| Home > Scholarly Contributions > Abstracts > Volume 8 Issue 1
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| Volume 8 Issue 1
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Interest and pleasure as dimensions of aesthetic response.
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Gerald C. Cupchik, 1990, 8:1, 1-14.
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Abstract:
A study was conducted comparing cognitive and affective responses to a set of twelve paintings. Forty subjects, including an equal number of naive and trained males and females, rated the paintings individually on a series of scales including: simple-complex, warm-cold, unemotional-emotional, not at all meaningful-meaningful, and familiar-unfamiliar. They also made comparative judgments of relative "interest" and "pleasure" between all possible pairs (66) of the paintings. "Interest" judgments were made under an objective and analytical task set, while "pleasing" judgments were made from a subjective and personal set. A multidimensional scaling analysis revealed two dimensions underlying the "pleasing" and "interest" judgments. These were identified by regressing the individual scale ratings against the dimensions. The "interest" dimensions, complexity/ meaningfulness and familiarity, are comparable to motivational dimensions predicted by Berlyne: curiosity and variation. The "pleasing" dimensions, emotional arousal and aesthetic effectance, have been anticipated in the literature. Thematic content and date of the painting (modem versus pre-1850) could also be related to the dimensions. Individual differences in sensitivity to the "pleasing" dimensions were found primarily for naive and trained females.
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Relationships between aesthetic response scales applied to paintings.
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P. A. Russell & D. A. George, 1990, 8:1, 15-30.
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Abstract:
Relationships among seven aesthetic response scales were studied by requiring subjects to rank fifteen paintings on each scale, using a between-subjects design. Three of the five evaluative scales used, likeability, pleasingness, and preferability were strongly positively intercorrelated. Using these scales to examine painting content (landscape, portrait, still-life) and style (Impressionism, Surrealism, etc.) effects, however, revealed that the scales did not always yield similar results. Although content effects were similar on all three scales, likeability and preferability were relatively insensitive to style effects, while pleasingness was more sensitive. These sensitivity differences appear to be linked to variation in the degree of intersubject agreement on the different scales, lead ing to the suggestion that some scales, such as pleasingness, are relatively homogeneous while others, such as likeability, are more heterogeneous. Another commonly-used evaluative scale, interestingness, was unrelated to the other four but was relatively sensitive to style effects. Data are also presented on an additional evaluative scale, wish to see again, and on two descriptive scales, complexity and familiarity. Overall, the results suggest that conclusions drawn from studies using aesthetic scales may depend crucially on the particular scale used and in particular that the commonly used likeability and preferability scales, despite their apparent ecological validity, may not be the most informative ones.
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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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Resource exchange in the production and distribution of a motion picture.
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Elizabeth C. Hirschman, 1990, 8:1, 31-51.
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Abstract:
An independently produced motion picture was used as a case study of the resource exchange pattern underlying project-based aesthetic production systems. Several exploratory propositions resulted concerning 1) sources of processual conflict, 2) the nature of resource criticality during the production process, 3) the timing of returns on invested resources, and 4) the commercialization of aesthetic products.
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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
twice a year for free and are able to purchase all back issues since
1983 at discounted rates.
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Stage, sex, and suffering: Images of women in American films.
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Emanuel Levy, 1990, 8:1, 53-76.
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Abstract:
This article systematically examines the portrayal of women in the American cinema over the last sixty years, from 1927. More specifically, it addresses itself to the following issues: the main attributes of screen women in terms of age, marital status, and occupation; the guidelines prescribed by American films for structuring women's lifestyles; the degree of rigidity of these normative prescriptions and proscriptions; and recent changes in the portrayal of women. The research is based on content analysis, quantitative and qualitative, of 218 screen roles, male and female, which have won the Academy Award, bestowed annually by the Academy of Motion Picture Arts and Sciences for the best achievements in film acting. The study demonstrates the differential treatment of gender in American films and the durability of specific screen stereotypes for men and for women. The prevalence of rigid conventions in the portrayal of women for half a century is explained in relation to male economic and ideological dominance in Hollywood and in American society at large.
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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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Bondage in women’s clothing as reflected in television.
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Sharron J. Lennon, 1990, 8:1, 77-83.
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Abstract:
Changes in a society are often mirrored in changes in the decorative arts. This research was designed to investigate change in women's clothing fashions (elements of bondage) and its relationship to changing sex roles. Since television is thought to be reflective of the culture in which it exists, the clothing fashions used in this analysis came from three situation comedy series. Results indicate that as sex roles changed from traditional to nontraditional women's clothing in the sitcoms came to exhibit fewer elements of bondage.
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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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The effect of subject matter and degree of realism on aesthetic preferences for paintings.
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Neil Kettlewell, Sara Lipscomb, Liz Evans, & Karl Rosston, 1990, 8:1, 85-93.
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Abstract:
A sample of 240 college students was shown color slides of fifty paintings and asked to rate each on a Likert scale as to perceived attractiveness. Ten different categories of subject master were presented, and each category was shown in five different degrees of realism ranging from highly realistic to abstract. An analysis of variance showed highly significant effects for subject master. Degree of realism and their interaction. The results are seen as being contrary to what would be expected from a "relativist" position with respect to art but consistent with that expected from a "universalist" position.
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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.
See more benefits!
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