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| Volume 3 Issue 1
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Poetry and the ordinary reader: A study of immediate responses.
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Robert de Beaugrande, 1985, 3:1, 1-21.
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Abstract:
Within the total picture of literary communication, the reader has usually been an expert, mainly the literary critic. This article explores the immediate responses reported by a group of ordinary readers after reading a contemporary poem by Richard Eberhart. These responses are classified according to typical operations: staging, hedging, citing, associating with key words, paraphrasing, normalizing and generalizing. Examples of each type are discussed .
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Symmetry and antisymmetry in Maori rafter designs.
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J. D. H. Donnay & Gabrielle Donnay, 1985, 3:1, 23-45.
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Abstract:
The Maori settled in New Zealand in the eighth or ninth centuries A.D.; the Europeans, many centuries later. Maori meeting houses are very ornate: besides carved wood figures, painted black-red-white designs embellish rafters and structural posts. These designs stand out as highly sophisticated examples of the twenty-four known band groups of 2-dimensional 1-translational symmetry G21 and antisymmetry (G21). The two independent symmetry elements, periodically repeated by lattice p or antilattice p are any two of the following: mirror m and antimirror m, both either transverse or longitudinal; glide plane a or antiglide plane a, longitudinal only; and twofold rotation axis 2 or anti-axis 2 . Pseudosymmetry is common and obviously intentional: desymmetrization is achieved by added motifs, inserted along the edges of the band, at cell boundaries or inside the main design, which possess their own symmetries, always lower than that of the original design. The resulting symmetry of the whole is the symmetry common to the superposed patterns. Desymmetrization is also obtained by topological deformations of the design or deviations from the color scheme imposed by antisymmetry. Such irregularities led to Herbert Williams' hypothesis that the artist worked in two stages: tracing the outline and working in the color . This conjecture finds support in group theory: the geometrical symmetry group involving no change of color (stage 1) is turned into an antisymmetry group (stage 2), as red goes to black and black goes to red under antisymmetry operations. The international symmetry notation of crystallographers is shown to be well suited to describe the Maori designs.
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1983 at discounted rates.
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From symmetry to anthropophagy: The cultural context of Maori art.
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F. Allan Hanson, 1985, 3:1, 47-62.
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Abstract:
J. D. H. and Gabrielle Donney have produced an instructive and fascinating analysis of Maori rafter designs. My task is to add a few thoughts from an anthropological perspective, to expand upon their insights by placing them in a broader perspective of Maori art and culture. The article will develop something like the spiral motif that is so common in Maori art, covering an increasingly wide area as it goes along. It begins with a few comments about Maori rafter patterns (kowhaiwhai), the particular subject of the Donnay's article. Next it relates structures of symmetry and antisymmetry in rafter designs to other elements of Maori art. Finally, it suggests connections between those artistic patterns and other aspects of Maori culture. The discussion will concern traditional rather than contemporary Maori culture - as it was up to roughly the middle of the nineteenth century.
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Buy the whole article at baywood.com - online shop now.
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As member of the IAEA you receive the Empirical Studies of the Arts
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1983 at discounted rates.
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The assessment of aesthetic judgment ability.
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Gary Bambossy, Marilyn Johnston, & Michel Parsons, 1985, 3:1, 63-79.
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Abstract:
This article presents evidence for reliability and validity for the Aesthetic Judgment Ability (AJA) test. The test is a relatively easy to administer measure of aesthetic ability in judging paintings. Initial findings demonstrate strong evidence for test stability and acceptable internal consistency. It appears to be sensitive in discriminating between groups with clear evidence of criterion-group validity and discriminant validity. The cognitive-developmental perspective of the instrument provides a viable basis for explaining differences in aesthetic judgment. It is potentially useful as a pre-posttest assessment in courses of art education and, in conjunction with other measures, may also be useful in improving understanding of reactions to art.
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Buy the whole article at baywood.com - online shop now.
To let you know:
As member of the IAEA you receive the Empirical Studies of the Arts
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1983 at discounted rates.
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Artistic talent in "autistic" adolescents and young adults.
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Lucien A. Buck, Elayne Kardeman, & Fran Goldstein, 1985, 3:1, 81-104.
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Abstract:
The primary consequence of a diagnosis of "infantile autism" has been to focus, almost exclusively, upon a segment of the child rather than the whole person. The functions typically selected for attention reflect a "pathology perspective" which fails to capture the complexity of a human being. However, as "normality" cannot be effectively assessed without considering liability, "autism" cannot be fully understood without exploring potential. When the appropriate atmosphere is established, considerable artistic talent can be elicited in "autistic" adolescents and young adults. The art of three "autistic" young men has been selected to demonstrate - parallel to the growth of all artists - the development of a variety of personnal styles each of which interprets life in a unique way. The unfolding process provides evidence of conscious intention and of increasing technical skill with the medium of paint and canvas. At the present time, these individuals exhibit a sensitive awareness of the world and an effort to communicate to others in both their paintings and their discussions with the staff. In addition, the communicative effectiveness. of their compositions is apparent in the degree of interest aroused in other artists and in the wider community which has culminated in a series of public exhibits.
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Buy the whole article at baywood.com - online shop now.
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As member of the IAEA you receive the Empirical Studies of the Arts
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1983 at discounted rates.
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Creativity and hemispheric functioning: A second look at Katz’s data.
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Ann W. Brittain, 1985, 3:1, 105-107.
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Abstract:
A review of Katz's 1983 article "Creativity and individual Differences in Asymmetric Cerebral Hemispheric Functioning" in the first issue of this journal shows that the data presented do not support the conclusion that creative people have a tendency toward right-hemisphere lateralization in problem solving and verbal processing, but instead suggest that creativity is associated with a pattern of reduced hemispheric asymmetry.
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1983 at discounted rates.
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Setting the record straight: Comments on creativity and hemispheric functioning.
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Albert N. Katz, 1985, 3:1, 109-113.
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Abstract:
Brittain's major claim is that, contrary to the intrapretation given by Katz , his data in fact show that high creativity is associated with a pattern of reduced hemispheric asymmetry. Brittain's claim is shown to be wrong and
appears to be based on an incorrect understanding of the dependent measures employed. Two supplementary issues raised by Brittain are also addressed.
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Buy the whole article at baywood.com - online shop now.
To let you know:
As member of the IAEA you receive the Empirical Studies of the Arts
twice a year for free and are able to purchase all back issues since
1983 at discounted rates.
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