Aesthetic trinity theory and the sublime

Philosophy Today

Volumn 55, Issue 1, 2011, Pages 64-73

  Konečni, Vladimir J ^a  

^a UNIVERSITY OF CALIFORNIA   (United States)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 79955441902     PISSN: 00318256     EISSN: 00318256     Source Type: Journal    
DOI: 10.5840/philtoday201155162     Document Type: Review

References (34)

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2. Toward a Psychology of Being, 2nd. ed. (New York: Van Nostrand Reinhold, 1968);
3. R. Panzarella, "The Phenomenology of Aesthetic Peak Experiences," Journal of Humanistic Psychology 20 (1980): 69-85;
4. Alf Gabrielsson, "Emotions in Strong Experiences With Music," in Music and Emotion: Theory and Research, ed. Patrik Juslin and John Sloboda (Oxford University Press, 2001), 431-52.
5. Immanuel Kant, Critique of Judgement, trans. J. H. Bernard (New York: Hafner Press, 1951);
6. Uygar Abaci, "Kant's Justified Dismissal of Artistic Sublimity," Journal of Aesthetics and Art Criticism 66 (2008): 237-51,
7. Jeanette Bicknell, Why Music Moves Us (Basingstoke, UK: Palgrave Macmillan, 2009), 32.
8. Vladimir J. Konečni "The Aesthetic Trinity: Awe, Being Moved, Thrills," Bulletin of Psychology and the Arts 5 (2005): 27-44;
9. Vladimir J. Konečni, Amber Brown, and Rebekah A. Wanic, "Comparative Effects of Music and Recalled Life-Events on Emotional State," Psychology of Music 36 (2008): 289-308;
10. Vladimir J. Konečni, "Does Music Induce Emotion? A Theoretical and Methodological Analysis," Psychology of Aesthetics, Creativity, and the Arts 2 (2008): 115-29.
11. "Awe," The Compact Edition of the Oxford English Dictionary (New York: Oxford University Press, 1971), 149.
12. Dacher Keltner and Jonathan Haidt, "Approaching Awe, a Moral, Spiritual, and Aesthetic Emotion," Cognition and Emotion 17 (2003): 297-314.
13. Vladimir J. Konečni, "Review of Music and Emotion;' Music Perception 20 (2003): 332-41.
14. Vladimir J. Konečni, Rebekah A. Wanic, and Amber Brown, "Emotional and Aesthetic Antecedents and Consequences of Music-induced Thrills," American Journal of Psychology 120 (2007): 619-43, especially pp. 627-30; Table 1, p. 625; and Table 2, 626.
15. Avram Goldstein, "Thrills in Response to Music and Other Stimuli," Physiological Psychology 8 (1980): 126-29
16. Jaak Panksepp, Affective Neuroscience: The Foundations of Human and Animal Emotions (New York: Oxford University Press, 1998), 278-79;
17. Anne J. Blood and Robert J. Zatorre, "Intensely Pleasurable Responses to Music Correlate With Activity in Brain Regions Implicated in Reward and Emotion," Proceedings of the National Academy of Sciences 98 (2001): 11818-23;
18. Oliver Grewe, Reinhard Kopiez, and Eckart Altenmüller, "The Chill Parameter: Goose Bumps and Shivers as Promising Measures in Emotion Research," Music Perception 27 (2009): 61-74.
19. John A. Sloboda, "Musical Structure and Emotional Response: Some Empirical Findings," Psychology of Music 19 (1991): 110-20;
20. Jaak Panksepp, "The Emotional Sources of 'Chills' Induced by Music," Music Perception 13 (1995): 171-207.
21. Vladimir J. Konečni, "A Skeptical Position on 'Musical Emotions' and an Alternative Proposal," Behavioral and Brain Sciences 31 (2008): 582-84.
22. Julian Young, "Death and Transfiguration: Kant, Schopenhauer and Heidegger on the Sublime," Inquiry 48 (2005): 131-44.
23. Daniel E. Berlyne, Aesthetics and Psychobiology (New York: Appleton-CenturyCrofts, 1971), 93.
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25. Jerome Carroll, "The Limits of the Sublime, the Sublime of Limits: Hermeneutics as a Critique of the Postmodern Sublime," Journal of Aesthetics and Art Criticism 66 (2008): 171-81.
26. Edmund Burke, A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful (New York: Oxford University Press, 1757/1990).
27. Lucien Stryk, Takashi Ikemoto, Taigan Takayama, Zen Poems of China and Japan: The Crane's Bill (Garden City, NJ: Anchor Press, 1973), xlv.
28. Samuel H. Monk, The Sublime: The Study of Critical Theories in XVIII-Century England (Lansing: University of Michigan Press, 1935/1960).
29. Guy Sircello, "How is a Theory of the Sublime Possible?" Journal of Aesthetics and Art Criticism 41 (1993): 541-50;
30. Malcolm Budd, "Delight in the Natural World: Kant on the Aesthetic Appreciation of Nature, Part III: The Sublime in Nature," British Journal of Aesthetics 38 (1998): 233-51;
31. Jane Forsey, "Is a Theory of the Sublime Possible?" Journal of Aesthetics and Art Criticism 65 (2007): 381-89.
32. Shinichi Hisamatsu, Zen and the Fine Arts, trans. Gishin Tokiwa (Tokyo, Kodansha International, 1958/1971);
33. Vladimir J. Konečni, "On the Golden Section," Visual Arts Research 31 (2005): 76-87;
34. Eiji Yoshikawa, Musashi, trans. Charles S. Terry (Tokyo: Kodansha International, 1971/1981), 583.