Auswahl der wissenschaftlichen Literatur zum Thema „Emotions in the performing arts“
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Zeitschriftenartikel zum Thema "Emotions in the performing arts"
Coad, Luman. „Movement – Puppet Sized“. Canadian Theatre Review 95 (Juni 1998): 17–20. http://dx.doi.org/10.3138/ctr.95.004.
Der volle Inhalt der QuelleTait, Peta. „Performing Species Kinship and Strange Emotions“. Performance Research 23, Nr. 3 (03.04.2018): 92–99. http://dx.doi.org/10.1080/13528165.2018.1495953.
Der volle Inhalt der QuelleSon, Ji-Yeong, und Byeong-Ju Ahn. „The Effect of Performing Arts Viewing Experience on Youth Emotions“. Korean Journal of Sports Science 31, Nr. 6 (31.12.2022): 609–24. http://dx.doi.org/10.35159/kjss.2022.12.31.6.609.
Der volle Inhalt der QuelleJohnson-Laird, P. N., und Keith Oatley. „Emotions, Simulation, and Abstract Art“. Art & Perception 9, Nr. 3 (25.10.2021): 260–92. http://dx.doi.org/10.1163/22134913-bja10029.
Der volle Inhalt der QuelleTubillejas-Andrés, Berta, Amparo Cervera-Taulet und Haydee Calderón García. „Feeling emotions in the public performing arts sector: does gender affect?“ International Review on Public and Nonprofit Marketing 16, Nr. 1 (29.11.2018): 1–22. http://dx.doi.org/10.1007/s12208-018-0216-4.
Der volle Inhalt der QuelleTroilo, Gabriele, Maria Cristina Cito und Isabella Soscia. „Repurchase Behavior in the Performing Arts: Do Emotions Matter without Involvement?“ Psychology & Marketing 31, Nr. 8 (09.07.2014): 635–46. http://dx.doi.org/10.1002/mar.20724.
Der volle Inhalt der QuelleFan, Jinming, Xiaoli Ni, Ting Wu, Yidi Wang und Yuyan Qian. „Psychological Benefits of Arts Participation for Emerging Adulthood: A Pathway to Flourishing“. Behavioral Sciences 14, Nr. 6 (26.05.2024): 448. http://dx.doi.org/10.3390/bs14060448.
Der volle Inhalt der QuelleRadulescu, Raluca L. „Introduction: Performing Emotions in the Arthurian World“. Arthuriana 29, Nr. 4 (2019): 3–7. http://dx.doi.org/10.1353/art.2019.0038.
Der volle Inhalt der QuelleHanich, Julian. „How Many Emotions Does Film Studies Need?“ Projections 15, Nr. 2 (01.06.2021): 91–115. http://dx.doi.org/10.3167/proj.2021.150204.
Der volle Inhalt der QuelleBrand, Alice G., und John Chibnall. „The Emotions of Apprentice Poets“. Empirical Studies of the Arts 7, Nr. 1 (Januar 1989): 45–49. http://dx.doi.org/10.2190/kmm8-yv9t-x53b-u4w7.
Der volle Inhalt der QuelleDissertationen zum Thema "Emotions in the performing arts"
Brundage, Kimberly A. „Understanding the Role of Emotions and Social Influences in Charitable Giving Decisions“. University of Akron / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=akron1417865883.
Der volle Inhalt der QuelleWoods, Belinda Jane. „Ritual perspectives : an investigation into the epistemology of performance /“. Connect to thesis, 2010. http://repository.unimelb.edu.au/10187/7116.
Der volle Inhalt der QuelleThe views of art theorists, historians and critics, anthropologists, musicologists and arts practitioners, are held in the light of the author’s creative output through which a range of questions emerge regarding the cultivation of artistic identity, the artist’s role in the refinement of cultural expression, the relevance of live performance in the digital age, the transformational qualities of artistic practice upon the social and intellectual evolution of humanity, and the value of new musical language.
Chapter One examines the relationship between audience and musician from a performer’s perspective, in relation to Milton Babbitt’s article, Who Cares if You Listen? The connection between music performance and ritual practice and the possibility that artistic expression can actively engage audience receptivity is discussed in Chapter Two. Chapter Three contemplates the philosophical stance of the Art for Art’s Sake movement, that art exists in its own right without reference to the emotive experiences of humanity. Topics such as formal structure, the absence or presence of ethical content, the concept of aesthetic emotion and self objectivity, are examined alongside discussions of perception and consciousness. Chapter Four argues that performance, as ritual ceremony, becomes a porous boundary between lived and dream-like experience, through which the audience may pass to experience art on a profound level. The shared gesture of performer and audience becomes a life-enriching act that in turn nourishes all of society.
Smith, Jacqueline. „Emotional well-being in children and adolescents attending specialist schools for the performing arts“. Thesis, University College London (University of London), 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.264169.
Der volle Inhalt der QuelleRowe, Katherine. „Childhood Development: How the Fine and Performing Arts Enhance Neurological, Social, and Academic Traits“. Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/honors/464.
Der volle Inhalt der QuellePietraroia, Regina. „The Effects of Dance Education on the Emotional Intelligence of Underserved Students“. University of Akron / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=akron1321294319.
Der volle Inhalt der QuellePandolfi, de Rinaldis Gianna. „Fighting for Health: Theatre of the Oppressed as a Therapeutic Technique that Explores Changes in the Emotional State of Cancer Patients and Survivors“. The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1312437259.
Der volle Inhalt der QuelleAlbrecht, Joshua David. „Affective Analysis of Music Using the Progressive Exposure Method: The Influence of Bottom-Up Features on Perceived Musical Affect“. The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338310010.
Der volle Inhalt der QuelleDiaz, Raymond. „Primo Passaggio: Measures Associated with Different Interpretations Sung by an Elite Soprano Performer“. Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1522530897483835.
Der volle Inhalt der QuelleSchindeler, Marda. „Alberta performing arts policy“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0006/MQ38440.pdf.
Der volle Inhalt der QuelleSchindeler, Marda, und University of Lethbridge Faculty of Arts and Science. „Alberta performing arts policy“. Thesis, Lethbridge, Alta. : University of Lethbridge, Faculty of Arts and Science, 1998, 1998. http://hdl.handle.net/10133/77.
Der volle Inhalt der Quelleiii, 97 leaves : ill. ; 28 cm.
Bücher zum Thema "Emotions in the performing arts"
Renate, Zylla, und Internationale Filmfestspiele Berlin, Hrsg. Blicke, Begegnungen, Berührungen: 25 Jahre Kinderfilmfest 1978-2002 = Moments, meetings, emotions. Berlin: Jovis, 2002.
Den vollen Inhalt der Quelle findenGarland, Leah. Performing autobiography in U.S. Latina theater: Emotions that matter. New York: P. Lang, 2005.
Den vollen Inhalt der Quelle finden1969-, Brütsch Matthias, Hrsg. Kinogefühle: Emotionalität und Film. Marburg: Schüren, 2005.
Den vollen Inhalt der Quelle findenGarland, Leah. Performing Identity: Cherríe Moraga, Carmelita Tropicana, and Não Bustamante. New York: P. Lang, 2005.
Den vollen Inhalt der Quelle findenGarland, Leah. Performing Identity: Cherríe Moraga, Carmelita Tropicana, and Não Bustamante. New York: P. Lang, 2005.
Den vollen Inhalt der Quelle findenHill, Wes. Speech Acts: Richard Grayson and Matt Mullican. Broadway: UTS ePRESS, 2017.
Den vollen Inhalt der Quelle findenJarzebowski, Claudia, und Anne Kwaschik, Hrsg. Performing Emotions. Göttingen: V&R unipress, 2021. http://dx.doi.org/10.14220/9783862349609.
Der volle Inhalt der QuelleMason, Antony. Performing arts. Broomall, Pa: Mason Crest, 2003.
Den vollen Inhalt der Quelle findenSeupel, Celia W. Performing arts. New York, NY: Ferguson, 2010.
Den vollen Inhalt der Quelle findenFadlu-Deen, Kitty. Performing arts. Freetown: People's Education Association of Sierra Leone, 1995.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Emotions in the performing arts"
Furnham, Adrian. „Emotional Intelligence, Personality Disorders and the Performing Arts“. In Psychotherapy, Literature and the Visual and Performing Arts, 219–35. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-75423-9_13.
Der volle Inhalt der QuelleMaddox, Alan. „Performing emotions“. In Sources for the History of Emotions, 127–42. Milton Park, Abingdon, Oxon ; New York, NY : Routledge, 2020. | Series: Routledge guides to using historical sources: Routledge, 2020. http://dx.doi.org/10.4324/9780429291685-11.
Der volle Inhalt der QuelleKwaschik, Anne. „Folter in der Republik? Gewalt, rechtsstaatliche Ordnung und »emotionale Navigation« in der Auseinandersetzung liberaler Demokratien mit dem Terrorismus“. In Performing Emotions, 283–306. Göttingen: V&R unipress, 2021. http://dx.doi.org/10.14220/9783862349609.283.
Der volle Inhalt der QuelleBaumol, William J. „Performing Arts“. In The World of Economics, 544–48. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-21315-3_72.
Der volle Inhalt der QuelleBaumol, William J. „Performing Arts“. In The New Palgrave Dictionary of Economics, 1–4. London: Palgrave Macmillan UK, 1987. http://dx.doi.org/10.1057/978-1-349-95121-5_1706-1.
Der volle Inhalt der QuelleBaumol, William J. „Performing Arts“. In The New Palgrave Dictionary of Economics, 10203–6. London: Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1057/978-1-349-95189-5_1706.
Der volle Inhalt der QuelleRunco, Mark A. „Performing arts.“ In Encyclopedia of psychology, Vol. 6., 97–100. Washington: American Psychological Association, 2000. http://dx.doi.org/10.1037/10521-034.
Der volle Inhalt der QuelleMcIntyre, Phillip, Susan Kerrigan, Janet Fulton, Evelyn King und Claire Williams. „Performing Arts“. In Palgrave Studies in Creativity and Culture, 155–82. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-45972-6_6.
Der volle Inhalt der QuelleGiaretta, David. „Contemporary Performing Arts TestbedTestbed Contemporary Performing Arts Testbed“. In Advanced Digital Preservation, 407–28. Berlin, Heidelberg: Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-16809-3_22.
Der volle Inhalt der QuelleFrey, Bruno S. „The Performing Arts“. In Economics of Art and Culture, 53–61. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-15748-7_7.
Der volle Inhalt der QuelleKonferenzberichte zum Thema "Emotions in the performing arts"
TOMUȘ, Ionuț. „General Considerations on Performing Poetry in the Current Performing Arts Context“. In The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0012.
Der volle Inhalt der QuelleBertoncini, Massimo, und Irene Buonazia. „EMOTIONAL INTERFACES IN PERFORMING ARTS: THE CALLAS PROJECT“. In Electronic Visualisation and the Arts (EVA 2008). BCS Learning & Development, 2008. http://dx.doi.org/10.14236/ewic/eva2008.3.
Der volle Inhalt der QuelleZhao, Sicheng, Guiguang Ding, Qingming Huang, Tat-Seng Chua, Björn W. Schuller und Kurt Keutzer. „Affective Image Content Analysis: A Comprehensive Survey“. In Twenty-Seventh International Joint Conference on Artificial Intelligence {IJCAI-18}. California: International Joint Conferences on Artificial Intelligence Organization, 2018. http://dx.doi.org/10.24963/ijcai.2018/780.
Der volle Inhalt der QuellePirjo, Suvilehto. „“Puppetry and Opera Are Striking.” Students’ Experiences of Collaboration and Curiosity in Puppetry Opera as a Case Study“. In 2nd International Conference on Advanced Research in Education. Acavent, 2019. http://dx.doi.org/10.33422/2nd.educationconf.2019.11.794.
Der volle Inhalt der QuelleAlvarez-Jimenez, Alberto, Karen Barbour, Rodrigo Hill, Xavier Meade und Declan Patrick. „Solastalgia: conflict and the fabric of life. Transdisciplinary creative practice research approaches.“ In LINK 2023. Tuwhera Open Access, 2023. http://dx.doi.org/10.24135/link2022.v4i1.201.
Der volle Inhalt der QuelleStolterman, Erik. „Session details: Performing arts“. In CHI '11: CHI Conference on Human Factors in Computing Systems. New York, NY, USA: ACM, 2011. http://dx.doi.org/10.1145/3249024.
Der volle Inhalt der QuelleMiklavcic, Jimmy. „Collaborative performing arts---InterPlay“. In the 2006 ACM/IEEE conference. New York, New York, USA: ACM Press, 2006. http://dx.doi.org/10.1145/1188455.1188783.
Der volle Inhalt der QuelleMasunah, Juju, Trianti Nugraheni und Yudi Sukamayadi. „Building Performing Arts Community through Bandung Isola Performing Arts Festival (BIPAF) in Indonesia“. In Proceedings of the International Conference on Arts and Design Education (ICADE 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icade-18.2019.39.
Der volle Inhalt der QuelleKallionpää, Maria. „Performing the Super Instrument:“. In Electronic Visualisation and the Arts. BCS Learning & Development, 2016. http://dx.doi.org/10.14236/ewic/eva2016.7.
Der volle Inhalt der QuellePinto, João, Teresa Cardoso und Ana Soares. „Emotions to Scenes“. In ARTECH 2019: 9th International Conference on Digital and Interactive Arts. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3359852.3359867.
Der volle Inhalt der QuelleBerichte der Organisationen zum Thema "Emotions in the performing arts"
Wilkerson, A. M., T. C. Abell und E. Perrin T. LED Lighting in a Performing Arts Center. Office of Scientific and Technical Information (OSTI), Juli 2015. http://dx.doi.org/10.2172/1220538.
Der volle Inhalt der QuelleMiller, N. J., S. M. Kaye, P. M. Coleman, A. M. Wilkerson, T. E. Perrin und G. P. Sullivan. LED Lighting in a Performing Arts Building. Office of Scientific and Technical Information (OSTI), Juli 2014. http://dx.doi.org/10.2172/1221092.
Der volle Inhalt der QuelleOzdil, Taner R., James Richards, Ryan Brown, Justin Earl und Dylan Stewart. AT&T Performing Arts Center: Sammons Park. Landscape Architecture Foundation, 2014. http://dx.doi.org/10.31353/cs0790.
Der volle Inhalt der QuelleRogers, Amanda. Cambodian Audience Engagement in the Performing Arts: Cambodian Living Arts 2022 Cultural Season. Swansea University, November 2023. http://dx.doi.org/10.23889/sureport.65084.
Der volle Inhalt der QuelleMilesi Ferretti, Natascha, Michael A. Galler, Steven T. Bushby, Robert W. Leader, J. Michael Whitcomb und David W. Rush. Retro-commissioning a performing arts center using HVAC-Cx. Gaithersburg, MD: National Institute of Standards and Technology, Februar 2019. http://dx.doi.org/10.6028/nist.tn.2027.
Der volle Inhalt der QuelleMiller, Naomi, Stan Kaye, Patricia Coleman, Andrea Wilkerson, Tess Perrin und Gregory Sullivan. LED Lighting in a Performing Arts Building at the University of Florida. Office of Scientific and Technical Information (OSTI), Juli 2014. http://dx.doi.org/10.2172/1165331.
Der volle Inhalt der QuelleAebischer, Pascale, Karen Gray, Kelsey Jacobson, Barbara Fuchs und Heidi Lucja Liedke. Pandemic Preparedness in the Live Performing Arts: Lessons to Learn from COVID-19. The British Academy, März 2024. http://dx.doi.org/10.5871/panprep/9780856726873.001.
Der volle Inhalt der QuelleWilkerson, Andrea M., Thomas C. Abell und Tess E. Perrin. University of Maryland Wall Washer Retrofit - LED Modules Replace Halogen Lamps in a Performing Arts Center. Office of Scientific and Technical Information (OSTI), August 2015. http://dx.doi.org/10.2172/1349994.
Der volle Inhalt der QuelleVillanueva-Benito, I., und I. Lacasa-Mas. The use of audiovisual language in the expansion of performing arts outside theater: Don Giovanni’s case, by Mozart. Revista Latina de Comunicación Social, Oktober 2017. http://dx.doi.org/10.4185/rlcs-2017-1217en.
Der volle Inhalt der QuelleAhmed AlGarf, Yasmine. From Self-Awareness to Purposeful Employment: Guiding Egyptian youth using arts-based learning. Oxfam IBIS, August 2021. http://dx.doi.org/10.21201/2021.7932.
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