The general aim of this volume is to investigate the nature of the relation between pictorial experience and aesthetic appreciation. In particular, it is concerned with the character and intimacy of this relationship: is there a mere causal connection between pictorial experience and aesthetic appreciation, or are the two relata constitutively associated with one another? The essays in the book’s first section investigate important conceptual issues related to the pictorial experience of paintings. In Section II, the essays discuss the notion of styles, techniques, agency, and facture, and also take into account the experience of photographic and cinematic pictures. The Pleasure of Pictures goes substantially beyond current debates in the philosophy of depiction to launch a new area of reflection in philosophical aesthetics.

Contemporary societies are saturated with pictures. They are globally a part of everyday life, and they are seductive, offering values and beliefs in such highly pleasurable forms that it is often difficult to resist their power to persuade. Yet interpreting pictures is largely neglected in schools. Picture Pedagogy addresses this head on, showing that pictures can be used as a powerful form of classroom pedagogy. Duncum explores key concepts and curriculum examples to empower you to support students to develop a critical consciousness about pictures, whether teaching art, media, language or social studies. Drawing on the interpretive concepts of representation, rhetoric, ideology, aesthetic pleasure, intertextuality and the gaze, Duncum shows how you can develop your students' skills so that their power as viewers can match the power of pictures to seduce. Examples from the history of fine art and contemporary popular mass media, including Big Data and fake news, are drawn together and shown to be appealing to the same aesthetic pleasures. Often these pleasures are benign, but also problematic, helping to promote morally questionable ideas about a range of topics including gender, race and sexual orientation, and this is explored fully.

Emotion research has become a mature branch of psychology, with its own standardized measures, induction procedures, data-analysis challenges, and sub-disciplines. During the last decade, a number of books addressing major questions in the study of emotion have been published in response to a rapidly increasing demand that has been fueled by an increasing number of psychologists whose research either focus on or involve the study of emotion. Very few of these books, however, have presented an explicit discussion of the tools for conducting research, despite the facts that the study of emotion frequently requires highly specialized procedures, instruments, and coding strategies, and that the field has reached a place where a large number of excellent elicitation procedures and assessment instruments have been developed and validated. Emotion Elicitation and Assessment corrects this oversight in the literature by organizing and detailing all the major approaches and instruments for the study of emotion. It is the most complete reference for methods and resources in the field, and will serve as a pragmatic resource for emotion researchers by providing easy access to a host of scales, stimuli, coding systems, assessment tools, and innovative methodologies. This handbook will help to advance research in emotion by encouraging researchers to take greater advantage of standard and well-researched approaches, which will increase both the productivity in the field and the speed and accuracy with which research can be communicated.

With bracing clarity, James Elkins explores why images are taken to be more intricate and hard to describe in the twentieth century than they had been in any previous century. Why Are Our Pictures Puzzles? uses three models to understand the kinds of complex meaning that pictures are thought to possess: the affinity between the meanings of paintings and jigsaw-puzzles; the contemporary interest in ambiguity and 'levels of meaning'; and the penchant many have to interpret pictures by finding images hidden within them. Elkins explores a wide variety of examples, from the figures hidden in Renaissance paintings to Salvador Dali's paranoiac meditations on Millet's Angelus, from Persian miniature paintings to jigsaw-puzzles. He also examines some of the most vexed works in history, including Watteau's "meaningless" paintings, Michelangelo's Sistine Ceiling, and Leonardo's Last Supper.

This new handbook presents, synthesizes, and integrates the existing knowledge of methods, theories, and data in attitudes. The editors' goal is to promote an understanding of the broader principles underlying attitudes across several disciplines. Divided into three parts: one on definitions and methods; another on the relations of attitudes with beliefs, behavior, and affect; and a final one that integrates these relations into the broader areas of cognitive processes, communication and persuasion, social influence, and applications, the handbook also features an innovative chapter on implicit versus explicit attitudes. With contributions from the top specialists, this handbook features unique collaborations between researchers, some who have never before worked together. Every writer was encouraged to work from as unbiased a perspective as possible. A "must have" for researchers in the areas of social, political, health, clinical, counseling, and consumer psychology, marketing, and communication, the handbook will also serve as an excellent reference for advanced courses on attitudes in a variety of departments.