PSYCHOLOGY OF THE ARTS
Kreitler, Hans & Shulamith Kreitler
Sold by Chris Fessler, Bookseller, Howell, MI, U.S.A.
AbeBooks Seller since 17 March 1998
Used - Hardcover
Condition: Used - Good
Quantity: 1 available
Add to basketSold by Chris Fessler, Bookseller, Howell, MI, U.S.A.
AbeBooks Seller since 17 March 1998
Condition: Used - Good
Quantity: 1 available
Add to basketdark grey full cloth hardcover 8vo. (octavo). dustwrapper in protective brodart book jacket cover. underlined copy in good cond. binding square & tight. covers clean. top edge has faint spots, other edge clean. previous owner's name inked on front flyleafapproximately 21 pages underlined in pencil (erasable, in chapters 3& 5). dustwrapper in good cond. smudgey, soiled, pull tear at spine top, not price clipped (no price listed). good used reading copy. no library markings, no remainder markings. first edition. first printing (same date on title & copyright page, no additional printings indicated). xiv+514p. 16 pages of glossy (mostly) full color plates. b&w illustrations. notes. references. name index. subject index. psychology. art history. art books. philosophy. pedagogy. ~ Psychology of the Arts combines an authoritative and clear coverage of basic theories and experimental findings with the presentation of an original theory about the experiencing of art. It is the most comprehensive textbook on art psychology published for many decades. It covers painting, sculpture, music, dance and literature, integrating an experimental approach in psychology with a professional examination of the specific arts and a discussion of major issues in art~both traditional and modern. The authors examine the psychological experience of the art spectator to answer the question: "What characteristics and qualities must a work of art possess so that it can elicit an art experience?", and they examine the qualities of works of art to answer the question: "What kind of experience can be elicited by stimuli of this type?" The first part of the book deals with the impact of the basic media of the arts. It centers on questions such as: What is the experiential impact of colors on the spectator? How does the interaction of space and surface, or of material and shape in sculpture affect the observer? What kind of experiences are evoked by harmony, melody, and rhythm in music, by movement in dance, or by phonetic sounds in poetry and different sentence structures in prose? In answering these and other questions, the authors analyze the basic art stimuli in terms of their effects on arousal, processes of tension and relief, and meaning elaboration of the input. The second part attempts to answer questions such as: How does a work of art emotionally involve the spectator? In what ways does this involvement differ from that in a story heard from a friend or a landscape viewed through a window? When does a work of art provide cathartic relief and when does it elicit imitation in the spectator? How is it that each one of innumerable spectators in various periods and cultures experiences the contents of a specific work of art as uniquely meaningful for him personally? And, what if any is the long~range cognitive impact of art? The answers to these and other questions entail discussion of processes such as empathy, feeling~into, identification, projection, sublimation, abstraction, multi~leveledness, symbolization, and the fourfold prism of realities ~ common, archaeological, normative and prophetic~which reflect art's contribution to the cognitive orientation of the audience. Teachers and students of psychology, of the special arts, of aesthetics, and art history will welcome a text like this, one that reviews the subject in a modern psychology framework. But Psychology of the Arts is much more than the title suggests. The questions that Psychology of the Arts examines are co~extensive with the fundamental issues of human psychology. Above all, the reader will find his own experience of the arts turning into something richer and broader because of this fine volume.
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