Ch.5 Emotions and the Arts Flashcards

(32 cards)

1
Q

R.G. Collingwood’s view of art

A

art is mental state and the physical product is a by product

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2
Q

Benedetto Croce on art and emotion

A

Art is a mental object but it lies within the audience (reaction/emotions from audience)

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3
Q

Leo Tolstoy on art and emotion

A

Art is a conduit for the artist’s feelings (infection theory)

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4
Q

Infection theory? and by who?

A

the artist feels something and the creation is to transfer the emotion and the audience. Associated with Tolstoy.

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5
Q

Guy Sircello on art and emotion

A

“in creating an artwork, one leaves traces of one’s inner state in that work”- Behavioral theory

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6
Q

Behavioral theory? and by who?

A

Source of emotion is the artist’s emotion when creating the work. (Sircello.)

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7
Q

What is the purpose of the work in Behavioral theory?

A

Serves as a conduit for the artist’s emotions

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8
Q

Audience in Behavioral theory

A

Recognizes the emotions in the artist left in the work

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9
Q

Sircello Ex about emotions

A

We do not infer anger, we see anger. Therefore we are justified in calling a work of art angry.

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10
Q

The artist in Behavioral theory?

A

The source of emotion is the artist’s emotion when creating the work

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11
Q

Issues with Sircello’s Behavioral theory?

A

In order to make a sad work you have to be sad, but is that necessary? What about actors?

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12
Q

Local Quality theory (Peter Kivy)

A

Emotion is tied to resemblance between the work and human expressive behavior

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13
Q

The artist in Local Quality Theory

A

No particular emotion required for the resulting work to have expressive properties

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14
Q

Audience in Local Quality Theory

A

The audience recognizes the similarity and ascribes the emotion w/o having to feel it

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15
Q

Ex of Peter Kivy (local quality theory)

A

we perceive similarities between musical movements and physical movements people normally express emotion: upbeat and ‘bouncy’ music is joyful.
Non movement art: A painting may have ‘angry’ brush strokes

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16
Q

Does artist have to be sad to create a sad painting in Local quality theory (Peter Kivy) ?

A

No, the work just has to have those features to convey that emotion

17
Q

Arousal theory

A

We use expressive words to describe works because they give rise to certain emotional responses in the viewer. If the audience feels sad then it justifies saying the work is sad

18
Q

The Artist in Arousal Theory

A

No particular emotion required for the resulting work to have expressive properties

19
Q

The work in Arousal Theory

A

Causes the emotional response

20
Q

The Audience in Arousal theory

A

The source of emotion is the audiences’ emotional response

21
Q

The work in Local Quality Theory

A

Emotion is tied to resemblance between the work and human expressive behavior (source)

22
Q

Issues with Arousal Theory?

A

We wouldn’t attribute expressive properties to certain things, and what about when a person is unmoved?

23
Q

Derek Matravers

A

We may not recognize that we are experiencing an emotional effect even though we are

24
Q

Ex of Derek Matravers’ Theory

A

Once you eat you realize you were “hangry”.

25
Matravers says we may be having a non standard response for multiple reasons... (ex.)
A song could be associated with happy memories even though the film wants it to show bad emotions. It is our own personal baggage causing us to have a different response
26
On art and emotion: all philosopher's mentioned
R.G Collingwood, Benedetto Croce, Leo Tolstoy, Guy Sircello, Peter Kivy, Derek Matravers
27
The paradox of fiction: Plato Ion
Artists get possessed by the gods and the audience also does when seeing the work. Plato states that when we are emotionally moved by a work of fiction, we are being irrational
28
The Paradox of Fiction
1. We believe the objects of our emotions exist 2. We know that fictional objects do not exist 3. We sometimes have extreme emotional reactions to fiction
29
Coleridge on the Paradox of Fiction
(Maybe we are just engaging with the work by 'suspending disbelief') The author puts a 'semblance of truth' in a story and readers engage with the story in an act of 'poetic faith'
30
Eva Schaper on the Paradox of Fiction: How does 'suspending belief' work?
'Suspending Disbelief' means to 'willingly put oneself in a position of uncertainty regarding the truth of the story'. This can't work, since suspension of disbelief is supposed to work when we know that a work is fictional. While we know that events are not happening, we 'believe' that they are happening.
31
Eva Schaper: First order beliefs
Beliefs about the work's fictional nature, beliefs about out world
32
Eva Schaper: Second Beliefs
They depend on first order beliefs