Feelings and other affective responses to a work of fiction are an important part appreciation and the capacity to inspire such responses is part of what is valuable about literary works of art. Susan L. Feagin's philosophical exploration of appreciation, focusing specifically on its emotional or affective components, asks us to consider aesthetic appreciation as getting the value out of the work. Appreciation involves exercising abilities. Feagin develops a psychological model for understanding how one becomes emotionally engaged with something one knows is fictional. She stresses the importance of the role of imagination in producing affective responses. Imagination is harnessed by the writer's choice of phrase or depiction of detail. Feagin cites the work of Angela Carter, Molly Keane, Heinrich Böll, Gabriel Garçia Marquez, and draws an extended example from Henry James. She notes that not all responses to a work are relevant or appropriate and discusses a variety of ways responses may be assessed. Even though assessing responses can stifle imagination, and hence threaten spontaneity and the responses themselves, the value of having affective responses to fiction depends upon our being able to make such assessments. Whatever else we may gain, appreciating a work, getting the value out of it, is one means of extending the capacities of our own imaginations.
Roy De Forest's brightly colored, crazy-quilted jungles dotted with nipples of paint and inhabited by a cast of characters uniquely his own (a perennial favorite being his wild-eyed, pointy-eared dogs) appeal to a broad spectrum of viewers from young to old, from the casual visitor to the most sophisticated art aficionado. OMCA's project aims to reassess De Forest's art-historical position, placing him in a national rather than solely regional/West Coast context. Landauer positions De Forest as part of a bicoastal alternative current of American art that has been poorly documented and deliberately ran counter to better publicized tendencies of the 1960s and 1970s, notably Pop, Minimalism, and post-painterly abstraction. Despite the playfulness of his work, close study of De Forest's art reveals deep layers of meaning. He was a fan of popular science fiction and adventure stories, but he was also well versed in Australian aboriginal art, ukiyo-e prints, poetry, literature, and the history of philosophy. He enjoyed secreting obscure art-historical references into his work: animals might assume postures found in Medieval or Renaissance art, or a drawing that appears to depict a comic-book character may in fact refer to Titian's triple-headed allegory of Prudence. This engaging publication presents gorgeous color reproductions of 150 of De Forest's finest artworks, plus a variety of figure illustrations that illuminate the artist's diverse sources and freewheeling social and creative milieu in Northern California."--Provided by publisher.
Feelings and other affective responses to a work of fiction are an important part appreciation and the capacity to inspire such responses is part of what is valuable about literary works of art. Susan L. Feagin's philosophical exploration of appreciation, focusing specifically on its emotional or affective components, asks us to consider aesthetic appreciation as getting the value out of the work. Appreciation involves exercising abilities. Feagin develops a psychological model for understanding how one becomes emotionally engaged with something one knows is fictional. She stresses the importance of the role of imagination in producing affective responses. Imagination is harnessed by the writer's choice of phrase or depiction of detail. Feagin cites the work of Angela Carter, Molly Keane, Heinrich Böll, Gabriel Garçia Marquez, and draws an extended example from Henry James. She notes that not all responses to a work are relevant or appropriate and discusses a variety of ways responses may be assessed. Even though assessing responses can stifle imagination, and hence threaten spontaneity and the responses themselves, the value of having affective responses to fiction depends upon our being able to make such assessments. Whatever else we may gain, appreciating a work, getting the value out of it, is one means of extending the capacities of our own imaginations.
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