Title Details: | |
Through the looking glass of emotion |
|
Other Titles: |
Cultural readings of music, painting and opera |
Authors: |
Siopsi, Anastasia |
Subject: | HUMANITIES AND ARTS > ARTS AND LETTERS > ARTS > ART THEORY > AESTHETICS HUMANITIES AND ARTS > ARTS AND LETTERS > VISUAL ARTS > FINE ARTS > PAINTING HUMANITIES AND ARTS > ARTS AND LETTERS > PERFORMING ARTS > MUSIC HUMANITIES AND ARTS > ARTS AND LETTERS > PERFORMING ARTS > THEATRE AND PERFORMING ARTS > THEATRE > OPERA HUMANITIES AND ARTS > PHILOSOPHY > PHILOSOPHICAL DISCIPLINES (EXCEPT ETHICS) > AESTHETICS > PHILOSOPHY OF ART HUMANITIES AND ARTS > PHILOSOPHY > PHILOSOPHICAL DISCIPLINES (EXCEPT ETHICS) > AESTHETICS > PHILOSOPHY OF MUSIC |
Keywords: |
Aesthetics
Emotion Culture Music Painting Opera |
Description: | |
Abstract: |
According to a common view, what is important in art is emotion. Emotion should refer, on the one hand, to the artist and, on the other hand, to the effect of his work on the receivers.
In our culture, however, the arts communicate through convention, and emotion becomes part of the structure. Emotion is constructed in literature and other arts with words and/or embodied modes of expression—that is, within artistic languages. These invite responses from a reader or a spectator or a listener, although artistic creation and its reception varies considerably between art forms. A written text that engages a reader’s subjective feeling and imagination is quite different to that of a music event bringing together a large listening audience—or a dancing one. So, an artwork itself can ‘embody’ emotion.
This study aims to present ways of articulation of the emotional power of art music, painting and opera in our culture using theories and examples.
The first chapter presents and analyses ways through which we perceive the arts, especially music, to communicate with emotion.
The second chapter aims to present aesthetic theories and works which favored the emotional power of music and painting (movements of baroque, romanticism and expressionism).
The aim of the third chapter is to offer cultural readings in relation to the two opposing poles of emotions as they appear in opera, namely, the emotions of love, especially in the era of them reaching a climax (romantic era), and those in relation to human conflict (war).
|
Linguistic Editors: |
Kalofolia, Myrto |
Graphic Editors: |
Tsompani, Eirini |
Other contributors: |
Cover painting: Edvard Munch (Norwegian, Løten, 1863 – Ekely, 1944), Cypress in the Moonlight (1892, oil painting). The musical score is an addition of the author. |
Type: |
Undergraduate textbook |
Creation Date: | 24-01-2024 |
Item Details: | |
ISBN |
978-618-228-137-6 |
License: |
Attribution - NonCommercial - ShareAlike 4.0 International (CC BY-NC-SA 4.0) |
DOI | http://dx.doi.org/10.57713/kallipos-374 |
Handle | http://hdl.handle.net/11419/11378 |
Bibliographic Reference: | Siopsi, A. (2024). Through the looking glass of emotion [Undergraduate textbook]. Kallipos, Open Academic Editions. https://dx.doi.org/10.57713/kallipos-374 |
Language: |
Greek |
Consists of: |
1. The aesthetic emotion in arts 2. Construction of emotion within artistic languages (style): parallel developments of music and painting (aesthetic emotion) 3. Opera as an art of emotions |
Number of pages |
202 |
Publication Origin: |
Kallipos, Open Academic Editions |
User comments | |
There are no published comments available! | |