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Books on the topic 'Emotion and aesthetic relish'

Author: Grafiati

Published: 2 June 2025

Last updated: 31 July 2025

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1

Hanich, Julian. Cinematic emotion in horror films and thrillers: The aesthetic paradox of pleasurable fear. Routledge, 2010.

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2

Bhaskar, Ira. Emotion, Subjectivity, and the Limits of Desire. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036613.003.0012.

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This chapter analyzes three Bombay melodramas: Mahesh Kaul's Gopinath (1948), Kamal Amrohi's Daera (1953), and Bimal Roy's Devdas (1955). These films represent the tragic denouement of their protagonists, bringing into sharp relief a particular melodramatic embodiment of gender and identity in Bombay cinema of the 1940s and 1950. The chapter addresses the following questions: What are the issues at stake? What is the historical conjuncture that pressures gender and genre to take such forms? What significances does the aesthetic mode employed here press forth from the situations that the films

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3

Berliner, Todd. Ideology, Emotion, and Aesthetic Pleasure. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190658748.003.0007.

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Chapter 7 examines the ways in which a film’s ideological properties contribute to aesthetic pleasure when they intensify, or when they complicate, viewers’ cognitive and affective responses. The chapter demonstrates the ways in which the ideology of a Hollywood film guides our beliefs, values, and emotional responses. In ideologically unified Hollywood films, such as Die Hard, Independence Day, Pickup on South Street, and Casablanca, narrative and stylistic devices concentrate our beliefs, values, and emotional responses, offering us a purer experience than we can find in most real-life situa

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4

Hanich, Julian. Cinematic Emotion in Horror Films and Thrillers: The Aesthetic Paradox of Pleasurable Fear. Taylor & Francis Group, 2011.

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5

Hanich, Julian. Cinematic Emotion in Horror Films and Thrillers: The Aesthetic Paradox of Pleasurable Fear. Taylor & Francis Group, 2012.

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6

Hanich, Julian. Cinematic Emotion in Horror Films and Thrillers: The Aesthetic Paradox of Pleasurable Fear. Taylor & Francis Group, 2011.

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7

Cinematic emotion in horror films and thrillers: The aesthetic paradox of pleasurable fear. Routledge, 2010.

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8

Cinematic Emotion in Horror Films and Thrillers: The Aesthetic Paradox of Pleasurable Fear. Routledge, 2011.

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9

Temperley, David. Emotion and Tension. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190653774.003.0007.

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Following much other research on musical emotion, this chapter assumes a two-dimensional representation, with one dimension representing valence (positive/negative) and the other representing energy/activity. It is argued that the valence dimension in rock is conveyed primarily by the location of a song’s scale (relative to the tonic) on the “line of fifths”; this captures the well-known major/minor contrast but also allows finer distinctions. The energy dimension is conveyed by a variety of musical parameters including loudness, register, tempo, rhythmic density, and timbral brightness. The c

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10

Yousef, Nancy. The Aesthetic Commonplace. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780192856524.001.0001.

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The Aesthetic Commonplace is a study of the everyday as a region of overlooked value in the work of William Wordsworth, George Eliot, and Ludwig Wittgenstein. The Romantic poet, the realist novelist, and the modern philosopher are each separately associated with a commitment to the common, the ordinary, and the everyday as a vital resource for reflection on language, on feeling, on ethical insight, and social attunement. The Aesthetic Commonplace is the first study to draw substantive lines of connection between Wittgenstein and the cultural and literary history of nineteenth-century England.

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11

Brady, Emily. Aesthetic Value, Nature, and Environment. Edited by Stephen M. Gardiner and Allen Thompson. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199941339.013.17.

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This chapter discusses key issues and questions about aesthetic experience and valuing of natural objects, processes, and phenomena. It begins by exploring the character of environmental, multisensory aesthetic appreciation and then examines the central debate between “scientific cognitivism” and “noncognitivism” in contemporary environmental aesthetics. In assessing this debate and the place of knowledge, imagination, and emotion in aesthetic valuing, it is argued that non-cognitive approaches have the advantage of supporting a critical pluralism that recognizes the variety and breadth of aes

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12

Jarjour, Tala. Emotion and the Economy of Aesthetics. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190635251.003.0001.

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This chapter sets forth the theoretical and epistemological frame for the book and the themes it integrates. The chapter introduces the main issues at stake in Sense and Sadness, be they intellectual, historical, political, geographic, temporal, methodological, or disciplinary. Its holistic contextualization is essential in order to understand the Suryani music experience as this book explains it: an emotional-cognitive aesthesis. The chapter explains the economy of emotion and aesthetics, proposed here as a new interpretive and analytical concept for a suggested connection between two main pr

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13

Cultural Approach to Emotional Disorders: Psychological and Aesthetic Interpretations. Taylor & Francis Group, 2016.

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14

Pribram, E. Deidre. Cultural Approach to Emotional Disorders: Psychological and Aesthetic Interpretations. Taylor & Francis Group, 2016.

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15

Pribram, E. Deidre. Cultural Approach to Emotional Disorders: Psychological and Aesthetic Interpretations. Taylor & Francis Group, 2016.

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16

Pribram, E. Deidre. Cultural Approach to Emotional Disorders: Psychological and Aesthetic Interpretations. Taylor & Francis Group, 2016.

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17

Risinger, Jacob. Stoic Romanticism and the Ethics of Emotion. Princeton University Press, 2021. http://dx.doi.org/10.23943/princeton/9780691203430.001.0001.

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Stoic philosophers and Romantic writers might seem to have nothing in common: the ancient Stoics championed the elimination of emotion, and Romantic writers made a bold new case for expression, adopting “powerful feeling” as the bedrock of poetry. This book refutes this notion by demonstrating that Romantic-era writers devoted a surprising amount of attention to Stoicism and its dispassionate mandate. The book explores the subterranean but vital life of Stoic philosophy in British and American Romanticism, from William Wordsworth to Ralph Waldo Emerson. The book shows that the Romantic era—the

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18

von Bonsdorff, Pauline. Children’s aesthetic agency: The pleasures and power of imagination. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198747109.003.0007.

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This chapter perceives the aesthetic sensibilities and creativity of young children through the lens of aesthetic theory and childhood studies. Understanding the aesthetic as encompassing sensitivity, emotion, imagination, and thought, I discuss how children make sense of their world, become familiar with social norms and expressive media, and create their self (including self–other relationships) through imaginative play. Aesthetic agency combines receptive and productive activity, or awareness in action—particularly evident in childhood, but not its privilege. Remembering that many pleasures

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19

Huschka, Sabine. Pina Bausch, Mary Wigman, and the Aesthetic of “Being Moved”. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036767.003.0012.

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This chapter rethinks the relationship between Mary Wigman and Pina Bausch from a viewpoint informed by recent philosophical approaches to dance history. Dance research often draws a genealogy that connects Wigman's approach to that of Bausch, the central representative of German Tanztheater as it emerged in the 1970s. However, it is argued Bausch took a fundamentally different position compared to the one propagated by her predecessor: turning her attention away from absolute truth and toward the truthfulness of any given physical movement on stage, while retaining the appeal to feeling, she

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20

"Shang qing" si chao de sheng ming shen mei yan jiu: Wan Ming ren qing xiao shuo de "li" yu "yu" = An aesthetic life study of "advocating emotion" thought. She hui ke xue wen xian chu ban she, 2017.

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21

Spiegel, Maura, and Danielle Spencer. This Is What We Do, and These Things Happen: Literature, Experience, Emotion, and Relationality in the Classroom. Oxford University Press, 2016. http://dx.doi.org/10.1093/med/9780199360192.003.0003.

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The role of emotion in clinical education and practice is discussed, drawing upon thinkers such as Derald Wing Sue, John Dewey, Joanna Shapiro, and others. Focusing on Alice Munro’s short story “The Floating Bridge,” different themes of classroom discussion are described, as well as an in-class writing exercise including examples of participant responses. Several questions and themes are explored: How does exploration of judgment in readers’ response to a literary text offer insight into the role of judgment in a clinical context? What is the effect of hearing the various emotional responses o

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22

Jarjour, Tala. Ḥasho. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190635251.003.0008.

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THIS CHAPTER begins by explaining the emotion of huzn, sadness, as a religious aesthetic, then presents ḥasho within canonical liturgical practice. It also explains ḥasho as an emotion to which aesthetic value is inherent, and that understanding it as such sheds light on its conception as a musical mode. The aim is to inform a thinking in which music modality might better be understood through the aesthetic indexing of emotional value. Through a combined musical and ethnographic analysis of music theory on ḥasho and of its employment in the commemoration of the crucifixion, ḥasho emerges as mo

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23

Rojas, Marco Ramírez, and David Rozotto, eds. Violencia, poder y afectos. Boydell and Brewer Limited, 2022. http://dx.doi.org/10.1017/9781800106154.

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How have sociopolitical fears been enacted, represented and performed in societies marked by repression, conflict and abuse of power? And how has this emotion shaped aesthetic and ideological discourses and cultural productions?

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24

Chakravorty, Pallabi. Ways of Seeing. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199477760.003.0002.

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This chapter broadly situates human subjectivity, desire, and emotion within an expansive scholarly literature combining philosophy, film, and media theory, aesthetic theory, and anthropology. The construction of desire through ‘Ways of Seeing’ remains central to the formation of subjectivity.

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25

Chakravorty, Pallabi. Flexing and Remixing Bodies. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199477760.003.0004.

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This chapter combines the theory of ‘embodiment and experience’ with ethnographic fieldwork to examine how the dominant aesthetic emotion (‘rasa’) once associated with the song and dance sequences in Bombay films is transformed through technological and aesthetic innovations on screen and the actual training of the body in dance halls, film studios, and dance classes in Mumbai and Kolkata. The embodiment of ‘remix’ describes the interconnections between new training techniques, film editing, and choreography of Indian dances.

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26

Winner, Ellen. Feeling From Music. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190863357.003.0004.

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This chapter addresses the emergence of feelings in the music listener. We hear a sad piece and feel sad, but we are not sad about the music, and nothing bad has happened to us. Some philosophers have therefore concluded that music cannot elicit emotion. Instead, perhaps we are confusing the emotion we hear expressed in the music with the emotion we feel. But research shows that people do feel emotions from music, and they distinguish the emotions they hear in the music from the emotions the music makes them feel. There is no empirical support for the philosophical position that we do not expe

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27

Moran, Richard. The Expression of Feeling in Imagination. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190633776.003.0001.

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The aesthetic engagement with fictions involves emotional responses of various kinds, and it is often urged that there is a paradox in the idea of emotions directed at what one knows to be a fictional situation or character. This paper examines some of the assumptions about imagination and emotion underlying the sense of paradox here, and critically examines Kendall Walton’s influential account of the problem in terms of his theory of make-believe. The paper argues that original paradox rests on a picture of the activity of imagination as restricted to the representation of states of affairs,

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28

Kriegel, Uriah. Metaethics. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198791485.003.0009.

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Chap. 5 showed how Brentano develops a metaontology based on his account of judgment. This chapter shows that Brentano also develops a structurally analogous metaethic on the basis of his account of interest phenomena (will, emotion, and pleasure/pain). The chapter presents, develops, and tries to defend Brentano’s account. It lays out a logical geography within which Brentano’s theory can be usefully placed, presents Brentano’s theory and his master argument for it, and discusses a number of objections. This will lead to a discussion of Brentano’s theory of beauty, or aesthetic value, toward

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29

Hernandez, Alex Eric. The Making of British Bourgeois Tragedy. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198846574.001.0001.

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This book assembles a body of print and performance concerned with the misfortunes of the middling sort, arguing that these works negotiated tragedy’s vexed relationship to ordinary life. This “bourgeois and domestic tragedy” imagined a particularly modern sort of affliction, an “ordinary suffering” divested of the sorts of meanings, rhetorics, and affective resonances once deployed to understand it. Whereas neoclassical aesthetics aligned tragedy with the heroic and the admirable, bourgeois tragedy treated the pain of common people with dignity and seriousness, meditating upon a suffering tha

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30

Diaconu, Madalina. Aesthetics of Weather. Bloomsbury Publishing Plc, 2024. http://dx.doi.org/10.5040/9781350416697.

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In an age of rife consumption and increasing need for consideration of sustainable social practices, an exploration of the aesthetics of weather from various angles becomes vital in shedding light on its importance to our experience of the changing world. In response, offering the first in-depth and nuanced examination of the aesthetics of weather, this book underlines the relevance the concept has for scientific communication, for fostering sustainable patterns of behaviour and for rejecting the environmentally-damaging “consumption” of landscapes and fine weather. In addition, it provides ex

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31

Devereaux, Michelle. The Stillness of Solitude. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474446044.001.0001.

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The Stillness of Solitude explores the Romantic connections between a selection of seven films from contemporary American filmmakers Sofia Coppola, Wes Anderson, Spike Jonze, and Charlie Kaufman. Linking the current socio-cultural moment, which has been described as ‘metamodern’, to the Romantic era, it describes how the Romantic relation to selfhood, intersubjectivity, and ‘being in the world’ informs the films studied. The first section of the book lays out the aesthetic argument, the second describes the role of imagination and emotion in creating that aesthetic, and the third explores narr

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32

Audi, Robert. Moral Perception Defended. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198786054.003.0004.

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This chapter extends Robert Audi's theory of moral perception and answers some objections from the literature. It distinguishes the perceptible from the perceptual; develops a structural analogy between perception and action; explains how moral perception can be causal; clarifies respects in which moral perception is representational; and indicates how it can ground moral knowledge. The presentational character of moral perception is described, particularly the phenomenological integration between moral sensibility and non-moral perception of the natural properties that ground moral properties

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33

James, David. Discrepant Solace. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198789758.001.0001.

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Consolation has always played an uncomfortable part in the literary history of loss. But in recent decades its affective meanings and ethical implications have been recast by narratives that appear to foil solace altogether. Illuminating this striking archive, Discrepant Solace considers writers who engage with consolation not as an aesthetic salve but as an enduring problematic for late twentieth- and twenty-first-century fiction and memoir. Making close readings of emotion crucial to understanding literature’s work in the precarious present, David James examines writers who are rarely consid

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34

Jarjour, Tala. Eight Old Syriac Modes. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190635251.003.0003.

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This chapter scrutinizes conceptions of modality in relation to emotionality and aesthetics by addressing written forms of knowledge on the eight ecclesiastical modes in Syriac chant. It begins by presenting basic terms in existing discourses on the subject, then it examines a number of written sources (touching on issues relevant to orientalism and European musicology). The chapter develops a critical narrative on the concept of mode in three ways. First, it extracts from written tracts on the subject information that corresponds with the author’s ethnographic observation of living practice.

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35

Song, Weijie. Introduction. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190200671.003.0001.

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This chapter contextualizes and theoreticizes the literary topography of space and emotion, the (de)formation of modern subjectivity, individual desire and collective consciousness, political conflicts and historical violence, as well as nationalist sentiments and cultural memories centering around Beijing, the ancient capital and modern city, which has framed the material infrastructures, human conditions, mental images, political regimes, cultural identities, and literary imaginations from the late Imperial and Republican periods to the Cold War era and after. I consider five modes of creati

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36

Harbus, Antonina. The Long View. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190457747.003.0008.

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This chapter considers how a modern reader can make sense of a medieval text, but also to have an aesthetic and emotional reaction to the text. It deploys insights from neuroscientific work on emotion in mental processing, the psychology and history of emotions, and cognitive poetic approaches to the aesthetics of reading, to consider how poetic language use interacts with cognitive structures and processes. By using a new diachronic perspective, this chapter explores the shared cognitive basis of meaning and feeling in short (translated) elegiac poems written over 1,000 years ago in Old Engli

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37

Malinar, Angelika, and Helene Basu. Ecstasy. Edited by John Corrigan. Oxford University Press, 2009. http://dx.doi.org/10.1093/oxfordhb/9780195170214.003.0014.

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Among the many emotions that may be evoked and sought after in religious practice, ecstasy is an emotional state reserved by definition for extraordinary occasions and fields of performance and discourse. Religious ecstasy is not only expressed in poetic language using erotic metaphors or at least metaphors of desire but also evoked in the context of textual recitations and musical performances. This inclusion of erotic and aesthetic aspects can be regarded as enhancing the potential attraction of this emotion for those who practice a religion. On the other hand, this is also one reason why th

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38

Nalbantian, Suzanne, and Paul M. Matthews, eds. Secrets of Creativity. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190462321.001.0001.

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This book draws from leading neuroscientists and scholars in the humanities and the arts to probe creativity in its many manifestations, including the everyday mind, the exceptional mind, the pathological mind, the scientific mind, and the artistic mind. It offers a brand new interdisciplinary approach revealing secrets of creativity that emerge from our everyday lives and from the minds of exceptional individuals and their discoveries or creations. Neuroscientists, psychologists, and humanities researchers provide new insights about the workings of the creative brain. Components of creativity

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39

Kieffer, Alexandra. Debussy's Critics. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190847241.001.0001.

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Around the turn of the twentieth century, the work of Claude Debussy spurred a reimagining of music and musical listening in which Parisian musicians and intellectuals, informed by recent scientific discourse on affect, perception, and cognition, attempted to articulate a music aesthetics appropriate to the fully embodied, material self of psychological modernism. Important themes in debussyste music criticism are prefigured in the Symbolist wagnérisme of the late 1880s, which elaborated a model of affect and cognition drawn from the empirical psychology of Théodule Ribot. Following the premie

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40

Charon, Rita, Sayantani DasGupta, Nellie Hermann, et al. The Principles and Practice of Narrative Medicine. Oxford University Press, 2016. http://dx.doi.org/10.1093/med/9780199360192.001.0001.

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Narrative medicine is a clinical practice fortified by complex narrative skills that equip healthcare professionals to recognize, absorb, interpret, and be moved to action by patients’ and colleagues’ stories of illness. Founded in 2000 at Columbia University by the authors of this volume, narrative medicine provides rigorous conceptual frameworks and practical clinical methods to increase the accuracy and scope of clinicians’ knowledge of their patients and to deepen their therapeutic partnerships. This book presents the authors’ views, enriched by collaboration with a worldwide network of co

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41

Jarjour, Tala. Sense and Sadness. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190635251.001.0001.

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Sense and Sadness is a story of the living practice of Syriac chant in Aleppo, Syria. To understand and explain this oral tradition, the book puts forward the concept of the emotional economy of music aesthetics, an economy in which the emotional and the aesthetic interrelate in mutually indicative ways. The book is based on observing chant practice in the Syrian Orthodox Church in contemporary contexts in the Middle East and beyond, while keeping as its nexus of analysis the Edessan chant of St. George’s Church of Hayy al-Suryan and focusing on Passion Week. It examines written sources on the

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42

Menin, Marco. Thinking About Tears. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192864277.001.0001.

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Abstract A crucial period for the birth of the modern subject, France’s ‘long eighteenth century’ (approximately 1650–1820) was an era marked by the formulation of a new aesthetic and ethical code revolving around the intensification of emotions and the hyperbolic use of weeping. Precisely because tears are not a simple biological fact but rather hang suspended between natural immediacy, on one side, and cultural artifice, on the other, the analysis of crying came to represent an exemplary testing ground for investigations into the enigmatic relations binding the realm of physiology to that of

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43

Hanʾguk chugŏsa. Minŭmsa, 1992.

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