Deeper Than Reason: Emotion and Its Role in Literature, Music, and Art

By Jenefer Robinson | Go to book overview

Part One
What Are Emotions and
How Do They Operate?

For thousands of years people have assumed that that there is some special deep connection between emotion and the arts. In the Republic Plato famously complained that one reason why poetry often has such a bad moral influence on people is that it appeals to their emotions rather than to their reason, the 'highest' part of the soul. The idea that the emotions are intimately connected to the arts was taken up by Aristotle and given a more sympathetic twist. Almost ever since, there has been a widespread conviction among Western thinkers that there is some special relationship between the arts and the emotions.1

Until very recently, however, there was little consensus about what the emotions really are and how they actually operate, and so it has been hard to adjudicate exactly how they function in relation to the arts. This situation has now begun to change. Within the last thirty years or so there has been an upsurge of research into the emotions in disciplines as diverse as experimental and clinical psychology, neurobiology, anthropology, sociology, and philosophy. We now have a much better idea of what emotions are. Not that there is a complete consensus: far from it. Competing theories are rife. But none the less there is growing agreement about emotion and what its most important ingredients are.

-1-

Notes for this page

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this book

This book has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this book

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this page

Cited page

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited page

Bookmark this page
Deeper Than Reason: Emotion and Its Role in Literature, Music, and Art
Table of contents

Table of contents

  • Title Page iii
  • Acknowledgements vii
  • Contents xiii
  • List of Figures xv
  • Part One - What Are Emotions and How Do They Operate? 1
  • 1: Emotions as Judgements 5
  • 2: Boiling of the Blood 28
  • 3: Emotion as Process 57
  • Part Two - Emotion in Literature 101
  • 4: The Importance of Being Emotional 105
  • 5: Puzzles and Paradoxes 136
  • 6: A Sentimental Education 154
  • 7: Formal Devices as Coping Mechanisms 195
  • Part Three - Expressing Emotion in the Arts 229
  • 8: Pouring Forth the Soul 231
  • 9: A New Romantic Theory of Expression 258
  • Part Four - Music and the Emotions 293
  • 10: Emotional Expression in Music 295
  • 11: The Expression of Emotion in Instrumental Music 322
  • 12: Listening with Emotion: How Our Emotions Help Us to Understand Music 348
  • 13: Feeling the Music 379
  • 14: Epilogue 413
  • Notes 415
  • Bibliography 469
  • Index 487
Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this book

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Help
Full screen
/ 500

matching results for page

    Questia reader help

    How to highlight and cite specific passages

    1. Click or tap the first word you want to select.
    2. Click or tap the last word you want to select, and you’ll see everything in between get selected.
    3. You’ll then get a menu of options like creating a highlight or a citation from that passage of text.

    OK, got it!

    Cited passage

    Style
    Citations are available only to our active members.
    Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

    1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

    Cited passage

    Thanks for trying Questia!

    Please continue trying out our research tools, but please note, full functionality is available only to our active members.

    Your work will be lost once you leave this Web page.

    For full access in an ad-free environment, sign up now for a FREE, 1-day trial.

    Already a member? Log in now.