Siga este link para ver outros tipos de publicações sobre o tema: Emotions in the performing arts.
Artigos de revistas sobre o tema "Emotions in the performing arts"
Crie uma referência precisa em APA, MLA, Chicago, Harvard, e outros estilos
Veja os 50 melhores artigos de revistas para estudos sobre o assunto "Emotions in the performing arts".
Ao lado de cada fonte na lista de referências, há um botão "Adicionar à bibliografia". Clique e geraremos automaticamente a citação bibliográfica do trabalho escolhido no estilo de citação de que você precisa: APA, MLA, Harvard, Chicago, Vancouver, etc.
Você também pode baixar o texto completo da publicação científica em formato .pdf e ler o resumo do trabalho online se estiver presente nos metadados.
Veja os artigos de revistas das mais diversas áreas científicas e compile uma bibliografia correta.
1
Coad, Luman. "Movement – Puppet Sized". Canadian Theatre Review 95 (junho de 1998): 17–20. http://dx.doi.org/10.3138/ctr.95.004.
Texto completo da fonteResumo:
Alive actor employs a range of communication tools. Voice, facial expression, body language and movement are used individually or in combination to convey a precise emotional nuance. If one of these tools is unavailable, the emotions to be projected must be altered to suit the remaining tools or those tools must be modified to project more of the emotion’s essence. Either way the emotion is portrayed in an other-than-realistic manner.
2
Tait, Peta. "Performing Species Kinship and Strange Emotions". Performance Research 23, n.º 3 (3 de abril de 2018): 92–99. http://dx.doi.org/10.1080/13528165.2018.1495953.
Texto completo da fonte
3
Son, Ji-Yeong, e Byeong-Ju Ahn. "The Effect of Performing Arts Viewing Experience on Youth Emotions". Korean Journal of Sports Science 31, n.º 6 (31 de dezembro de 2022): 609–24. http://dx.doi.org/10.35159/kjss.2022.12.31.6.609.
Texto completo da fonte
4
Johnson-Laird, P. N., e Keith Oatley. "Emotions, Simulation, and Abstract Art". Art & Perception 9, n.º 3 (25 de outubro de 2021): 260–92. http://dx.doi.org/10.1163/22134913-bja10029.
Texto completo da fonteResumo:
Abstract Some people feel emotions when they look at abstract art. This article presents a ‘simulation’ theory that predicts which emotions they will experience, including those based on their aesthetic reactions. It also explains the mental processes underlying these emotions. This new theory embodies two precursors: an account of how mental models represent perceptions, descriptions, and self-reflections, and an account of the communicative nature of emotions, which distinguishes between basic emotions that can be experienced without knowledge of their objects or causes, and complex emotions that are founded on basic ones, but that include propositional contents. The resulting simulation theory predicts that abstract paintings can evoke the basic emotions of happiness, sadness, anger, and anxiety, and that they do so in several ways. In mimesis, models simulate the actions and gestures of people in emotional states, elicited from cues in the surface of paintings, and that in turn evoke basic emotions. Other basic emotions depend on synaesthesia, and both association and projection can yield complex emotions. Underlying viewers’ awareness of looking at a painting is a mental model of themselves in that relation with the painting. This self-reflective model has access to knowledge, enabling people to evaluate the work, and to experience an aesthetic emotion, such as awe or revulsion. The comments of artists and critics, and experimental results support the theory.
5
Tubillejas-Andrés, Berta, Amparo Cervera-Taulet e Haydee Calderón García. "Feeling emotions in the public performing arts sector: does gender affect?" International Review on Public and Nonprofit Marketing 16, n.º 1 (29 de novembro de 2018): 1–22. http://dx.doi.org/10.1007/s12208-018-0216-4.
Texto completo da fonte
6
Troilo, Gabriele, Maria Cristina Cito e Isabella Soscia. "Repurchase Behavior in the Performing Arts: Do Emotions Matter without Involvement?" Psychology & Marketing 31, n.º 8 (9 de julho de 2014): 635–46. http://dx.doi.org/10.1002/mar.20724.
Texto completo da fonte
7
Fan, Jinming, Xiaoli Ni, Ting Wu, Yidi Wang e Yuyan Qian. "Psychological Benefits of Arts Participation for Emerging Adulthood: A Pathway to Flourishing". Behavioral Sciences 14, n.º 6 (26 de maio de 2024): 448. http://dx.doi.org/10.3390/bs14060448.
Texto completo da fonteResumo:
This study examined 430 Chinese college students’ engagement in arts activities and the psychological benefits derived from such activities. The research differentiated between various types of arts participation and ways of involvement and examined four potential positive psychological outcomes. The findings revealed correlations between (1) creative participation in the performing arts, ‘flow’, and aesthetic emotions; (2) consumptive participation in the visual arts and aesthetic emotions; and (3) creative participation in the literary arts and ego identity. Holistic arts participation demonstrated a significantly positive relationship with flourishing. A path analysis showed that flow experience and aesthetic emotions served as mediators in the mechanism through which holistic arts participation affected flourishing, with a chained mediation effect from flow experience to ego identity. This study confirms that arts participation is an effective pathway for individual flourishing and that more diverse and profound engagement in the arts can lead to sustained and widespread happiness.
8
Radulescu, Raluca L. "Introduction: Performing Emotions in the Arthurian World". Arthuriana 29, n.º 4 (2019): 3–7. http://dx.doi.org/10.1353/art.2019.0038.
Texto completo da fonte
9
Hanich, Julian. "How Many Emotions Does Film Studies Need?" Projections 15, n.º 2 (1 de junho de 2021): 91–115. http://dx.doi.org/10.3167/proj.2021.150204.
Texto completo da fonteResumo:
A look at current emotion research in film studies, a field that has been thriving for over three decades, reveals three limitations: (1) Film scholars concentrate strongly on a restricted set of garden-variety emotions—some emotions are therefore neglected. (2) Their understanding of standard emotions is often too monolithic—some subtypes of these emotions are consequently overlooked. (3) The range of existing emotion terms does not seem fine-grained enough to cover the wide range of affective experiences viewers undergo when watching films—a number of emotions might thus be missed. Against this background, the article proposes at least four benefits of introducing a more granular emotion lexicon in film studies. As a remedy, the article suggests paying closer attention to the subjective-experience component of emotions. Here the descriptive method of phenomenology—including its particular subfield phenomenology of emotions—might have useful things to tell film scholars.
10
Brand, Alice G., e John Chibnall. "The Emotions of Apprentice Poets". Empirical Studies of the Arts 7, n.º 1 (janeiro de 1989): 45–49. http://dx.doi.org/10.2190/kmm8-yv9t-x53b-u4w7.
Texto completo da fonteResumo:
Nineteen college poets completed a twenty-item check list that asked them how they felt about writing in general as well as before, at a pause, and after seven poetry writing sessions. The intensity with which they experienced positive, negative passive, and negative active emotions was assessed as was the frequency with which those emotions were experienced when writing in general. Results indicated that the positive emotions intensified during writing. Instructor-rated skilled poets experienced more positive emotions than their unskilled counterparts. But poets rating themselves as unskilled felt both more positive and negative active when writing than their skilled counterparts. Student poets unaccustomed to writing on their own experienced more intense emotions across the writing episodes than those with more years. Free writing was associated with more intense anxiety than structured poetry exercises. The rank orders of the emotion items suggested more emotional stability for poetry generated in an academic setting than generated at home.
11
Sanders, Ed. "THE EMOTIONS OF MEDEA: AN INTRODUCTION". Greece and Rome 68, n.º 1 (5 de março de 2021): 1–7. http://dx.doi.org/10.1017/s0017383520000200.
Texto completo da fonteResumo:
Ancient Greek and Roman emotions have become a field of increasing academic interest over the last few decades. We can particularly refer to such formative scholars in the field as David Konstan, Douglas Cairns, Robert Kaster, and more recently Angelos Chaniotis – though the cast list goes much wider. Early interest in emotions prevalent across classical genres, such as shame, anger, pity, envy/jealousy, and erôs (erotic love, desire), has more recently expanded to include more peripheral emotions such as forgiveness, remorse, and disgust. A number of studies, too, have focused on specific genres. This research has been conducted against a background of much wider interest in emotion studies in fields as diverse as neuroscience, cognitive psychology, anthropology, medicine, philosophy, jurisprudence, history, literary studies, and the performing arts. Many publications by Classicists have demonstrated awareness of this wider body of research, and some of them directly incorporate theoretical findings – particularly from cognitive psychology, but from other disciplines too – into exploration of classical texts and other media.
12
Dolese, Melissa J., e Natalie A. Kacinik. "What Color as an Integrated Pictorial Element in Himalayan Art Can Communicate: Cross-Cultural Congruence of Color-Emotion Conceptualizations in Himalayan Art". Empirical Studies of the Arts 39, n.º 1 (25 de setembro de 2019): 36–60. http://dx.doi.org/10.1177/0276237419868948.
Texto completo da fonteResumo:
The idea of art as a language of emotion has historical roots. This study asked if color, as an integrated pictorial element in Himalayan art, can communicate the intended emotions to North American viewers. To investigate the extent to which those emotions are congruent cross-culturally, participants were assigned to four conditions of varying levels of informativeness, based on whether they did or did not receive an informational brochure and a checklist of emotional terms to reference. Results were analyzed using Latent Semantic Analysis to assess the similarity of word meanings. Participant responses were compared to the emotions that should be conveyed according to Himalayan culture and curators of an exhibit on Himalayan art. Cosine values were generally high in all conditions, indicating that certain colors (i.e., red, black, and gold) can convey consistent emotional information to viewers from very different cultures, even with little or no corresponding verbal material.
13
Stamatopoulou, Despina, e Gerald C. Cupchik. "The Feeling of the Form: Style as Dynamic ‘Textured’ Expression". Art and Perception 5, n.º 3 (10 de agosto de 2017): 262–98. http://dx.doi.org/10.1163/22134913-00002066.
Texto completo da fonteResumo:
Understanding the complexities of how emotions could be implicated in the semantic (subject-matter) and the syntactic level (form/style) in art might contribute to integrating contrasting approaches regarding emotion experience and meaning. This study explores what happens when we strip away subject matter and only provide expressive information that is embedded in the physical-sensory qualities of ‘style’ of non-representational forms. What could be, if we ask artists to produce specific emotions-matières (the way in which paint—its materiality—is applied by an artist) intended to communicate specific emotion’s states to observers? Could observers share somehow these emotional artistic intentions, yielding some consistency across ratings regarding the intended meanings and the symbolic potential of the drawings? A cross-cultural study was performed (152 Canadians, 48 Greeks, 68 Japanese) using 12 non-representational, emotion-drawing stimuli of the emotion at hand. The results showed a systematic sharing of affective meaning across artists, spectators and cultures. This study serves as an illustrative case for discussion. For spectators to match the bottom up spatiotemporal derived from the syntactic, demands to go all the way down to catch up and match the stimulus impact as an ‘as if’ reciprocally created homology based on affective predictions. At this interface there is mutuality between perceiving, feeling and imaging, indicating the deep passage from expression/gesture to representation. It is discussed that there is continuity between expression and experience and agency is at its core—yet, shaped by culture it participates differentially in this iterative matching of top-down affective predictions checked against first-level bottom-up sensory-motor affective cues.
14
Zaiets, Vіtalіi, e Oksana Zaiets. "Modifying Processuality of Emotions of a Musician-Performer". Studia Universitatis Babeş-Bolyai Musica 68, Sp.Iss. 2 (10 de agosto de 2023): 197–206. http://dx.doi.org/10.24193/subbmusica.2023.spiss2.12.
Texto completo da fonteResumo:
"The essence of this research is to understand the professional and creative specifics of the emotional thinking of a musician-performer. The idea arose from the experience of performing activities, teaching and scientific research in the context of the traditions of performing arts and the theoretical opinion of experts in the field of musicology. The main task consists in substantiating the methodological and theoretical principles, methods of approach to determining the functional features of the emotional tone of a musician-performer as a tool for the formation of professional thinking of a creative personality. In such formulation of the question, it is necessary to proceed from the fact that the problem of human thinking is generally constantly active, meaning that it is in a procedural state as both, an individual person and his/her natural environment, assimilate and generate new emotions (feelings), and, therefore, directly carry out influence on the flow of mental processes. The processuality of this dual dynamic psychological modification is endless, and the disclosure of regularities here also has a timely processual and continuously renewed character. Keywords: feelings, emotions, performance tone, intuition, thinking of a musician-performer."
15
van Paasschen, Jorien, Elisa Zamboni, Francesca Bacci e David Melcher. "Consistent Emotions Elicited by Low-Level Visual Features in Abstract Art". Art & Perception 2, n.º 1-2 (2014): 99–118. http://dx.doi.org/10.1163/22134913-00002012.
Texto completo da fonteResumo:
It is often assumed that works of art have the ability to elicit emotion in their observers. An emotional response to a visual stimulus can occur as early as 120 ms after stimulus onset, before object categorisation can take place. This implies that emotions elicited by an artwork may depend in part on bottom-up processing of its visual features (e.g., shape, colour, composition) and not just on object recognition or understanding of artistic style. We predicted that participants are able to judge the emotion conveyed by an artwork in a manner that is consistent across observers. We tested this hypothesis using abstract paintings; these do not provide any reference to objects or narrative contexts, so that any perceived emotion must stem from basic visual characteristics. Nineteen participants with no background in art rated 340 abstract artworks from different artistic movements on valence and arousal on a Likert scale. An intra-class correlation model showed a high consistency in ratings across observers. Importantly, observers used the whole range of the rating scale. Artworks with a high number of edges (complex) and dark colours were rated as more arousing and more negative compared to paintings containing clear lines, bright colours and geometric shapes. These findings provide evidence that emotions can be captured in a meaningful way by the artist in a set of low-level visual characteristics, and that observers interpret this emotional message in a consistent, uniform manner.
16
Dharwadker, Vinay. "Emotion in Motion: The Nāṭyashāstra, Darwin, and Affect Theory". Publications of the Modern Language Association of America 130, n.º 5 (outubro de 2015): 1381–404. http://dx.doi.org/10.1632/pmla.2015.130.5.1381.
Texto completo da fonteResumo:
A work of classical Indian theory and practice, Bharata's Nāṭyashāstra offers a comprehensive account of emotion and of the production, communication, and reception of representations of it in dance, music, poetry, and theater. This essay examines remarkable points of convergence and divergence between the third-century Sanskrit text and three influential modern Euro-American accounts: Charles Darwin's mapping of involuntary expressions of emotion in human beings and animals, William James's aggregation of emotions in the stream of consciousness, and Sylvan Tomkins's atlas of primary affects that links neurobiology and cybernetics. My comparative analysis highlights the Nāṭyashāstra's contributions to our understanding of the connections of emotion to cognition, consciousness, and causality; of the combinatorial constitution of emotions; and of treatments of emotion in contemporary affect theory and performance theory. The essay concludes with an exploration of Bharata's and Aristotle's models of mimesis and of their mutual differences regarding the representation of emotion in the verbal and performing arts.
17
Ratner, Megan. "Maximum Emotions, Minimum Words". Film Quarterly 68, n.º 4 (2015): 52–58. http://dx.doi.org/10.1525/fq.2015.68.4.52.
Texto completo da fonteResumo:
An interview with Eugène Green about La Sapienza, in which the director discusses his drama concerning an architect’s renewal through an excursion to Francesco Borromini’s masterworks in terms of natural light, Baroque culture, using absence to suggest presence, and the importance of a sense of belonging.
18
Wobalis, Mirosław. "Mechanizmy zarządzania emocjami w grach wideo". Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 33, n.º 42 (3 de julho de 2023): 175–88. http://dx.doi.org/10.14746/i.2023.33.42.12.
Texto completo da fonteResumo:
The article discusses issues related to the mechanisms of managing player emotions in video games. The author presents and indicates researchers’ main findings regarding emotions and their role in human life but also the basic functions of emotions in art and video games. Games are described as a medium characterized by communicative feedback between a human (player) and a machine (game), resulting in the occurrence of strong emotional impulses during the act of playing. The article refers to and interprets research on emotional reactions while playing video games and indicates the role of emotions in the marketing positioning of games.
19
Tait, Peta. "Contemporary Politics and Empathetic Emotions: Company B's Antigone". New Theatre Quarterly 26, n.º 4 (novembro de 2010): 351–60. http://dx.doi.org/10.1017/s0266464x10000655.
Texto completo da fonteResumo:
Sydney-based Company B's 2008 season included The Burial at Thebes: Sophocles's Antigone in Irish poet Seamus Heaney's translation. This article shows how the production conveyed notions of war, social upheaval, displacement, and exile that are relevant to contemporary Australian spectators. With its ethnic and racial diversity, and one overt reference to the plight of indigenous people under colonial rule and its legacy, the production confirmed that the emotional resonances in this staging of Antigone reflect and yet transcend the contemporary Australian situation; and Peta Tait here argues that the production contributed to spectators' understanding of the emotions underlying contemporary political debates. Peta Tait is Professor of Theatre and Drama at La Trobe University. Her recent publications include Circus Bodies: Cultural Identity in Aerial Performance (Routledge, 2005) and Performing Emotions: Gender, Bodies, Spaces (Ashgate, 2002). She has published widely on theatre, drama, circus performance, and gender identity, and is co-editor (with Liz Schafer) of the anthology Australian Women's Drama: Texts and Feminisms (Currency Press, 1997).
20
Leslie, Esther. "This other atmosphere: against human resources, emoji and devices". Journal of Visual Culture 18, n.º 1 (abril de 2019): 3–29. http://dx.doi.org/10.1177/1470412919825816.
Texto completo da fonteResumo:
Frequently humans are invited to engage with modern visual forms: emoji, emoticons, pictograms. Some of these forms are finding their way into the workplace, understood as augmentations to workplace atmospheres. What has been called the ‘quantified workplace’ requires its workers to log their rates of stress, wellbeing and subjective sense of productivity on a scale of 1–5 or by emoji, in a context in which Human Resources (HR) professionals develop a vocabulary of Workforce Analytics, People Analytics, Human Capital Analytics or Talent Analytics, and all this in the context of managing the work environment or its atmosphere. Atmosphere is mood, a compote of emotions. Emotions are a part of a human package characterized as ‘the quantified self’, a self intertwined with – subject to but also compliant with – tracking and archiving. The logical step for managing atmospheres is to track emotions at a granular and large-scale level. Through the concept of the digital crowd, rated and self-rating, as well as emotion-tracking strategies, the human resource (as worker and consumer) engages in a new politics of the crowd, organized around what political philosopher Jodi Dean calls, affirmatively, ‘secondary visuality’, high-circulation communication fusing speech, writing and image as a new form. This is the visuality of communicative, or social media, capitalism. But to the extent that it is captured by HR, is it an exposure less to crowd-sourced democracy, and more a stage in turning the employee into an on-the-shelf item in a digital economy warehouse, assessed by Likert scales? While HR works on new atmospheres of work, what other atmospheres pervade the context of labour, and can these be deployed in the generation of other types of affect, ones that work towards the free association of labour and life?
21
Fouche, Mienke, Janine Lewis e Laetitia A. Orlandi. "Performing emotions through technology: towards a degree of agency tool (DoAT) for assessing and applying agency to operated performing objects". South African Theatre Journal 34, n.º 3 (2 de setembro de 2021): 131–49. http://dx.doi.org/10.1080/10137548.2022.2072381.
Texto completo da fonte
22
Alawi*, Nizar Ihza, e Hafid Zuhdan Bachtiar. "Ndarboy Genk Music Performing Arts Management on the 2022 Cidro Asmoro Album Tour". Riwayat: Educational Journal of History and Humanities 7, n.º 1 (10 de janeiro de 2024): 426–36. http://dx.doi.org/10.24815/jr.v7i1.37371.
Texto completo da fonteResumo:
Music is a form of artistic expression, serving as a manifestation of the creator's emotions through attention to melody, rhythm, expression, and harmony. The accompanying music can act as a balance for both the left and right hemispheres of the listener's brain. Each singer is supported by a management team to present and achieve the best outcomes in a performance art that involves task distribution from general to functional areas. This study aims to investigate the management of Ndarboy Genk's music performances during the 2022 Cidro Asmoro album tour, aiming to identify weaknesses and obstacles in the management of their musical performances. The research employs a qualitative descriptive approach. The management of the music group Ndarboy Genk encompasses elements and functions that are interconnected. Additionally, the underlying factors in the artistic management of the Cidro Asmoro album tour by Ndarboy Genk include implementing organizational arts management, the second factor being production management by Ndarboy Genk, and the third factor being Ndarboy Genk's execution of performance arts management.
23
Baranowski, Andreas M., Rebecca Teichmann e Heiko Hecht. "Canned Emotions. Effects of Genre and Audience Reaction on Emotions". Art and Perception 5, n.º 3 (10 de agosto de 2017): 312–36. http://dx.doi.org/10.1163/22134913-00002068.
Texto completo da fonteResumo:
Laughter is said to be contagious. Maybe this is why TV stations often choose to add so-called canned laughter to their shows. Questionable as this practice may be, observers seem to like it. If such a simple manipulation, assumingly by inducing positive emotion, can change our attitudes toward the film, does the opposite manipulation work as well? Does a negative sound-track, such as screaming voices, have comparable effects in the opposite direction? We designed three experiments with a total of 110 participants to test whether scream-tracks have comparable effects on the evaluation of film sequences as do laugh-tracks. Experiment 1 showed segments of comedies, scary, and neutral films and crossed them with three sound tracks of canned laughter, canned screams, and no audience sound. Observers had to rate the degree of their subjective amusement and fear as well as general liking and immersion. The sound-tracks had independent effects on amusement and fear, and increased immersion when the sound was appropriate. Experiment 2 was identical, but instead of canned sounds, confederates of the experimenter enacted the sound-track. Here, the effects were even stronger. Experiment 3 manipulated social pressure by explicit evaluations of the film clips, which were particularly influential in comedies. Scream tracks worked as well as laugh tracks, in particular when the film was only mildly funny or scary. The information conveyed by a sound track is able to change the evaluation of films regardless of their emotional nature.
24
Han, Eunjung, Chee-Onn Wong, Keechul Jung e Kyung Ho Lee. "Emotion Gesture Art". Leonardo 43, n.º 3 (junho de 2010): 308–9. http://dx.doi.org/10.1162/leon.2010.43.3.308.
Texto completo da fonteResumo:
Emotion gesture art is a new type of user modeling and representation in a form of aesthetic art. It consists of a unique combination of color, sound and animation (shape) that in itself creates the same emotional feeling for spectators. Emotion gesture art takes the body posture expression and remaps the communication of emotions into an aesthetic representation. This paper also presents an emotion gesture art installation (eG-art), a system prototype for affective computing. This installation will allow a smart blend of a system for affective computing with aesthetic art representation.
25
Davies, Stephen. "Kivy on Auditors' Emotions". Journal of Aesthetics and Art Criticism 52, n.º 2 (1994): 235. http://dx.doi.org/10.2307/431170.
Texto completo da fonte
26
Suhendra, Eka Ari. "Cultural Communication through Gambuh Dance : A Historical Performing Art from Bali". Bali Tourism Journal 7, n.º 3 (25 de dezembro de 2023): 43–46. http://dx.doi.org/10.36675/btj.v7i3.95.
Texto completo da fonteResumo:
One of the most important factors driving artists to engage in the performing arts is the environment: artistic traditions within the family and the local community. In connection to the environment, there are three reasons why artists get involved in the arts: being appointed or requested, sometimes even 'forced' by the community, encouragement or a family calling, and personal willingness. Regarding the life and development of Gambuh and its instruments, it significantly influences other gamelan devices in terms of instrument usage, beat arrangement, song structure, motifs, and the names of some songs for various gamelan devices and specific types of compositions such as Semar Pegulingan, Pelegongan, Bebarongan, Joged Pingitan, Gong Gede, and Kebyar. In this study, a semiotic approach is used to analyze the elements of Gambuh Bali dance and reveal the messages contained within. First and foremost, in the semiotic study of Gambuh Bali, body movements become the primary focus. These movements can be seen as visual signs that carry implied meanings. Through the analysis of movements, messages related to character, emotions, and narratives in the dance can be uncovered. In the semiotic study of Gambuh Bali dance, the singing or chanting performed by the dancers can also be an object of analysis. Chants in Gambuh Bali dance play a crucial role in conveying cultural messages and expressing emotional nuances in the dance. By employing a semiotic approach, theoretical studies of Gambuh Bali dance can provide richer insights into the symbolism, cultural meanings, and messages embedded in this dance.
27
Chang, Angela, e Matthew Tingchi Liu. "What to Say to Patrons About Buying Tickets Again? Modelling a Modern Relationship for Traditional Performing Arts". Journal of Creative Communications 13, n.º 3 (3 de setembro de 2018): 167–84. http://dx.doi.org/10.1177/0973258618792789.
Texto completo da fonteResumo:
Understanding patrons’ repurchase intentions is a key area of focus for marketers, given its effect on survival and growth in competitive environments. Four types of relationships based on patron’s satisfaction, product preference, product involvement, induced emotions and repurchasing intention were modelled to illustrate how current consumption influenced the repurchase intentions of performing arts patrons. An empirical study on an East Asian traditional culture performance from 671 patrons was conducted by using structural equation modelling (SEM) techniques. The result indicated that patrons’ satisfaction was not the most direct determinant of their own repurchase intention, as initially theorized. Instead, patron preferences and involvement are the most proximal predictors of repurchase intent. Performing arts represent a leisure market sector that provides educational, entertainment and experiential services. Arts marketers can identify the factors that influence the patrons’ repurchase responses to improve their’ inherently experiential offerings. This study represents a sophisticated nature of the relationship with theatre patrons and offers theoretical and practical mediating attributes for arts marketing managers to consider in communication.
28
Pouivet, Roger. "On the Cognitive Functioning of Aesthetic Emotions". Leonardo 33, n.º 1 (fevereiro de 2000): 49–53. http://dx.doi.org/10.1162/002409400552234.
Texto completo da fonteResumo:
This article seeks to show that we cannot accept an opposition between aesthetics and logic on the basis of the distinction between aesthetic emotion and cognition. This false distinction is founded on another ill-founded one between private states of mind and public languages. Echoing works by R. de Sousa, we can talk about the rationality of emotions. Following N. Goodman and I. Scheffler, we are conducted to the notion of cognitive emotions. If there are aesthetic emotions, they are likely cognitive. The notion of supervenience seems very adequate to show how aesthetic emotion, even aesthetic pleasure, can be related to cognitive experience.
29
Maciel, João Marcos, Marília Lyra Bergamo e Judd D. Bradbury. "Mr. Market's Emotions". Leonardo 53, n.º 2 (abril de 2020): 174–78. http://dx.doi.org/10.1162/leon_a_01634.
Texto completo da fonteResumo:
The authors present a study of artistic data visualization as reflection of human emotion. They describe the sonority of movements in the stock market with real human emotions as a method to better understand this organism with wide influence in our world.
30
Metros, Susan E. "Making Connections: A Model for On-Line Interaction". Leonardo 32, n.º 4 (agosto de 1999): 281–91. http://dx.doi.org/10.1162/002409499553433.
Texto completo da fonteResumo:
The overuse of visual imagery and the redundancy of information in traditional and new communication media have desensitized our society, resulting in an emotional bankruptcy. The World Wide Web communication medium, with its highly visual interface and virtual environments, perpetuates and aggravates this situation. The “new designers” of the twenty-first century must partner with technology experts, content specialists and common users to reinvigorate imagination and rekindle emotions. To this end, we can identify and extract the six essential ingredients of engagement from the traditional performing arts, communication and design theory and recast them to support new media that are both visually stimulating and emotionally provocative.
31
Actis-Grosso, Rossana, e Daniele Zavagno. "E-motions". Art & Perception 3, n.º 1 (2015): 53–66. http://dx.doi.org/10.1163/22134913-00002022.
Texto completo da fonteResumo:
An experiment is presented, aimed at preliminary testing the hypothesis according to which facial expressions related to specific emotions, such as anger, fear, and joy, incorporate a sense of dynamicity and are used to enhance the representation of motion in static artworks. Since a growing body of evidence shows that motion is one of the core components of emotion, and the representation of motion in art is often achieved by portraying unstable poses, we hypothesize that the visually more dynamic emotions are those with ‘unstable’ facial expressions, i.e., expressions that imply muscular tensions that cannot be held for long (e.g., rage, grief, amazement: E-motions) whereas static emotions are those which can last and even represent a constant facial feature in some people. To test this hypothesis we chose eleven static artworks from which we derived twelve human figures that convey different emotions in different proportions. Images were manipulated to produce two sets of stimuli: headless bodies (Set 1) and bodiless heads (Set 2). Participants were asked to rate perceived dynamicity of stimuli from Set 1 on a 7-point Likert scale (Session 1) and to rate each stimulus from Set 2 for joy, sadness, surprise, disgust, anger, fear, serenity, puzzlement and dynamicity (i.e., eight emotions and dynamicity). As expected, we found that some facial emotions (i.e., disgust, anger and fear) are positively related to the dynamicity attributed to the artworks: those emotions are the more sudden ones and thus the more ‘unstable’. We also found that serenity is negatively related to dynamicity. Contrary to our expectations, we found instead that joy is statistically different from dynamicity, a result that calls for further investigation.
32
Zhang, Xiqui. "Interpretive properties of recitation in the vocalist’s performing arts". Aspects of Historical Musicology 21, n.º 21 (10 de março de 2020): 247–60. http://dx.doi.org/10.34064/khnum2-21.16.
Texto completo da fonteResumo:
Background. One of the main positions of the vocalist’s practice is to understand the recitation as a kind of interpretation of the musical text, which is fixed in the notes. In the process of performing a piece of music, be it the song, the romance, the recitative, the aria in an opera or a musical drama, one specific variant is selected each time from its many potential meanings. This is the performer’s interpretation of the declamatory intonation, because the composer usually does not indicate the tone, timbre and strength of the voice, minimally orienting a singer in the desired intonation, in the duration and location of pauses for breath and in another wide arsenal of methods of declamatory expression. The aim of this research is to study the interpretive properties of recitation in the sphere of vocal music. Discovering the nature of the interpretive properties of declamatory intonation, based on the simultaneous and consistent sound of speech and music, will help to overcome the performance difficulties in the vocalist’s work on mastering the artistic technique of this area of expression. The main results. The specificity of the combination of words and music in the structure of melodic declamation, its origins in various national cultures, both European and Chinese, the peculiarities of being in different genre conditions (musical drama, opera recitative) are considered, certain difficulties and tasks for the singer-reciter are outlined. In European art, the tradition of melodic recitation has its roots in ancient mysteries. The beginning of European secular melodic recitation was marked at the end of the 16th century, but it was developing in the works of musicians known as the “Florentine Camerata” (Vincenzo Galilei, Giulio Cacchini, Jacopo Peri, Ottavio Rinuccini, etc.), becoming one of the origins of opera. A distinctive feature of melody recitation at that time was the desire for solo recitative singing. Later, as an expressive mean, recitation was existing within the opera genre, and from the middle of the 18 century in Europe, this technique was contributing to the formation of an independent concert genre – chamber and vocal works with ballad texts, which found their place in the works of romantic composers (F. Schubert, R. Schumann, etc.). Note, that in the process of historical development, the genre of melodic declamation, on the one hand, modifies in the form of a recitative in European opera, on the other – remains independent within the musical-stage drama, still popular in various national cultures. The Chinese Suzhou musical drama, which is indicative of our study, originated more than 200 years ago, beginning with folk melodies, including xiaochang (“little songs’), tales, dance movements, gestures (khuaguden dances – “with flowers, drums and lanterns’) etc., and gradually spread at the area near the city Suzhou in the lower Yellow River. It later spread to Anhui Province, the Northern parts of Jiangsu Province, and the Southern parts of Shandong Province. The creative achievements of this art, local at the beginning, later assimilated in the national Beijing Opera. But from its origins, this kind of musical and stage action is inextricably linked with the life of the Chinese people, is based on unpretentious plots, so it remains popular to this day, capable of significant emotional impact on the recipient – the audience and listener. Note, that the genre varieties of musical drama developed from the 16–17 centuries both, in China and in the different cultures of the European, American, and Asian continents, where they exist and today. This stability of the genre is not least due to the fact that in the structure of musical drama is an artistic synthesis of several types of art: the word interacts with music, live stage action. The melodic reciter in this context faces certain difficulties. So, one of the basic means of musical expression for the singer is diction, clear pronunciation of a word, which, in close connection with the melody, is subject to the task of transmitting the artistic content of the work – from composer to listener. It is impossible to convey the musical idea of the composition, to create a certain emotional mood, to embody one’s interpretation of the poetic image of the performed music without a clear proclamation of language inversions, which contain the significance of the immanent artistic content. This requirement does not apply to technical musical constructions used for singing, for “warming up” the singer’s vocal apparatus, nor does it apply to vocals performed without words. Every artist, including a vocalist who uses a verbal word, must understand its importance in creating a unique artistic image, consciously use diction as an articulatory technique of revealing the musical text content in the poetic context of chamber, opera, or musical-dramatic genres. Conclusions. So, verbal-musical factors of declamatory intonation have the immanent possibility of various interpretations in the process of vocal performance. Recitation is based on the expressiveness of the word, perceived by the listener or theatrical spectator on several levels: 1) auditory – we hear the intonation richness of shades of musical speech; 2) mental – we understand the logical meaning of texts; 3) psycho-emotional – with the help of imagination, fantasy, we sympathize with the moods, emotions of the heroes of the work of art. At the same time, the basis of interpretation in the art of singing is the voice as a physical phenomenon: it is not only a material carrier of speech sounds, but also the main tool for expressing musical meanings: the variety of voice sound modulations is inexhaustible. Therefore, the role of breathing in the process of clear proclamation of the word, diction in the process of vocal intonation is difficult to overestimate. It is necessary to emphasize the presence of constant transitions in the part of the performer-reciter from linguistic constructions to recitative and pure vocal. Mastering the techniques of correlation of singing and recitation is relevant for any vocalist, which caused an in-details study of this problem.
33
Jacob-Dazarola, Ruben, Manuel Martínez Torán e Katherine Mollenhauer Gajardo. "(ED)2 Emotion-Driven Experience Design: A Method to Design Tourist Experiences Starting from Emotions". International Journal of Design Education 18, n.º 1 (2024): 57–81. http://dx.doi.org/10.18848/2325-128x/cgp/v18i01/57-81.
Texto completo da fonte
34
McGuinness, Max. "Proust's Political Emotions". Paragraph 45, n.º 1 (março de 2022): 77–95. http://dx.doi.org/10.3366/para.2022.0386.
Texto completo da fonteResumo:
Proust's Recherche includes detailed depictions of political mentalities that reveal the critical influence of socio-economic structures without foreclosing the possibility of individual autonomy. His novel also draws attention to a factor that seems resistant to formal social-scientific analysis, namely the role of emotional contingency in shaping individuals’ political views. The capriciousness displayed by Proust's characters in their approach to the Dreyfus Affair and other political controversies comes to epitomize a broader pattern of emotional volatility within high politics during the First World War and its aftermath. That caustic vision of how politics works remains pertinent in our own time, as the rebirth of charismatic authority and performative transgression transform politics into a contest of volatile polarizing enthusiasms.
35
Chakravarty, Kheya, e Thenmozhi M. "Understanding Human Emotion: An Intervention of Anger through Raudra Rasa in Dina Mehta’s Drama Brides Are Not for Burning". World Journal of English Language 13, n.º 7 (16 de agosto de 2023): 387. http://dx.doi.org/10.5430/wjel.v13n7p387.
Texto completo da fonteResumo:
Anger is the main propaganda of this study. This study aims to explore the intervention of anger through the aesthetic concept of Raudra rasa in Dina Mehta's drama, "Brides Are Not for Burning." Emotions play a significant role in human experiences, and anger, in particular, has been the subject of extensive research. Drawing upon traditional Indian aesthetics and performing arts, Raudra rasa represents a complex emotional state of anger, rage, or ferocity. By examining its portrayal and impact in Mehta's drama, this study seeks to enhance our understanding of the role of Raudra rasa in evoking and managing anger. Utilizing a descriptive qualitative method, this study employs how Raudra rasa is embodied and expressed by the character. By delving into the intervention of anger through Raudra rasa in the play, this study contributes to the existing knowledge on the interplay between emotions, art, and human experiences.
36
Czarnowus, Anna. "The Medievalism of Emotions in King Lear". Multicultural Shakespeare: Translation, Appropriation and Performance 23, n.º 38 (30 de junho de 2021): 181–96. http://dx.doi.org/10.18778/2083-8530.23.11.
Texto completo da fonteResumo:
King Lear exemplifies two cultures of feeling, the medieval and the early modern one. Even though the humoral theory lay at the heart of the medieval and the early modern understanding of emotions, there was a sudden change in the understanding of specific medieval emotions in Renaissance England, such as honour as an emotional disposition. Emotional expression also changed, since the late Middle Ages favoured vehement emotional expression, while in early modern England curtailment of any affective responses was advocated. Early modern England cut itself off from its medieval past in this manner and saw itself as “civilized” due to this restraint. Also some medieval courtly rituals were rejected. Expression of anger was no longer seen as natural and socially necessary. Shame started to be perceived as a private emotion and was not related to public shaming. The meaning of pride was discussed and love was separated from the medieval concept of charity. In contrast, in King Lear the question of embodiment of emotions is seen from a perspective similar to the medieval one. The article analyzes medievalism in terms of affections and studies the shift from the medieval ideas about them to the early modern ones.
37
Kramer, Mette. "Humour, emotional well-being and the anti-heroine in modern dramedy". Journal of Scandinavian Cinema 9, n.º 1 (1 de março de 2019): 39–52. http://dx.doi.org/10.1386/jsca.9.1.39_1.
Texto completo da fonteResumo:
The article discusses the function of the anti-heroine in dramedy internationally and in the context of recent Scandinavian TV productions. It presents the empirical findings of a group of Danish cancer patients’ reappraisal of the TV dramedy series The Big C and its depiction of coping with melanoma, arguing that the anti-heroine’s use of humour presents a means to regulate positive and negative emotions with benefits for emotional well-being and health.
38
Goldman, Alan. "Emotions in Music (A Postscript)". Journal of Aesthetics and Art Criticism 53, n.º 1 (1995): 59. http://dx.doi.org/10.2307/431737.
Texto completo da fonte
39
DAVIES, STEPHEN. "Discussion: Kivy on Auditors' Emotions". Journal of Aesthetics and Art Criticism 52, n.º 2 (1 de março de 1994): 235. http://dx.doi.org/10.1111/1540_6245.jaac52.2.0235.
Texto completo da fonte
40
GOLDMAN, ALAN. "Emotions in Music (A Postscript)". Journal of Aesthetics and Art Criticism 53, n.º 1 (1 de dezembro de 1995): 59–70. http://dx.doi.org/10.1111/1540_6245.jaac53.1.0059.
Texto completo da fonte
41
Brauerhoch, Annette. "Mixed Emotions: "Mommie Dearest." Between Melodrama and Horror". Cinema Journal 35, n.º 1 (1995): 53. http://dx.doi.org/10.2307/1225807.
Texto completo da fonte
42
Mircioagă, Ion. "Performing Arts And Limitation As A Motive". Theatrical Colloquia 10, n.º 2 (1 de dezembro de 2020): 7–18. http://dx.doi.org/10.2478/tco-2020-0017.
Texto completo da fonteResumo:
AbstractTwo categories of limitations are identified in the performing arts: physical, on the one hand, and those related to the intellectual and emotional predispositions of artists, on the other. Physical boundaries, in turn, are divided into material barriers - for example, the type of performing space and its dimensions - and the constraints generated by the anatomy and morphology of each artist. The experience had at the Vasile Alecsandri National Theater, in Iaşi, is evoked, while insisting on the importance of the actors’ abilities to go through the different states of mind that accompany various ages of man. The discussion of limitations involves the discussion of the new. The contribution of new stage technologies to the evolution of theater is recorded. It is briefly described, in context, the experience facilitated by the show Planet of Lost Dreams, in order to advocate for the avoidance of the unwarranted use of means such as video projections, the Internet, etc. The challenges posed by the mix of 3D and 2D images are noted. The view is advanced that the total absence of limitations, as well as their formal treatment can block the development of the theater.
43
Burstein, Joyce. "Integrating Arts: Cultural Anthropology and Expressive Culture in the Social Studies Curriculum". Social Studies Research and Practice 9, n.º 2 (1 de julho de 2014): 132–44. http://dx.doi.org/10.1108/ssrp-02-2014-b0010.
Texto completo da fonteResumo:
Social studies is the combined study of several disciplines including cultural anthropology where expressive culture is defined and described. Expressive culture is the processes, emotions, and ideas bound within the social production of aesthetic forms and performances in everyday life. It is a way to embody culture and to express culture through sensory experiences such as dance, music, literature, visual media, and theater. By integrating the arts into social studies, students are introduced to cultural ideals, traditions, and norms inherent in their own lives. This article describes the use of cultural anthropology as a vehicle to teach social studies concepts with visual and performing arts. Two examples of coequal social studies and arts units are examined in second and sixth grades.
44
Kivy, Peter. "Auditor's Emotions: Contention, Concession and Compromise". Journal of Aesthetics and Art Criticism 51, n.º 1 (1993): 1. http://dx.doi.org/10.2307/431965.
Texto completo da fonte
45
KIVY, PETER. "Auditor's Emotions: Contention, Concession and Compromise". Journal of Aesthetics and Art Criticism 51, n.º 1 (1 de dezembro de 1993): 1–12. http://dx.doi.org/10.1111/1540_6245.jaac51.1.0001.
Texto completo da fonte
46
Tubillejas Andrés, Berta, Amparo Cervera-Taulet e Haydee Calderón García. "Social servicescape effects on post-consumption behavior". Journal of Service Theory and Practice 26, n.º 5 (12 de setembro de 2016): 590–615. http://dx.doi.org/10.1108/jstp-12-2014-0289.
Texto completo da fonteResumo:
Purpose The purpose of this paper is to determine the role played by the social servicescape and positive emotions in the post-use in terms of response – satisfaction, perceived value and consumer loyalty – in hedonic services. Design/methodology/approach A quantitative study was conducted to gather data from 867 opera-goers through e-mail with a link to a questionnaire. Hypotheses were tested using structural equation modeling based on partial least squares. The effects of the social servicescape and emotions as moderators were examined using interaction techniques. Findings The paper provides empirical support on the multidimensional configuration of the social servicescape composed by both characteristics and interactions of employees and customers. The results demonstrate significant relationships between the social servicescape and positive emotions in perceived value, satisfaction and loyalty of consumers. Positive emotions are a moderating variable, intensifying the relationship between the social servicescape and perceived value. The opposite effect in the relationship between the social servicescape and loyalty is found. Research limitations/implications Further research is required to generalize the findings to other hedonic services. Practical implications Knowledge on both social servicescape and emotional effects on consumer behavior may enable cultural managers to improve the consumption experience of performing arts attendees. Originality/value This paper fulfills a research gap in the area of social servicescape as well as the effects of emotions in hedonic services. It makes two main contributions. First, it provides knowledge on social servicescape conceptualization and measurement. Second, the moderation, by interaction effect, of emotions and social servicescape in consumer behavior are confirmed.
47
Stopel, Bartosz. "A Cognitive-Affective Approach to Foregrounding Categorical-Thematic Patterns in Popular Cinema". Projections 15, n.º 3 (1 de dezembro de 2021): 1–23. http://dx.doi.org/10.3167/proj.2021.150301.
Texto completo da fonteResumo:
The article sets out to discuss disruptions of the embodied flow of movie perception triggered by foregrounded categorical-thematic patterns. First, categorical-thematic patterns are framed in a cognitive perspective and tied to categorical (or parallel) information processing as opposed schematic (sequential). I argue that the former are not prototypical of embodied movie perception and tend to be disruptive if foregrounded, as they are more prevalent in art cinema. Next, I indicate how categorical-thematic patterns may encourage a type of non-habitual pattern recognition producing a number of emotional and aesthetic effects: delight at pattern isolation, wonder emotions, emotional focus of a story theme, and intensification or modulation of global and empathetic emotions. Finally, I turn to illustrate these points using Pan’s Labyrinth, a film that systematically foregrounds categorical-thematic patterns yet naturalizes them, alleviating disruption of movie perception. This, I believe, marks an effective strategy of importing avant-garde film techniques into popular cinema.
48
Kwon, Hyeogin, e Junyoung Chae. "The Effects of Performing Arts Service Failure Types on Service Recovery: Mediating Effects of Cognitive and Emotional Response Compensation". Korean Society of Culture and Convergence 45, n.º 2 (28 de fevereiro de 2023): 775–86. http://dx.doi.org/10.33645/cnc.2023.02.45.02.775.
Texto completo da fonteResumo:
The purpose of this study is to investigate the effect of performing arts service failure types on service recovery and the mediating effects of cognitive response and emotional response compensation between them. 312 subjects who experienced performing arts service failure within 5 years were the study subjects, and SPSS 26.0 and AMOS 26.0 statistical programs were used for analysis. As a result of the study, it was found that among the failure types of performing arts service, human failure had an effect on cognitive response compensation and emotional response compensation, respectively. In addition, the mediating effect of cognitive and emotional compensation in the relationship between human failure and service recovery was confirmed. The conclusion of this study explained the importance of compensation plans when human failure occurred during performing arts services and suggested a compensation manual for service recovery.
49
Shearcroft, Geoff. "The Joy of Architecture: Evoking Emotions Through Building". Architectural Design 91, n.º 1 (janeiro de 2021): 108–17. http://dx.doi.org/10.1002/ad.2660.
Texto completo da fonte
50
Hamana, Emi. "A Cognitive Approach to Shakespeare Plays in Immersive Theatre: With a Special Focus on Punchdrunk’s "Sleep No More" in New York (2011-) and Shanghai (2016-)". Multicultural Shakespeare: Translation, Appropriation and Performance 21, n.º 36 (30 de junho de 2020): 13–26. http://dx.doi.org/10.18778/2083-8530.21.02.
Texto completo da fonteResumo:
Although cognitive science is an interdisciplinary field, its central questions are ‘what is humanity?’ and ‘what is emotion?’ Since the field of theatre and performing arts is deeply concerned with humans and emotions, we expect that it will contribute to the understanding of these concepts. Immersive theatre is an experimental performance form that emphasizes site, space and design while immersing spectators in a play. The number of immersive theatre companies or productions has been growing worldwide. This paper discusses Punchdrunk’s Sleep No More, directed by Felix Barrett and performed in London (2003), New York (2011-) and Shanghai (2016-). While elucidating the cognitive impact of immersive Shakespeare performances on spectators, this paper aims to uncover new artistic and cultural value in Shakespeare plays performed in an experimental form in order to advance their contemporary relevance.