DEEPER THAN REASON JENEFER ROBINSON PDF

Deeper than Reason takes the insights of modern psychological and Robinson begins by laying out a theory of emotion, one that is. This book sets out to examine the role of emotion in both the construction and reception of art. It begins by a survey of recent theories of emotion and then. Jenefer Robinson. · Rating details · 21 ratings · 3 reviews. Deeper than Reason takes the insights of modern scientific research on the emotions and uses.

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Jazzercise effects are produced, she thinks, through a kind reson contagion, not only occurring outside of conscious awareness but also outside of the automatic affective mechanisms that produce bona fide emotions. Affective appraisal of stimulus e. Neo Modernist Voices Emotion and Its Role in Literature, Music, and Art is a remarkable book, with a wide scope and a clear, compelling main thesis.

Peter Freund marked it as to-read Sep 20, Along the way, she also offers compelling solutions to some traditional topics that have been much written about, such tyan the so-called “paradox of fiction,” according to which it would be irrational for a reader to feel anything towards a fictional character.

This allows her to bring a more scientific answer to the old question of how literature can generate pleasure from painful material.

2007.06.03

Jenefe by Jenefer Robinson. No trivia or quizzes yet. Norah marked it as to-read Aug 04, Darren Pereira rated it liked it May 10, Part of her accomplishment here is to present a more plausible interpretation of Collingwood than most philosophers are familiar with and then to defend a modest version of his claim that works of art can express the artist’s emotion.

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Laying out a theory of emotion supported by the best evidence from current empirical work, she examines some of the ways in which the emotions function in the arts. The main argument of the third part is a defense and modification of Collingwood’s theory of artistic expression.

Emotions are not states, but processes. Part Two examines the role of the emotions in understanding literature, especially the great realistic novels of the 19th century. Emotion in Literature 4. From the Publisher via CrossRef no proxy Setup an account with your affiliations in order to access resources via your University’s proxy server Configure custom proxy use this if your affiliation does not provide a proxy.

An interview with Mike Weaver [Full text]. Robinson’s view will strike some readers as similar to Jesse Prinz’s; his book Gut Reactions was published slightly before Robinson’s.

Lists with This Book. This is shown in the final column, which represents what Robinson calls “the jazzercise effect. Matt marked it as to-read May 28, End Matter Bibliography Index. When Robinson argues that readers of fiction do experience emotions, she does so by offering evidence that their bodies undergo physiological changes typical of emotion. If we form a cognitive judgment that appropriately correlates with an affective appraisal that would normally form the core of an emotion, and yet we do not have the corresponding physiological response, then Robinson concludes that our emotion is not “bona fide” Emotion as Process II.

But it is not the case that if one has the physiological changes typical reaon a certain emotion type, then one must have had an affective appraisal of that type. Pavel is currently reading it Oct 14, Histoire et culture visuelle des Etats-Unis [Full text].

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Robinson goes on to emphasize the fluid nature of emotions: Affective appraisals and corresponding physiological changes tend to bring us ghan of the imagination and into our own physical environment. It is argued that such works need to be experienced emotionally if they are to be properly understood.

Higgins – – Mind Stirrings of the Blood 3.

Deeper than Reason: Emotion and its Role in Literature, Music, and Art – Oxford Scholarship

Noa Iacob marked it as to-read Nov 04, I hope that Robinson’s book will encourage other philosophers to make use of both robineon humanistic and scientific resources essential to the serious philosophical study of art and emotion. Gobinson begins by laying out a theory of emotion, one that is supported by the best evidence from current empirical work on emotions, and then in the light of this theory examines some of the ways in which the emotions function in the arts.

If anything, it seems that a strong physiological change produced by an emotion would be likely to direct the reader’s attention to the environment outside the novel. Music and the Emotions