at Manet’s Woman with a Parrot and listening to Elgar’s Cello Concerto, both experiences provoke similar questions in the thoughtful aesthete: why does the painting seem to express reverie and the music, nostalgia? How do we experience the reverie and nostalgia in such works of art? Why do we find these experiences rewarding in similar ways? As our awareness of emotion in art, and our engagement with art’s emotions, can make such a special contribution to our life, it is timely for a philosopher to seek to account for the nature and significance of the experience of art’s emotions.

Damien Freeman develops a new theory of emotion that is suitable for resolving key questions in aesthetics. He then reviews and evaluates three existing approaches to artistic expression, and proposes a new approach to the emotional experience of art that draws on the strengths of the existing approaches. Finally, he seeks to establish the ethical significance of this emotional experience of art for human flourishing. Freeman challenges the reader not only to consider how art engages with emotion, but how we should connect up our answers to questions concerning the nature and value of the experiences offered by works of art.

Damien Freeman lectures on ethics and aesthetics at Pembroke College, Cambridge, UK and the Art Gallery of New South Wales, Australia. His book Figuring out Figurative Art (with Derek Matravers) is also published by Routledge.

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