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Articles de revues sur le sujet « Emotions in the performing arts »

Auteur : Grafiati

Publié le 25 juillet 2024

Mis à jour le 31 juillet 2025

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1

Zhang, Yao. "Analysis of Implication in Performing Arts." Scientific and Social Research 6, no. 12 (2024): 153–57. https://doi.org/10.26689/ssr.v6i12.9092.

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The moral is expressed in words, the image expresses the meaning, the performance creation interprets the content and the emotion in the text category with the image symbol, the seductive observation and listening influences the human disposition, invents the character, and observes the life individual in the universe. Performing art is an objective representation of spiritual life, which cannot be contrasted with the physical level of real life. It focuses on the cultivation of meaning. The creative subject uses subjective feelings to create meaningful space, transmit infinite emotions, and e

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Tait, Peta. "Performing Species Kinship and Strange Emotions." Performance Research 23, no. 3 (2018): 92–99. http://dx.doi.org/10.1080/13528165.2018.1495953.

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Coad, Luman. "Movement – Puppet Sized." Canadian Theatre Review 95 (June 1998): 17–20. http://dx.doi.org/10.3138/ctr.95.004.

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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.

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Son, Ji-Yeong, and Byeong-Ju Ahn. "The Effect of Performing Arts Viewing Experience on Youth Emotions." Korean Journal of Sports Science 31, no. 6 (2022): 609–24. http://dx.doi.org/10.35159/kjss.2022.12.31.6.609.

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Johnson-Laird, P. N., and Keith Oatley. "Emotions, Simulation, and Abstract Art." Art & Perception 9, no. 3 (2021): 260–92. http://dx.doi.org/10.1163/22134913-bja10029.

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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

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Tubillejas-Andrés, Berta, Amparo Cervera-Taulet, and Haydee Calderón García. "Feeling emotions in the public performing arts sector: does gender affect?" International Review on Public and Nonprofit Marketing 16, no. 1 (2018): 1–22. http://dx.doi.org/10.1007/s12208-018-0216-4.

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Troilo, Gabriele, Maria Cristina Cito, and Isabella Soscia. "Repurchase Behavior in the Performing Arts: Do Emotions Matter without Involvement?" Psychology & Marketing 31, no. 8 (2014): 635–46. http://dx.doi.org/10.1002/mar.20724.

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Fan, Jinming, Xiaoli Ni, Ting Wu, Yidi Wang, and Yuyan Qian. "Psychological Benefits of Arts Participation for Emerging Adulthood: A Pathway to Flourishing." Behavioral Sciences 14, no. 6 (2024): 448. http://dx.doi.org/10.3390/bs14060448.

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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 demon

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Natalia Ivanivna, YORDAN. "IMPROVEMENT OF PERFORMING PROFESSIONAL COMPETENCES OF PERFORMING ARTS SPECIALISTS IN THE CONTEXT OF USING GROUND GYMNASTICS EXERCISES." Academic Notes. Series: Pedagogical Sciences 13 (April 30, 2025): 164–69. https://doi.org/10.59694/ped_sciences.2025.13.164.

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ERFORMING ARTS SPECIALISTS IN THE CONTEXT OF USING GROUND GYMNASTICS EXERCISES The modern trends in the use of the discipline of parker gymnastics in the process of improving the performing professional competencies of full-time (part-time) higher education students in the field of knowledge «Culture, Arts and Humanities», specialty B6 Performing Arts (0215 Music and performing arts), specialization B6.01 Performing Arts and B6.03 Choreography are investigated. Its importance for the development of professional physical qualities of artists, in particular flexibility, muscle strength, enduranc

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Nikitha, Gaddam. "Impact of Performing Arts on Individual and Health Management." AKSHARASURYA 04, no. 01 (2024): 121 to 130. https://doi.org/10.5281/zenodo.11163000.

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The performing arts are widely recognized for their culture, tradition, and mythology. However, they have also gained recognition for their ability to evoke emotions. According to Natyashastra, performing arts are meant for entertainment, but they also have an enormous impact on individual well-being and both physical and mental health management. This abstract provides an overview of research on this topic, highlighting the composite benefits of the performing arts.Discipline plays an instrumental part in the performing arts. The meticulous training and practice needed in performing arts stim

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Radulescu, Raluca L. "Introduction: Performing Emotions in the Arthurian World." Arthuriana 29, no. 4 (2019): 3–7. http://dx.doi.org/10.1353/art.2019.0038.

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Kan, Xinglong, and Minyan Feng. "Attention, imagery, and emotions: Understanding tourists’ immersive experiences in tourism performing arts through transportation theory." Journal of Tourism Management Research 12, no. 1 (2025): 77–93. https://doi.org/10.18488/31.v12i1.4169.

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This research examines the attention, imagery, and emotions to understand tourist’s immersive experiences in tourism performing arts through transportation theory. Immersive tourism performances have experienced tremendous growth in Mainland China and become a key attraction in many tourist destinations. Despite the prevalence of tourism performing arts (TPA), research on immersive experiences within this context is scarce. Existing literature on TPA experiences has either considered other experiential concepts or focused solely on a single facet of immersive experiences. This research seeks t

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Hanich, Julian. "How Many Emotions Does Film Studies Need?" Projections 15, no. 2 (2021): 91–115. http://dx.doi.org/10.3167/proj.2021.150204.

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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 t

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Brand, Alice G., and John Chibnall. "The Emotions of Apprentice Poets." Empirical Studies of the Arts 7, no. 1 (1989): 45–49. http://dx.doi.org/10.2190/kmm8-yv9t-x53b-u4w7.

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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

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Sutardi, Edi, Rahmani Rahmani, and Andi Wijaya. "PERAN MATA PELAJARAN SENI TARI DALAM PEMBENTUKAN KECERDASAN EMOSIONAL SISWA DI SEKOLAH MENENGAH ATAS." Gesture: Jurnal Seni Tari 13, no. 2 (2024): 209. http://dx.doi.org/10.24114/gjst.v13i2.63294.

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This study examines the role of dance education in shaping the emotional intelligence of high school students. Dance, as a form of performing arts, offers students a platform to recognize, manage, and express their emotions through structured and meaningful movements. Emotional intelligence, which includes the ability to understand one's own emotions and those of others, as well as the capacity to regulate and express emotions appropriately, is crucial for students' personal and social development. This research employs a qualitative descriptive method with a case study approach in several hig

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Sanders, Ed. "THE EMOTIONS OF MEDEA: AN INTRODUCTION." Greece and Rome 68, no. 1 (2021): 1–7. http://dx.doi.org/10.1017/s0017383520000200.

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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 gen

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Zaiets, Vіtalіi, and Oksana Zaiets. "Modifying Processuality of Emotions of a Musician-Performer." Studia Universitatis Babeş-Bolyai Musica 68, Sp.Iss. 2 (2023): 197–206. http://dx.doi.org/10.24193/subbmusica.2023.spiss2.12.

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"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

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Dolese, Melissa J., and 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, no. 1 (2019): 36–60. http://dx.doi.org/10.1177/0276237419868948.

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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. Participan

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Dharwadker, Vinay. "Emotion in Motion: The Nāṭyashāstra, Darwin, and Affect Theory". Publications of the Modern Language Association of America 130, № 5 (2015): 1381–404. http://dx.doi.org/10.1632/pmla.2015.130.5.1381.

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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 t

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Stamatopoulou, Despina, and Gerald C. Cupchik. "The Feeling of the Form: Style as Dynamic ‘Textured’ Expression." Art and Perception 5, no. 3 (2017): 262–98. http://dx.doi.org/10.1163/22134913-00002066.

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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

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van Paasschen, Jorien, Elisa Zamboni, Francesca Bacci, and David Melcher. "Consistent Emotions Elicited by Low-Level Visual Features in Abstract Art." Art & Perception 2, no. 1-2 (2014): 99–118. http://dx.doi.org/10.1163/22134913-00002012.

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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 thi

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Ratner, Megan. "Maximum Emotions, Minimum Words." Film Quarterly 68, no. 4 (2015): 52–58. http://dx.doi.org/10.1525/fq.2015.68.4.52.

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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.

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Wobalis, Mirosław. "Mechanizmy zarządzania emocjami w grach wideo." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 33, no. 42 (2023): 175–88. http://dx.doi.org/10.14746/i.2023.33.42.12.

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   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 indi

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Fouche, Mienke, Janine Lewis, and 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, no. 3 (2021): 131–49. http://dx.doi.org/10.1080/10137548.2022.2072381.

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Tait, Peta. "Contemporary Politics and Empathetic Emotions: Company B's Antigone." New Theatre Quarterly 26, no. 4 (2010): 351–60. http://dx.doi.org/10.1017/s0266464x10000655.

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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

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Leslie, Esther. "This other atmosphere: against human resources, emoji and devices." Journal of Visual Culture 18, no. 1 (2019): 3–29. http://dx.doi.org/10.1177/1470412919825816.

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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 wo

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Goyal, Shubhanshi. "Catharsis in the Light of Indian Aesthetics." Integrated Journal for Research in Arts and Humanities 4, no. 6 (2024): 653–57. https://doi.org/10.55544/ijrah.4.6.44.

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This study explores the concept of catharsis within the framework of Indian aesthetics, particularly through the Nāṭyaśāstra, an ancient Sanskrit text on performing arts attributed to Bharata. While Aristotle's idea of catharsis primarily concerns the purging of emotions, such as pity and fear, through tragedy, Indian aesthetics presents a more holistic and transformative interpretation. The Nāṭyaśāstra introduces the concept of rasa, meaning "essence" or "taste", which serves as the foundation of Indian aesthetic experience. Unlike Aristotle’s catharsis, which is predominantly psychological a

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Chang, Angela, and 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, no. 3 (2018): 167–84. http://dx.doi.org/10.1177/0973258618792789.

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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 patr

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Karmel, Cynthia S., and Aiswarya Lakshmi M. "RE-READING OF VULNERABLE MINDS IN COSTUME- A SELECT STUDY ON TWO MALAYALAM MOVIES." ShodhKosh: Journal of Visual and Performing Arts 5, no. 6 (2024): 281–87. http://dx.doi.org/10.29121/shodhkosh.v5.i6.2024.1679.

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Masculinity as depicted in visual culture is often appropriated as the ideal to adhere in most of the representations, whether it is cinema or performing arts. Patriarchal order tends to project masculinity as the source of power from which the matrix of a society is outlined. Representation of masculinity on screen and their dimensions convey human experiences in a hitherto unperceived way. Apart from being a muscular figure which is categorized against a vulnerable woman, the dawn of 20th century has witnessed varied representations onscreen including sensitive, vulnerable, possessive protag

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Alawi*, Nizar Ihza, and Hafid Zuhdan Bachtiar. "Ndarboy Genk Music Performing Arts Management on the 2022 Cidro Asmoro Album Tour." Riwayat: Educational Journal of History and Humanities 7, no. 1 (2024): 426–36. http://dx.doi.org/10.24815/jr.v7i1.37371.

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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 obst

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Suhendra, Eka Ari. "Cultural Communication through Gambuh Dance : A Historical Performing Art from Bali." Bali Tourism Journal 7, no. 3 (2023): 43–46. http://dx.doi.org/10.36675/btj.v7i3.95.

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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

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Baranowski, Andreas M., Rebecca Teichmann, and Heiko Hecht. "Canned Emotions. Effects of Genre and Audience Reaction on Emotions." Art and Perception 5, no. 3 (2017): 312–36. http://dx.doi.org/10.1163/22134913-00002068.

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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

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Davies, Stephen. "Kivy on Auditors' Emotions." Journal of Aesthetics and Art Criticism 52, no. 2 (1994): 235. http://dx.doi.org/10.2307/431170.

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Metros, Susan E. "Making Connections: A Model for On-Line Interaction." Leonardo 32, no. 4 (1999): 281–91. http://dx.doi.org/10.1162/002409499553433.

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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 p

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Han, Eunjung, Chee-Onn Wong, Keechul Jung, and Kyung Ho Lee. "Emotion Gesture Art." Leonardo 43, no. 3 (2010): 308–9. http://dx.doi.org/10.1162/leon.2010.43.3.308.

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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.

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Zhang, Xiqui. "Interpretive properties of recitation in the vocalist’s performing arts." Aspects of Historical Musicology 21, no. 21 (2020): 247–60. http://dx.doi.org/10.34064/khnum2-21.16.

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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

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Pouivet, Roger. "On the Cognitive Functioning of Aesthetic Emotions." Leonardo 33, no. 1 (2000): 49–53. http://dx.doi.org/10.1162/002409400552234.

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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 aesthet

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Chakravarty, Kheya, and 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, no. 7 (2023): 387. http://dx.doi.org/10.5430/wjel.v13n7p387.

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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 evokin

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Jacob-Dazarola, Ruben, Manuel Martínez Torán, and Katherine Mollenhauer Gajardo. "(ED)2 Emotion-Driven Experience Design: A Method to Design Tourist Experiences Starting from Emotions." International Journal of Design Education 18, no. 1 (2024): 57–81. http://dx.doi.org/10.18848/2325-128x/cgp/v18i01/57-81.

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Maciel, João Marcos, Marília Lyra Bergamo, and Judd D. Bradbury. "Mr. Market's Emotions." Leonardo 53, no. 2 (2020): 174–78. http://dx.doi.org/10.1162/leon_a_01634.

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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.

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Actis-Grosso, Rossana, and Daniele Zavagno. "E-motions." Art & Perception 3, no. 1 (2015): 53–66. http://dx.doi.org/10.1163/22134913-00002022.

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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 ten

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McGuinness, Max. "Proust's Political Emotions." Paragraph 45, no. 1 (2022): 77–95. http://dx.doi.org/10.3366/para.2022.0386.

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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

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Kramer, Mette. "Humour, emotional well-being and the anti-heroine in modern dramedy." Journal of Scandinavian Cinema 9, no. 1 (2019): 39–52. http://dx.doi.org/10.1386/jsca.9.1.39_1.

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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.

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Goldman, Alan. "Emotions in Music (A Postscript)." Journal of Aesthetics and Art Criticism 53, no. 1 (1995): 59. http://dx.doi.org/10.2307/431737.

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DAVIES, STEPHEN. "Discussion: Kivy on Auditors' Emotions." Journal of Aesthetics and Art Criticism 52, no. 2 (1994): 235. http://dx.doi.org/10.1111/1540_6245.jaac52.2.0235.

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GOLDMAN, ALAN. "Emotions in Music (A Postscript)." Journal of Aesthetics and Art Criticism 53, no. 1 (1995): 59–70. http://dx.doi.org/10.1111/1540_6245.jaac53.1.0059.

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Mircioagă, Ion. "Performing Arts And Limitation As A Motive." Theatrical Colloquia 10, no. 2 (2020): 7–18. http://dx.doi.org/10.2478/tco-2020-0017.

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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 accompa

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Burstein, Joyce. "Integrating Arts: Cultural Anthropology and Expressive Culture in the Social Studies Curriculum." Social Studies Research and Practice 9, no. 2 (2014): 132–44. http://dx.doi.org/10.1108/ssrp-02-2014-b0010.

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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 us

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Brauerhoch, Annette. "Mixed Emotions: "Mommie Dearest." Between Melodrama and Horror." Cinema Journal 35, no. 1 (1995): 53. http://dx.doi.org/10.2307/1225807.

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Sky, S. Hong. "New Directions for Emerging Adult Development in Performative Arts and Racial Prejudice." International Journal of Recent Innovations in Academic Research 8, no. 2 (2024): 8–12. https://doi.org/10.5281/zenodo.10701600.

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The segregation index revealed that racial/ethnic and economic school segregation between schools has increased over the past three decades in large districts. Studies have highlighted the potential of performing arts to facilitate positive social and emotional development. However, they all had a gap in directly associating the performing arts with a decrease in racial prejudice. Therefore, this study’s primary motivation was to address this gap, offering a clearer understanding of the relationship between engagement in the performing arts and the attenuation of racial biases. This stud

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