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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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. Stacia marked it as to-read Sep 04, Artistic and Literary Commitments Clearly, music, as it affects us physiologically, offers the best testing ground for analysing the role of robinosn in art.
The final section of the book takes up some of the most contentious topics in philosophy of art: Her primary goal in this section is to show both that literature requires that we use our emotions in order to understand fobinson, and that literature educates and improves our emotions as well as our ability to cope with them. Hacker – – International Review of Psychiatry 16 3: The relevant “environment” for the reader of Anna Karenina is not the physical space around the reader’s body but rather the thoughts represented by words printed on the page in front of the reader’s eyes.
Feagin – – Philosophy and Literature 31 2: The actual analyses that constitute the bulk of the book were, to my mind, simultaneously thin and tendentious.
If it were possible, would it be an emotion? But it is not the case that if one has the eeason changes typical of a certain emotion type, then one must have had an affective appraisal of that type. But in reading literature, the physiological changes cannot be related to the change of focus in this way.
A third component, a cognitive appraisal, normally follows. The physiological response helps to focus attention on whatever it is that is affectively appraised whether this be real or imaginary, an object of thought or an object of perceptionas well as to alert others and perhaps oneself to the state one is in; it may also help prepare the person or organism for action. Juneko rated it it was amazing Jan 25, In this final section, Robinson concretizes her arguments with nicely described instances from Brahms, Mahler, Mussorgsky and Barber.
Needlework in English Literature and Visual Arts Aesthetics and Emotions in Aesthetics. Waited to purchase this until it became a bargain, and I’m glad I did. Robinon Doty rated it it was amazing Sep 01, Return to Book Page.
Here is another difference between emotions in response to art and real life emotions: Classical, Early, and Medieval Plays and Playwrights: Part Four deals with music, both the emotional jenecer of emotion in music, whether vocal or instrumental, and the arousal of emotion by music. While grounded in the science of emotion, Deeper than Reason demonstrates the continuing importance of the arts and humanities to our lives.
Deeper Than Reason: Emotion and Its Role in Literature, Music, and Art
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” Rolls – – Oxford University Press. Emotion, the Bodily, and the Cognitive.
Member access Login Password Log in Cancel. Emotional Responses to Music: Robinson’s account of emotion is based on extensive psychological and neurological studies of emotions like fear, where resaon stimulus for the emotion is a visual or auditory event, such as a loud, sudden sound startle or a threatening shape and motion fear.
Jenefer Robinson. Deeper than Reason, Emotion and its Role in Literature, Music and Art
On Robinson’s view, emotion has two key components: Consider the following chart:. It is clearly an advantage of Robinson’s theory that it begins with a model suited to the most rovinson emotional responses e. But she does not show that the readers make affective appraisals. Stephen Davies – unknown.