The Cambridge Handbook of the Psychology of Aesthetics and the Arts

The psychology of aesthetics and the arts is dedicated to the report of our experiences of the visual arts, music, literature, film, performances, architecture and pattern; our experiences of beauty and ugliness; our preferences and dislikes; and our everyday perceptions of things in our world. The Cambridge Handbook of the Psychology of Aesthetics and the Arts is a foundational volume presenting an overview of the fundamental concepts and theories of the subject where readers can acquire about the questions that are being asked and get acquainted with the perspectives and methodologies used to address them. The psychology of aesthetics and the arts is i of the oldest areas of psychology simply it is too ane of the fastest growing and most exciting areas. This is a comprehensive and authoritative handbook featuring essays from some of the most respected scholars in the field.

'This book is a pregnant contribution to furthering our agreement well-nigh the importance and value of aesthetics within unlike art forms and contexts. Information technology has cross-disciplinary entreatment and helps to promote both theoretical evolution and applied research, while opening the study of aesthetics to a broader audience.'

Paul M. Camic - Salomons Center for Applied Psychology, Canterbury Christ Church building Academy, Kent

'This volume is impressive in both its breadth and depth. I work in this area, yet I learned something from each and every chapter virtually the psychology of aesthetics and art, and - perhaps more importantly - how aesthetics and art contribute to the human condition. This volume will be kept on my desk so I can have like shooting fish in a barrel admission to it!'

Jonathan Plucker - Raymond Neag Professor of Instruction, University of Connecticut

'This book brings together important scholarship and groundbreaking methodological approaches for understanding the fundamental question of how and why art moves united states of america. Although an private'southward experience of art is inherently subjective, these collected essays draw on inquiry in psychology and aesthetics to bring new insights to a topic that historically many scholars in the field had considered too indefinable to clarify or quantify.'

Kathryn Potts - Helena Rubinstein Chair of Education, Whitney Museum of American Art

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Contents



  • Copyright page

    pp iv-iv

  • Dedication

    pp v-vi

  • Contents

    pp vii-ix

  • Figures

    pp x-xiv

  • Tables

    pp xv-xv

  • Boxes

    pp xvi-sixteen

  • Contributors

    pp xvii-xxvi

    • By DAVID BELL, DAVID CARR, ANJAN CHATTERJEE, GERALD C. CUPCHIK, ADRIAN FURNHAM, GERNOT GERGER, THALIA R. GOLDSTEIN, GERARDO GÓMEZ-PUERTO, PAUL HEKKERT, JAMES C. KAUFMAN, STEFAN KOELSCH, AARON KOZBELT, HELMUT LEDER, ANDRÉA LIVI SMITH, PAUL J. LOCHER, PHD, PAVEL MACHOTKA, STEFANO MASTANDREA, CHRIS MCMANUS, MARCOS NADAL, EMILY C. NUSBAUM, East. GLENN SCHELLENBERG, W. P. SEELEY, PAUL J. SILVIA, JEFFREY K. SMITH, LISA F. SMITH, KATHARINA STÖVER, VIREN SWAMI, SWATHI SWAMINATHAN, PABLO P. L. TINIO, OSHIN VARTANIAN, REBECCA YASSKIN

  • one - Introduction past the editors

    pp 3-5

    • By Jeffrey K. Smith, Pablo P. 50. Tinio

  • five - Aestheticsassessment

    pp 86-112

    • By Aaron Kozbelt, James C. Kaufman

  • 7 - Psychodynamics and the arts

    pp 139-166

    • By Pavel Machotka

  • 8 - Evolutionary approaches to art and aesthetics

    pp 167-194

    • By Marcos Nadal, Gerardo Gómez-Puerto

  • ix - The walls do speak: psychological aesthetics and themuseum experience

    pp 195-218

    • By Pablo P. L. Tinio, Jeffrey Chiliad. Smith, Lisa F. Smith

  • PART Iii - Objects and media

    pp 219-478

  • 15 - Artseducation,academic achievement and cognitive ability

    pp 364-384

    • By Swathi Swaminathan, E. Glenn Schellenberg

  • eighteen - An aesthetics ofliterary fiction

    pp 447-478

    • By David Carr


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