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This volume on imagery includes more than 3,500 citations and references pertaining to the topic, as well as more than 400 recent annotated entries in a bibliographic section, culled from some 133,000 studies on this topic that have appeared in literature. Tracing the lineage and evolution of the ...

This volume on imagery includes more than 3,500 citations and references pertaining to the topic, as well as more than 400 recent annotated entries in a bibliographic section, culled from some 133,000 studies on this topic that have appeared in literature. Tracing the lineage and evolution of the concept of image and imagery in psychology, this work includes definitions and domains of the terms, early and modern perspectives, theoretical aspects, applications and functions. An emphasis is placed on a traditionalist and experimental/empirical approach to understanding imagery in psychology. This work is a historical background source, as well as a state-of-the-art reference.

This volume synthesizes and advances existing knowledge of consumer response to visuals. Representing an interdisciplinary perspective, contributors include scholars from the disciplines of communication, psychology, and marketing. The book begins with an overview section intended to situate the ...

This volume synthesizes and advances existing knowledge of consumer response to visuals. Representing an interdisciplinary perspective, contributors include scholars from the disciplines of communication, psychology, and marketing. The book begins with an overview section intended to situate the reader in the discourse. The overview describes the state of knowledge in both academic research and actual practice, and provides concrete sources for scholars to pursue. Written in a non-technical language, this volume is divided into four sections: Image and Response-illustrates the difficulty encountered even in investigating the basic influences, processes, and effects of "mere exposure" to imagery. Image and Word-presents instances in which the line between words and pictures is blurred, such as the corporate logo which is often pictorial in nature but communicates on an abstract level usually attributed to words. Image and the Ad-contributes to our appreciation for the exquisite variations among advertising texts and the resultant variability in response, not only to different ads but among different viewers of the same ad. Image and Object-carries the inquiry of visual response over the bridge toward object interaction. Having traveled a path that has gone from the precise working of the brain in processing visual stimuli all the way to the history of classical architecture, readers of this volume has a new respect for the complexity of human visual response and the research that is trying to explain it. It is of interest to those involved in consumer behavior, consumer psychology, advertising, marketing, and visual communication.

Surrealism was ostensibly directed at the emancipation of the human spirit, but it represented only male aspirations and fantasies until a number of women artists began to redefine its agenda in the later 1930s. This book addresses the former, using a 'thick description' of the historically specific ...

Surrealism was ostensibly directed at the emancipation of the human spirit, but it represented only male aspirations and fantasies until a number of women artists began to redefine its agenda in the later 1930s. This book addresses the former, using a 'thick description' of the historically specific circumstances which required the male Surrealists to manufacture a sexual reputation of narcissism and misogyny. These circumstances were determined by 'hegemonic masculinity', an ideological construct which had little to do with individual masculinities. In male Surrealism, the 'beribboned bomb' signified something both attractive and volatile, a specific instance of the Surrealist principle of convulsive beauty. In hegemonic masculinity, similar devices served as metaphors of the sexuality all men were supposed to possess. The intersection of these two axes produced an imagery of unrepentant violence.