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Emotion und Erkenntnis

Psychologismus oder historische Emotionsforschung?

Martin Büchsel

Klang, Farbe, Emotion

Pierrot lunaire und die Synästhesie

Violetta L. Waibel

Albrecht Dürers Stich MELENCOLIA, I

Zeichen und Emotion. Die Logik einer kunsthistorischen Debatte

Martin Büchsel

Martin Beck

Wahrheit in der Malerei , Wien , 1992 . Freedberg , David und Gallese , Vittorio , „ Motion, Emotion and Empathy in Esthetic Experience “, in: Trends in Cognitive Sciences , 11 ( 2007 ). Gaiger , Jason , „ Hegel’s Contested Legacy: Rethinking the Relation between Art History and Philosophy

Klaus Speidel

, Narrative and Narrators. A Philosophy of Stories , Oxford , 2010 . Freedberg , David , Gallese , Vittorio , „ Motion, emotion and empathy in esthetic experience “, in: Trends in Cognitive Sciences , 11 . 5 , 2007 . Genette , Gérard , „ Frontières du récit “, in: Communications , 8 , 1966

Francesca Antonelli

book, whose general purpose is to open up new perspectives on the role played by family life in 18th-century French science and culture. It deals with a great variety of topics and most notably the understanding of emotions, the social construction of intellectual authority, and the relationship

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Donna L. Sadler

In Touching the Passion — Seeing Late Medieval Altarpieces through the Eyes of Faith, Donna Sadler explores the manner in which worshipers responded to the carved and polychromed retables adorning the altars of their parish churches. Framed by the symbolic death of Christ re-enacted during the Mass, the historical account of the Passion on the retable situated Christ’s suffering and triumph over death in the present. The dramatic gestures, contemporary garb, and wealth of anecdotal detail on the altarpiece, invited the viewer’s absorption in the narrative. As in the Imitatio Christi, the worshiper imaginatively projected himself into the story like a child before a dollhouse. The five senses, the sculptural medium, the small scale, and the rhetoric of memory foster this immersion.

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Donna L. Sadler

, the altarpiece (or object) may be elaborated in order to fix memories, and in the process become “sticky” with the emotions that accompany those memories. 84 Certain places or objects may become emotionally freighted, and adding the layer of ritual to those objects reinforces the emotions triggered

Paolo Savoia

nitty-gritty of manipulating, observing, and experimenting with natural matter (often rotting matter). The author pauses to reflect on issues of “testimony” and “authority”; on the cognitive emotion of wonder; and on the relationships between sexual and spontaneous generation. The book is composed of

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Edward H. Wouk

the Brazen Serpent , represent but one type of religious image Floris explored in these years. Well before the Council of Trent decreed that sacred images should both instruct the faithful and move their emotions, Floris began to seek enhanced means to involve the viewer more fully in an art that