Ascoltare l'anima/Bibliografia

Le Facoltà Mentali

BIBLIOGRAFIA

• ABRAMS, M. H., The Mirror and the Lamp: Romantic Theory and the Critical Tradition (Oxford: Oxford University Press, 1953).
• ALPERSON, PHILIP, The Philosophy of the Visual Arts (New York: Oxford University Press, 1992).
• ARISTOTLE, Rhetoric, trans. W. Rhys Roberts, 2nd edn. (New York: Random House, 1984).
• —— Poetics, trans. Richard Janko (Indianapolis: Hackett, 1987).
• AVERILL, JAMES R., Anger and Aggression: An Essay on Emotion, Springer Series in Social Psychology (New York: Springer‐Verlag, 1982).
• AX, A. F., ‘The Physiological Differentiation between Fear and Anger in Humans’, Psychosomatic Medicine 15 (1953), 433–42.
• BARNES, ANNETTE, On Interpretation: A Critical Analysis (Oxford: B. Blackwell, 1988).
• BARTHES, ROLAND, S/Z, trans. Richard Miller (New York: Hill & Wang, 1974).
• —— The Pleasure of the Text, trans. Richard Miller (New York: Noonday Press; Farrar, Strauss, and Giroux, 1975).
• BARTLETT, DALE L., ‘Physiological Responses to Music and Sound Stimuli’, in Donald A. Hodges (ed.), Handbook of Music Psychology (San Antonio, Tex.: Institute for Music Research, 1996), 343–85.
• BARWELL, ISMAY, ‘How Does Art Express Emotions?’, Journal of Aesthetics and Art Criticism 45 (1986), 175–81.
• BEARDSLEY, MONROE C., Aesthetics: Problems in the Philosophy of Criticism (New York: Harcourt Brace, 1958).
• BECKER, JUDITH, ‘Anthropological Perspectives on Music and Emotion’. in Patrik N. Juslin and John A. Sloboda (eds.), Music and Emotion: Theory and Research (Oxford: Oxford University Press, 2001), 135–60.
• BEGHIN, TOM, CD: The Characters of C. P. E. Bach (Leuven: Eufoda, 2003).
• BELL, CLIVE, Art (London: Chatto & Windus, 1914).
• BENEDECK, NELLY SILAGY, Auguste Rodin: The Burghers of Calais (New York: Metropolitan Museum of Art, 2000).
• BENSON, JOHN, ‘Emotion and Expression’. Philosophical Review 76 (1967), 335–57.
• BEN‐ZE'EV, AARON, The Subtlety of Emotions (Cambridge, Mass.: MIT, 2000).
• BERLYNE, D. E., Aesthetics and Psychobiology (New York: Appleton‐Century‐ Crofts, 1971).
• BHARUCHA, J. J., ‘Tonality and Expectation’, in R. Aiello and J. A. Sloboda (eds.), Musical Perceptions (New York: Oxford University Press, 1994), 213–39.
• BLOOD, A. J., and ZATORRE, R. J. ‘Intensely Pleasurable Responses to Music Correlate with Activity in Brain Regions Implicated in Reward and Emotion’, Proceedings of the National Academy of Sciences of the U.S.A. 98 (2001), 11818–23.
• BLUM, LAWRENCE, ‘Compassion’, in Amelie Rorty (ed.), Explaining Emotions (Berkeley: University of California Press, 1980), 507–17.
• —— Friendship, Altruism and Morality, International Library of Philosophy (London: Routledge & Kegan Paul, 1980).
• BONDS, MARK EVAN, Wordless Rhetoric: Musical Form and the Metaphor of the Oration (Cambridge, Mass.: Harvard University Press, 1991).
• BOOTH, STEPHEN, An Essay on Shakespeare's Sonnets (New Haven: Yale University Press, 1969).
• BOOTH, WAYNE C., The Rhetoric of Fiction (Chicago: University of Chicago Press, 1961).
• BOUHUYS, A. L., BLOEM, G. M., and GROOTHUIS, T. G. ‘Induction of Depressed and Elated Mood by Music Influences the Perception of Facial Emotional Expressions in Healthy Subjects’, Journal of Affective Disorders 33 (1995), 215– 26.
• BOUWSMA, O. K., ‘The Expression Theory of Art’, in William Elton (ed.), Aesthetics and Language (Oxford: Blackwell, 1954), 73–99.
• BUDD, MALCOLM, Music and the Emotions: The Philosophical Theories (London: Routledge & Kegan Paul, 1985).
• —— Values of Art: Pictures, Poetry and Music (London: Penguin, 1995).
• BULLOUGH, EDWARD. ‘ “Psychical Distance” as a Factor in Art and an Aesthetic Principle’, in Morris Weitz (ed.), Problems in Aesthetics (London: Macmillan, 1970), 782–92.
• BUNT, LESLIE, and PAVLICEVIC, MERCEDES, ‘Music and Emotion: Perspectives from Music Therapy’, in Patrik N. Juslin and John Sloboda (eds.), Music and Emotion: Theory and Research (Oxford: Oxford University Press, 2001), 181– 201.
• BURNHAM, SCOTT, Beethoven Hero (Princeton, NJ: Princeton University Press, 2000).
• CALHOUN, CHESHIRE, and SOLOMON, ROBERT C., What Is an Emotion? Classic Readings in Philosphical Psychology (New York: Oxford University Press, 1984).
• CANNON, WALTER B., Bodily Changes in Pain, Hunger, Fear and Rage: An Account of Researches into the Function of Emotional Excitement. 2nd edn. (New York: Harper & Row, 1963).
• CARON, JEAN‐LUC, Carl Nielsen: Vie Et OEuvre 1865–1931 (Lausanne: Éditions l'Age d'Homme, 1990).
• CARROLL, NOËL, The Philosophy of Horror: Or Paradoxes of the Heart (London: Routledge, 1990).
• —— ‘Art, Narrative, and Emotion’. in Mette Hjort and Sue Laver (eds.), Emotion and the Arts (New York: Oxford University Press, 1997), 190–211.
• —— The Philosophy of Art (New York: Routledge, 1999).
• CARROLL, NOËL, Beyond Aesthetics: Philosophical Essays (Cambridge: Cambridge University Press, 2001).
• —— and BORDWELL, DAVID, Post‐Theory: Reconstructing Film Studies, Wisconsin Studies in Film (Madison: University of Wisconsin Press, 1996).
• CHU, PETRA TEN‐DOESSCHATE, ‘ “A Science and an Art at Once” ’, in Beth S. Wright (ed.), The Cambridge Companion to Delacroix (Cambridge: Cambridge University Press, 2001), 88–107.
• CLARK, KENNETH, The Romantic Rebellion: Romantic Versus Classic Art (New York: Harper & Row, 1973).
• CLAY, JEAN, Romanticism (Secaucus, NJ: Chartwell Books, 1981).
• CLYNES, MANFRED, ‘Neurobiologic Functions of Rhythm, Time and Pulse in Music’, in Manfred Clynes (ed.), Music, Mind, and Brain (New York: Plenum, 1982), 171–216.
• COLLINGWOOD, R. G., The Principles of Art (Oxford: Clarendon, 1963).
• CONE, EDWARD T. The Composer's Voice, Ernest Bloch Lectures (Berkeley: University of California Press, 1974).
• —— ‘Schubert's Promissory Note: An Exercise in Musical Hermeneutics’, Nineteenth‐Century Music 5 (1982), 233–41.
• COOK, NICHOLAS, Music, Imagination and Culture (Oxford: Clarendon, 1990).
• —— ‘Theorizing Musical Meaning’, Music Theory Spectrum 23 (2001), 170–95.
• COOKE, DERYCK, The Language of Music (Oxford: Oxford University Press, 1959).
• COX, RENE´E, ‘Varieties of Musical Expressionism’, in George Dickie, Richard Sclafani, and Ronald Roblin (eds.), Aesthetics: A Critical Anthology (New York: St Martin's, 1989), 614–25.
• CROCE, BENEDETTO, Guide to Aesthetics, trans. Patrick Romanell (Indianapolis: Bobbs‐Merrill, 1965).
• —— The Aesthetic as the Science of Expression and of the Linguistic in General, trans. Colin Lyas (Cambridge: Cambridge University Press, 1992).
• CURRIE, GREGORY, The Nature of Fiction (Cambridge: Cambridge University Press, 1990).
• —— and RAVENSCROFT, IAN, Recreative Minds: Imagination in Philosophy and Psychology (Oxford: Clarendon, 2002).
• CURTLER, HUGH MERCER, What Is Art? (New York: Haven, 1983).
• DAHLHAUS, CARL, The Idea of Absolute Music, trans. Roger Lustig (Chicago: University of Chicago Press, 1989).
• DAMASIO, ANTONIO R., Descartes' Error: Emotion, Reason, and the Human Brain (New York: G. P. Putnam, 1994).
• —— Looking for Spinoza: Joy, Sorrow, and the Feeling Brain (Orlando, Fla.: Harcourt, 2003).
• DANTO, ARTHUR, ‘The Artworld’, Journal of Philosophy 61 (1964), 571–84.
• —— The Transfiguration of the Commonplace (Cambridge, Mass.Cambridge, Mass.: Harvard University PressHarvard University Press, 1981).
• DARWIN, CHARLES, The Expression of the Emotions in Man and Animals, ed. Paul Ekman (New York: Oxford University Press, 1998).
• DAVIDSON, DONALD, ‘Actions, Reasons, and Causes’, in Essays on Actions and Events (New York: Oxford University Press, 1980), 685–700.
• DAVIES, STEPHEN, ‘The Expression of Emotion in Music’. Mind 89 (1980), 67– 86.
• —— ‘The Expression Theory Again’. Theoria 52 (1986), 146–67.
• —— Musical Meaning and Expression (Ithaca, NY: Cornell University Press, 1994).
• —— ‘Contra the Hypothetical Persona in Music’, in Mette Hjort and Sue Laver (eds.), Emotion and the Arts (New York: Oxford University Press, 1997), 95–109.
• DAWSON, MICHAEL E., SCHELL, ANNE M., and BO¨HMELT ANDREAS H. (eds.), Startle Modification: Implications for Neuroscience, Cognitive Science, and Clinical Science (Cambridge: Cambridge University Press, 1999).
• DELACROIX, EUGÈNE, The Journal of Eugène Delacroix, trans. Lucy Norton, 3rd edn. (London: Phaidon, 1995).
• DEMBER, WILLIAM N., The Psychology of Perception (New York: Holt, Rinehart, & Winston, 1960).
• —— ‘Motivation and the Cognitive Revolution’, American Psychologist 29 (1974), 161–8.
• DENORA, TIA, ‘Aesthetic Agency and Musical Practice: New Directions in the Sociology of Music and Emotion’, in Patrik N. Juslin and J. A. Sloboda (eds.), Music and Emotion: Theory and Research (Oxford: Oxford University Press, 2001). 161–80.
• DERRIDA, JACQUES, Of Grammatology, trans. GAYATRI CHAKRAVORTY SPIVAK (Baltimore: Johns Hopkins University Press, 1976).
• DESCARTES, RENÉ. ‘The Passions of the Soul’, in The Philosophical Writings of Descartes (Cambridge: Cambridge University Press, 1985).
• DEWEY, JOHN, Art as Experience (New York: Capricorn Books, 1959).
• DICKIE, GEORGE, ‘The Myth of the Aesthetic Attitude’, American Philosophical Quarterly 1 (1964), 56–65.
• EATON, ROBERT C., Neural Mechanisms of Startle Behavior (New York: Plenum, 1984).
• EISNER, LORENZ (ed.), Neoclassicism and Romanticism 1750–1850: Sources and Documents, 2 vols. (Englewoods Cliffs, NJ: Prentice‐Hall, 1970).
• EKMAN, PAUL, Darwin and Facial Expression (New York: Academic Press, 1973).
• —— ‘Biological and Cultural Contributions to Body and Facial Movement in the Expression of Emotions’, in Amélie Rorty (ed.), Explaining Emotions (Berkeley: University of California Press, 1980), 73–101.
• —— ‘Expression and the Nature of Emotion’, in Klaus R. Scherer and Paul Ekman (eds.), Approaches to Emotion (Hillsdale, NJ: Erlbaum, 1984), 319–44.
• —— Telling Lies: Clues to Deceit in the Marketplace, Politics, and Marriage (New York: Berkley Books, 1985).
• —— ‘An Argument for Basic Emotions’, Cognition and Emotion 6 (1992), 169– 200.
• EKMAN, PAUL, ‘Are There Basic Emotions? A Reply to Ortony and Turner’, Psychological Review 99 (1992), 550–3.
• —— ‘Facial Expression and Emotion’, American Psychologist 48 (1993), 384–92.
• —— ‘Moods, Emotions, and Traits’, in Paul Ekman and Richard J. Davidson (eds.), The Nature of Emotion: Fundamental Questions (New York: Oxford University Press, 1994), 56–8.
• —— Emotions Revealed. (New York: Henry Holt, 2003).
• —— & DAVIDSON, RICHARD J. (eds.), The Nature of Emotion: Fundamental Questions (New York: Oxford University Press, 1994).
• —— & FRIESEN, WALLACE V., ‘Is the Startle Reaction an Emotion?’, Journal of Personality and Social Psychology 49 (1985), 1416–26.
• ELLIOTT, R. K., ‘Aesthetic Theory and the Experience of Art’, in Alex Neill and Aaron Ridley (eds.), The Philosophy of Art: Readings Ancient and Modern (Boston: McGraw‐Hill, 1995), 154–64.
• ELLSWORTH, PHOEBE, ‘William James and Emotion: Is a Century of Fame Worth a Century of Misunderstanding?’, Psychological Review 101 (1994), 222– 9.
• —— ‘Some Reasons to Expect Universal Antecedents of Emotion’, in Paul Ekman and Richard J. Davidson (eds.), The Nature of Emotion: Fundamental Questions (New York: Oxford University Press, 1994), 151–62.
• —— ‘Levels of Thought and Levels of Emotion’, in Paul Ekman and Richard J. Davidson (eds.), The Nature of Emotion: Fundamental Questions (New York: Oxford University Press, 1994), 192–6.
• —— and SMITH, C. A. ‘From Appraisal to Emotion: Differences among Unpleasant Feelings’, Motivation and Emotion 12 (1988), 271–302.
• ELSTER, JON, Alchemies of the Mind: Rationality and the Emotions (Cambridge: Cambridge University Press, 1999).
• ELTON, WILLIAM (ed.), Æsthetics and Language (Oxford: Basil Blackwell, 1954).
• ENGEL, MARIAN, Bear (New York: Atheneum, 1976).
• EVANS, EDWIN, Brahms' Pianoforte Music Handbook (London: William Reeves, 1936).
• FARRELL, DANIEL, ‘Jealousy’, Philosophical Review 89 (1980), 527–59.
• FAY, LAUREL E., Shostakovich: A Life (Oxford: Oxford University Press, 2000).
• FEAGIN, SUSAN L., Reading with Feeling: The Aesthetics of Appreciation (Ithaca, NY: Cornell University Press, 1996).
• FETTERLEY, JUDITH, The Resisting Reader: A Feminist Approach to American Fiction (Bloomington: Indiana University Press, 1981).
• FIELD, TIFFANY, et al., ‘Discrimination and Imitation of Facial Expressions by Neonates’, Science 218 (1982), 179–81.
• FISH, STANLEY, Is There a Text in This Class?: The Authority of Interpretive Communities (Cambridge, Mass.: Harvard University Press, 1980).
• FISK, CHARLES, ‘What Schubert's Last Sonata Might Hold’, in Jenefer Robinson (ed.), Music and Meaning (Ithaca, NY: Cornell University Press, 1997), 179–200.
• FITZGERALD, PENELOPE, The Blue Flower (London: HarperCollins, 1995).
• FLETCHER, C. R., HUMMEL, J. E., & MARSOLEK, C. J., ‘Causality and the Allocation of Attention During Comprehension’, Journal of Experimental Psychology: Learning, Memory, and Cognition 16 (1990), 233–40.
• FOLKMAN, SUSAN, & LAZARUS, RICHARD S., ‘Coping and Emotion’, in Nancy Stein, Bennett Leventhal, and Tom Trabasso (eds.), Psychological and Biological Approaches to Emotion (Hillsdale, NJ: Erlbaum, 1990), 313–32.
• FORTENBAUGH, W. W., Aristotle on Emotion (London: Duckworth, 1975).
• FRANK, ROBERT H., Passions within Reason: The Strategic Role of the Emotions (New York: W. W. Norton, 1988).
• FRIDLUND, ALAN, & DUCHAINE, BRADLEY, ‘ “Facial Expressions of Emotion” and the Delusion of the Hermetic Self’, in R. Harré and G. Parrott (eds.), The Emotions: Social, Cultural and Biological Dimensions (London: Sage Publications, 1996), 259–84.
• FRIED, R., and BERKOWITZ, L. ‘Music That Charms…and Can Influence Helpfulness’, Journal of Applied Social Psychology 9 (1979), 199–208.
• FRIEDLANDER, WALTER, David to Delacroix, trans. Robert Goldwater (Cambridge, Mass.: Harvard University Press, 1952).
• FRIEDMAN, RICHARD A., ‘A Peril of the Veil of Botox’, New York Times, 6 August 2002.
• FRIJDA, NICO, The Emotions (Cambridge: Cambridge University Press, 1986).
• —— ‘Moods, Emotion Episodes, and Emotions’, in M. Lewis and J. M. Haviland (eds.), Handbook of Emotions, 2nd edn. (New York: Guilford, 1993).
• —— ‘Emotions Require Cognitions, Even If Simple Ones’, in Paul Ekman and Richard J. Davidson (eds.), The Nature of Emotion: Fundamental Questions (New York: Oxford University Press, 1994), 197–202.
• GABRIELSSON, ALF, ‘Emotions in Strong Experiences with Music’, in Patrik N. Juslin and John A. Sloboda (eds.), Music and Emotion: Theory and Research (Oxford: Oxford University Press, 2001), 431–49.
• GARCIA, J., and RUSINIAK, K. W. ‘What the Nose Learns from the Mouth’, in D. Muller‐Schwarze and R. M. Silverstein (eds.), Chemical Signals (New York: Plenum, 1980), 141–56.
• GENETTE, GÉRARD, Narrative Discourse: An Essay in Method (Ithaca, NY: Cornell University Press, 1980).
• GERRIG, RICHARD J., Experiencing Narrative Worlds: On the Psychological Activities of Reading (New Haven: Yale University Press, 1993).
• GILBERT, STUART, James Joyce's Ulysses: A Study (Harmondsworth: Penguin (Peregrine Books), 1963).
• GLADWELL, MALCOLM, ‘The Naked Face’, The New Yorker, 5 August 2002: 38– 49.
• GOETHE, JOHANN WOLFGANG VON, The Sorrows of Young Werther, trans. Michael Hulse (London: Penguin, 1989).
• GOLDIE, PETER, The Emotions: A Philosophical Exporation (Oxford: Clarendon, 2000).
• GOLDSTEIN, A., ‘Thrills in Response to Music and Other Stimuli’, Physiological Psychology 8 (1980), 126–9.
• GOMBRICH, E. H., Art and Illusion (London: Phaidon, 1962).
• GOODMAN, NELSON, Languages of Art: An Approach to a Theory of Symbols (Indianapolis,: Bobbs‐Merrill, 1968).
• GORDON, ROBERT M., The Structure of Emotions (New York: Cambridge University Press, 1987).
• GOSLING, J. C., ‘Emotion and Object’, Philosophical Review 74 (1965), 486–503.
• GREENSPAN, PATRICIA S., ‘A Case of Mixed Feelings: Ambivalence and the Logic of Emotion’, in Amélie Rorty (ed.), Explaining Emotions (Berkeley: University of California Press, 1980), 223–50.
• —— Emotions & Reasons: An Inquiry into Emotional Justification (New York: Routledge, 1988).
• GRIFFITHS, PAUL, What Emotions Really Are: The Problem of Psychological Categories (Chicago: University of Chicago Press, 1997).
• GUYER, PAUL, ‘History of Modern Aesthetics’, in Jerrold Levinson (ed.), The Oxford Handbook of Aesthetics (Oxford: Oxford University Press, 2003), 25–60.
• HAMBURGER, POVL, ‘Carl Nielsen: Orchestral Works and Chamber Music’, in Jurgen Balzer (ed.), Carl Nielsen: Centenary Essays (London: Dennis Dobson, 1966), 19–46.
• HANNOOSH, MICHELE, Painting and the Journal of Eugene Delacroix (Princeton, NJ: Princeton University Press, 1995).
• HANSLICK, EDUARD, Hanslick's Music Criticisms, trans. Henry Pleasants (New York: Dover, 1950).
• —— On the Musically Beautiful, trans. Geoffrey Payzant (Indianapolis: Hackett, 1986).
• HARRÉ, ROM, The Social Construction of Emotions (Oxford: Blackwell, 1986).
• —— & GERROD PARROTT, W., The Emotions: Social, Cultural and Biological Dimensions (London: Sage, 1996).
• HARRIS, PAUL, L., The Work of the Imagination (Oxford: Blackwell, 2000).
• HATFIELD, ELAINE, CACIOPPO, JOHN T., and RAPSON, RICHARD L., Emotional Contagion (Cambridge: Cambridge University Press; Éditions de la Maison des Sciences de l'Homme, 1994).
• HATZIMOYSIS ANTHONY, (ed.), Philosophy and the Emotions, Royal Institute of Philosophy Suppl. 52 (Cambridge: Cambridge University Press, 2003).
• HÉBERT, SYLVIE, PERETZ, ISABELLE, and GAGNON, LISE, ‘Perceiving the Tonal Ending of Tune Excerpts: The Roles of Pre‐Existing Representation and Musical Expertise’, Canadian Journal of Experimental Psychology 49 (1995), 193–209.
• HEGEL, G. W. F., Aesthetics: Lectures on Fine Art, trans. T. M. Knox, 2 vols. (Oxford: Clarendon, 1975), i.
• HELLER, REINHOLD, Edvard Munch: The Scream (New York: Viking, 1972).
• HIGGINS, KATHLEEN MARIE, The Music of Our Lives (Philadelphia: Temple University Press, 1991).
• HJORT, METTE, and LAVER, SUE (eds.), Emotion and the Arts (New York: Oxford University Press, 1997).
• HODGES, DONALD A. (ed.), Handbook of Music Psychology, 2nd edn. (San Antonio, Tex.: Institute for Music Research, 1996).
• HOLLAND, NORMAN, The Dynamics of Literary Response (New York: Oxford University Press, 1968).
• —— Five Readers Reading (New Haven: Yale University Press, 1975).
• —— ‘Unity Identity Text Self’, in Jane P. Tompkins (ed.), Reader‐Response Criticism: From Formalism to Post‐Modernism (Baltimore: Johns Hopkins University Press, 1980), 118–33.
• HOLT, ELIZABETH GILMORE, (ed.), From the Classicists to the Impressionists: Art and Architecture in the 19th Century, 2nd edn. (New Haven: Yale University Press, 1986).
• HOSPERS, JOHN, ‘The Concept of Artistic Expression’, Proceedings of the Aristotelian Society (1954–5), 313–44.
• HUME, DAVID, A Treatise of Human Nature, ed. L. A. Selby‐Bigge (London: Clarendon, 1967).
• HURON, DAVID, ‘How Music Evokes Emotion’, Paper delivered to University of Cincinnati College‐Conservatory of Music, 2001.
• —— ‘Is Music an Evolutionary Adaptation?’, in R. J. Zatorre and Isabelle Peretz (eds.), The Biological Foundations of Music (New York: New York Academy of Sciences, 2001), 43–61.
• ISEMINGER, GARY (ed.), Intention and Interpretation, The Arts and Their Philosophies (Philadelphia: Temple University Press, 1992).
• —— ‘Actual Intentionalism Vs. Hypothetical Intentionalism’, Journal of Aesthetics and Art Criticism 54 (1996), 319–26.
• ISER, WOLFGANG, The Implied Reader; Patterns of Communication in Prose Fiction from Bunyan to Beckett (Baltimore: Johns Hopkins University Press, 1974).
• —— The Act of Reading: A Theory of Aesthetic Response (London: Routledge & Kegan Paul, 1978).
• —— ‘The Reading Process: A Phenomenological Approach’, in Jane P. Tompkins (ed.), Reader‐Response Criticism: From Formalism to Post‐Structuralism (Baltimore: Johns Hopkins University Press, 1980), 50–69.
• —— Prospecting: From Reader Response to Literary Anthropology (Baltimore: Johns Hopkins University Press, 1989).
• IZARD, CARROLL, The Face of Emotion (New York: Appleton‐Century‐Crofts, 1971).
• —— KAGAN, JEROME, and ZAJONC, ROBERT (eds.), Emotion, Cognition, and Behaviour (Cambridge: Cambridge University Press, 1984).
• JACKENDOFF, R., ‘Musical Processing and Musical Affect’, in M. R. Jones and S. Holleran (eds.), Cognitive Bases of Musical Communication (Washington, DC: American Psychological Association, 1992), 51–68.
• JAMES, HENRY, The Art of the Novel (New York: Scribner's, 1934).
• —— The Ambassadors, Signet Classics (New York: New American Library, 1960).
• JAMES, WILLIAM, ‘The Physical Basis of Emotion’, Psychological Review 1 (1894), 516–29.
• —— The Works of William James, ed. Frederick H. Burkhardt, 3 vols. (Cambridge, Mass.: Harvard University Press, 1981).
• JEFFERSON, ANN, and ROBEY, DAVID (eds.), Modern Literary Theory (Totowa, NJ: Barnes & Noble, 1982).
• JOSE, P. E., and BREWER, W. F., ‘Development of Story‐Liking: Character Identification, Suspense, and Outcome Resolution’, Developmental Psychology 20 (1984), 911–24.
• JOYCE, JAMES, ‘Dubliners’, in Harry Levin (ed.), The Portable James Joyce, (New York: Viking, 1966), 19–242.
• JUMP, J. D., Matthew Arnold. (London: Longman's, Green & Co., 1955).
• JUSLIN, PATRIK N., ‘Communicating Emotion in Music Performance: A Review and Theoretical Framework’, in Patrik N. Juslin and J. A. Sloboda (eds.), Music and Emotion: Theory and Research (Oxford: Oxford University Press, 2001), 309–37.
• —— & SLOBODA, JOHN A. (eds.), Music and Emotion: Theory and Research (Oxford: Oxford University Press, 2001).
• KARL, GREGORY, ‘Structuralism and Musical Plot’, Music Theory Spectrum 19 (1997), 13–34.
• —— & ROBINSON, JENEFER, ‘Levinson on Hope in the Hebrides’, Journal of Aesthetics and Art Criticism 53 (1995), 195–9.
• —— —— ‘Shostakovich's Tenth Symphony and the Musical Expression of Cognitively Complex Emotions’, Journal of Aesthetics and Art Criticism 53 (1995), 401–15.
• KEMPER, THEODORE D., ‘Power, Status, and Emotions: A Sociological Contribution to a Psychophysiological Domain’, in Klaus Scherer and Paul Ekman (eds.), Approaches to Emotion (Hillsdale, NJ: Erlbaum, 1984), 369–83.
• KENNY, ANTHONY JOHN PATRICK, Action, Emotion and Will (London: Routledge & Kegan Paul; New York: Humanities Press, 1966).
• KERMAN, JOSEPH, Contemplating Music (Cambridge, Mass.: Harvard University Press, 1985).
• KEYS, IVOR, Johannes Brahms (London: Christopher Helm, 1989).
• KIVY, PETER, The Corded Shell: Reflections on Musical Expression (Princeton, NJ: Princeton University Press, 1980).
• —— ‘Something I've Always Wanted to Know About Hanslick’, Journal of Aesthetics and Art Criticism 46 (1988), 413–17.
• —— Sound Sentiment: An Essay on the Musical Emotions (Philadelphia: Temple University Press, 1989).
• —— Music Alone: Philosophical Reflections on the Purely Musical Experience (Ithaca, NY: Cornell University Press, 1990).
• —— ‘A New Music Criticism?’, The Monist 73 (1990), 247–68.
• KRAMER, JONATHAN, ‘Unity and Disunity in Nielsen's Sixth Symphony’, in Mina Miller (ed.), The Nielsen Companion (Portland, Oreg.: Amadeus, 1994), 293–344.
• KRASNE, FRANKLIN B., and WINE, JEFFREY J., ‘The Production of Crayfish Tailflip Escape Responses’, in Robert C. Eaton (ed.), Neural Mechanisms of Startle Behavior (New York: Plenum, 1984), 179–211.
• KRAUT, ROBERT, ‘Objects of Affection’, in K. D. Irani and G. E. Myers (eds.), Emotion: Philosophical Studies (New York: Haven, 1983), 42–56.
• KRUMHANSL, CAROL L., Cognitive Foundations of Musical Pitch (New York: Oxford University Press, 1990).
• —— ‘An Exploratory Study of Musical Emotions and Psychophysiology’, Canadian Journal of Experimental Psychology 51 (1997), 336–52.
• KUNST‐WILSON, W. R., and ZAJONC, R. B. ‘Affective Discrimination of Stimuli That Cannot Be Recognized’, Science 207 (1980), 557–8.
• LAIRD, JAMES D., and APOSTOLERIS, NICHOLAS H., ‘Emotional Self‐Control and Self‐Perception: Feelings Are the Solution, Not the Problem’, in Rom Harré and W. Gerrod Parrott (eds.), The Emotions: Social, Cultural and Biological Dimensions (London: Sage, 1996), 285–301.
• LAMARQUE, PETER, ‘Fear and Pity’, in Fictional Points of View (Ithaca, NY: Cornell University Press, 1996), 113–34.
• —— Fictional Points of View (Ithaca, NY: Cornell University Press, 1996).
• —— and OLSEN, STEIN HAUGOM, Truth, Fiction and Literature (Oxford: Clarendon, 1994).
• LANDIS, C., and HUNT, W. A., The Startle Pattern, 2nd edn. (New York: Johnson Reprint Corporation, 1968).
• LANE, RICHARD D., and NADEL, LYNN (eds.), Cognitive Neuroscience of Emotion (New York: Oxford University Press, 2000).
• LANG, BEREL, The Concept of Style (Philadelphia: University of Pennsylvania Press, 1979).
• LANGER, SUSANNE K., Feeling and Form (New York: Scribner's, 1953).
• —— Problems of Art (New York: Scribner's, 1957).
• —— Philosophy in a New Key, 3rd edn. (Cambridge, Mass.: Harvard University Press, 1976).
• LAZARUS, RICHARD, S., ‘Thoughts on the Relations between Emotion and Cognition’, American Psychologist 37 (1982), 1019–24.
• —— Emotion and Adaptation (New York: Oxford University Press, 1991).
• —— ‘Universal Antecedents of the Emotions’. in Paul Ekman and Richard J. Davidson (eds.), The Nature of Emotion: * Fundamental Questions (New York: Oxford University Press, 1994), 163–71.
• —— and ALFERT, ELIZABETH, ‘Short‐Circuiting of Threat by Experimentally Altering Cognitive Appraisal’, Journal of Abnormal and Social Psychology 69 (1964), 195–205.
• LEAVIS, F. R., The Great Tradition: George Eliot, Henry James, Joseph Conrad (London: Chatto & Windus, 1948).
• LEDOUX, JOSEPH, ‘Cognitive‐Emotional Interactions in the Brain’, Cognition and Emotion 3 (1989), 267–89.
• LEDOUX, JOSEPH, ‘Cognitive‐Emotional Interactions in the Brain’, in Paul Ekman and Richard J. Davidson (eds.), The Nature of Emotion: Fundamental Questions (New York: Oxford University Press, 1994), 216–23.
• —— ‘Emotion‐Specific Physiological Activity: Don't Forget About CNS Physiology’, in Paul Ekman and Richard J. Davidson (eds.), The Nature of Emotion: Fundamental Questions (New York: Oxford University Press, 1994), 248–51.
• —— ‘Emotion, Memory and the Brain’, Scientific American 270 (1994), 50–7.
• —— The Emotional Brain: The Mysterious Underpinnings of Emotional Life (New York: Simon & Schuster, 1996).
• LEVENSON, ROBERT, ‘The Search for Autonomic Specificity’, in Paul Ekman and Richard J. Davidson (eds.), The Nature of Emotion: Fundamental Questions (New York: Oxford University Press, 1994), 252–57.
• LEVINSON, JERROLD, Music, Art, and Metaphysics: Essays in Philosophical Aesthetics (Ithaca, NY: Cornell University Press, 1990).
• —— The Pleasures of Aesthetics: Philosophical Essays (Ithaca, NY: Cornell University Press, 1996).
• —— Music in the Moment (Ithaca, NY: Cornell University Press, 1997).
• —— ‘Music and Negative Emotion’, in Jenefer Robinson (ed.), Music and Meaning (Ithaca, NY: Cornell University Press, 1997), 215–41.
• —— ‘Emotion in Response to Art: A Survey of the Terrain’, in Mette Hjort and Sue Laver (eds.), Emotion and the Arts (New York: Oxford University Press, 1997), 20–34.
• —— ‘Varieties of Musical Pleasure: Musical Chills and Other Delights’, Monroe Beardsley lecture, Temple University, Philadelphia, 2002.
• LEWINSOHN, PETER M., MUÑOZ, RICARDO F., YOUNGREN, MARY ANN, and ZEISS, ANTONETTE M. Control Your Depresssion (New York: Prentice‐Hall, 1986).
• LEWIS, MICHAEL and HAVILAND‐JONES, JEANNETTE M. (eds.), Handbook of Emotions (New York: Guilford, 1993).
• LEWIS, MICHAEL and HAVILAND‐JONES, JEANNETTE M. (eds.), Handbook of Emotions, 2nd edn. (New York: Guilford, 2000).
• LINDSAY, KENNETH C., and VERGO, PETER (eds.), Kandinsky: Complete Writings on Art (New York: Da Capo, 1982).
• LUTZ, CATHERINE, Unnatural Emotions: Everyday Sentiments on a Micronesian Atoll and Their Challenge to Western Theory (Chicago: University of Chicago Press, 1988).
• LYONS, WILLIAM E., Emotion, Cambridge Studies in Philosophy (Cambridge: Cambridge University Press, 1980).
• MACDONALD, MALCOLM, Brahms (London: J. M. Dent & Sons, 1990).
• MCKOON, G., and RATCLIFF, R., ‘Inference During Reading’, Psychological Review 99 (1992), 440–66.
• MADDEN, WILLIAM A., ‘Arnold the Poet (I) Lyric and Elegiac Poems’, in Kenneth Allott (ed.), Matthew Arnold (Athens, Ohio: Ohio University Press, 1976).
• MANSTEAD, ANTHONY S. R., FRIJDA, NICO, and FISCHER, AGNETA (eds.), Feelings and Emotions: The Amsterdam Symposium (Cambridge: Cambridge University Press, 2004).
• MATRAVERS, DEREK, Art and Emotion (Oxford: Clarendon, 1998).
• MAUS, FRED EVERETT, ‘Music as Drama’, in Jenefer Robinson (ed.), Music and Meaning (Ithaca, NY: Cornell University Press, 1997), 105–30.
• MELTZOFF, A., and MOORE, M. K., ‘Infants' Understanding of People and Things: From Body Imitation to Folk Psychology’, in J. Bermúdez, A. Marcel, and N. Eilan (eds.), The Body and the Self, (Cambridge. Mass.: MIT Press, 1995), 43– 69.
• —— & MOORE, M. K., ‘Imitation of Facial and Manual Gestures by Human Neonates’, Science 198 (1977), 75–8.
• —— —— ‘Imitation in Newborn Infants: Exploring the Range of Gestures Imitated and the Underlying Mechanisms’, Developmental Psychology 25 (1989), 954–62.
• MEYER, LEONARD B., Emotion and Meaning in Music (Chicago: University of Chicago Press, 1956).
• —— Music, the Arts, and Ideas (Chicago: University of Chicago Press, 1967).
• MILLER, MINA F., The Nielsen Companion (Portland, Oreg.: Amadeus, 1995).
• MORAVCSIK, JULIUS, ‘Understanding and the Emotions’, Dialectica 36 (1982), 207–24.
• MORGENSTERN, SAM (ed.), Composers on Music: An Anthology of Composers' Writings from Palestrina to Copland (New York: Random House (Pantheon Books), 1956).
• MORREALL, JOHN, ‘Fear without Belief’, Journal of Philosophy 90 (1993), 359– 66.
• MORSBACH, H., and TYLER, W. J. ‘A Japanese Emotion: Amae’, in Rom Harré (ed.), The Social Construction of Emotions (Oxford: Blackwell, 1986), 289–307.
• MURPHY, S. T., and ZAJONC, R. B., ‘Affect, Cognition, and Awareness: Affective Priming with Suboptimal and Optimal Stimulus’, Journal of Personality and Social Psychology 64 (1993), 723–39.
• NAGEL, ERNEST, ‘Review of Susanne K. Langer, Philosophy in a New Key’, Journal of Philosophy 40 (1943), 323–9.
• NAHUM, KATHERINE, ‘ “In Wild Embrace”: Attachment and Loss in Edvard Munch’, in Jeffery Howe (ed.), Edvard Munch: Psyche, Symbol and Expression (Boston: McMullen Museum of Art, Boston College, 2001), 31–47.
• NARMOUR, EUGENE, ‘The Top‐Down and Bottom‐up Systems of Musical Implication: Building on Meyer's Theory of Emotional Syntax’, Music Perception 9 (1991), 1–26.
• NEILL, ALEX, ‘Fear, Fiction, and Make‐Believe’, Journal of Aesthetics and Art Criticism 49 (1991), 47–56.
• —— ‘Fiction and the Emotions’, American Philosophical Quarterly 30 (1993), 1– 13.
• —— ‘Fear and Belief’, Philosophy and Literature 19 (1995), 94–101.
• NEWCOMB, ANTHONY, “Sound and Feeling”, Critical Inquiry 10 (1984), 614–43.
• —— ‘Once More “Between Absolute and Program Music”: Schumann's Second Symphony’, 19th Century Music 7 (1984), 233–50.
• NEWCOMB, ANTHONY, ‘Action and Agency in Mahler's Ninth Symphony, Second Movement’, in Jenefer Robinson (ed.), Music and Meaning (Ithaca, NY: Cornell University Press, 1997), 131–53.
• NICHOLS, SHAUN, Sentimental Rules: On the Natural Foundations of Moral Judgment (New York: Oxford University Press, 2004).
• NIEDENTHAL, P. M., and HALBERSTADT, J. ‘Grounding Categories in Emotional Response’, in Joseph P. Forgas (ed.), Feeling and Thinking: The Role of Affect in Social Cognition (Cambridge: Cambridge University Press; Édition de la Maison des Sciences de l'Homme, 2000), 357–86.
• —— & SETTERLUND, M. B., ‘Emotion Congruence in Perception’, Personality and Social Psychology Bulletin 20 (1994), 401–10.
• —— —— & JONES, D. E., ‘Emotional Organization of Perceptual Memory’, in P. M. Niedenthal and Shinobu Kitayama (eds.), The Heart's Eye (San Diego, Calif.: Academic Press, 1994), 88–113.
• —— & BRAUER, M., HALBERSTADT, J. B., and INNES‐KER, A. H., ‘When Did Her Smile Drop? Facial Mimicry and the Influences of Emotional State on the Detection of Change in Emotional Expression’, Cognition and Emotion 15 (2001), 853–64.
• NISBETT, R. E., and WILSON, T. D., ‘Telling More Than We Can Know: Verbal Reports on Mental Processes’, Psychological Review 84 (1977), 231–59.
• NOVITZ, DAVID, Knowledge, Fiction and Imagination (Philadelphia: Temple University Press, 1987).
• NUSSBAUM, MARTHA CRAVEN, Love's Knowledge: Essays on Philosophy and Literature (New York: Oxford University Press, 1990).
• —— ‘Tragedy and Self‐Sufficiency: Plato and Aristotle on Fear and Pity’, in Amélie Oksenberg Rorty (ed.), Essays on Aristotle's Poetics (Princeton, NJ: Princeton University Press, 1992), 261–90.
• —— The Therapy of Desire: Theory and Practice in Hellenistic Ethics (Princeton, NJ: Princeton University Press, 1994).
• —— Upheavals of Thought: The Intelligence of Emotions (Cambridge: Cambridge University Press, 2001).
• NYKLICEK, I., THAYER, J. F., and VAN DOORNEN, L. J. P., ‘Cardiorespiratory Differentiation of Musically‐Induced Emotions’, Journal of Psychophysiology 11 (1997), 304–21.
• OATLEY, KEITH, Best Laid Schemes: The Psychology of Emotions (Cambridge Cambridge University Press; Paris: Éditions de la Maison des Sciences de l'Homme, 1992).
• —— & JENKINS, JENNIFER M., Understanding Emotions (Oxford: Blackwell, 1996).
• ORTONY, ANDREW, ‘Value and Emotion’, in William Kessen, Andrew Ortony, and Fergus Craik (eds.), Memories, Thoughts, and Emotions: Essays in Honor of George Mandler (Hillsdale, NJ: Erlbaum, 1991), 337–53.
• —— CLORE, GERALD L., and COLLINS, ALLAN, The Cognitive Structure of Emotions (Cambridge: Cambridge University Press, 1988).
• PANKSEPP, JAAK, ‘The Emotional Sources of “Chills” Induced by Music’, Music Perception 13 (1995), 171–207.
• —— Affective Neuroscience (New York: Oxford University Press, 1998).
• ISABELLE, PERETZ, ‘Listen to the Brain: A Biological Perspective on Musical Emotions’, in Patrik N. Juslin, and J. A. Sloboda (eds.), Music and Emotion:Theory and Research, (Oxford: Oxford University Press, 2001), 105–34.
• PLATO, Republic, trans. Robin Waterfield (Oxford: Oxford University Press, 1993).
• PRINZ, JESSE, Gut Reactions: A Perceptual Theory of Emotion (Oxford: Oxford University Press, 2004).
• PURCELL, DEAN G., STEWART, ALAN L., and SKOV, RICHARD B., ‘Interference Effects of Facial Affect’, in Robert R. Hoffman, Michael F. Sherrick, and Joel S. Warm (eds.), Viewing Psychology as a Whole: The Integrative Science of William N. Dember, (Washington DC: American Psychological Association, 1998), 433– 47.
• PUTMAN, DANIEL A., ‘Why Instrumental Music Has No Shame’, British Journal of Aesthetics 27 (1987), 55–61.
• RADFORD, COLIN, ‘How Can We Be Moved by the Fate of Anna Karenina?’, Proceedings of the Aristotelian Society, suppl. vol. 49 (1975), 67–80.
• —— ‘Muddy Waters’, Journal of Aesthetics and Art Criticism 49 (1991), 247–52.
• RATNER, LEONARD G., Classic Music: Expression, Form, and Style (New York: Schirmer Books, 1980).
• REISENZEIN, RAINER, ‘The Schachter Theory of Emotion: Two Decades Later’, Psychological Bulletin 94 (1983), 239–64.
• RICHTER, DAVID H. (ed.), The Critical Tradition: Classic Texts and Contemporary Trends (New York: St Martin's, 1989).
• RIDLEY, AARON, Music, Value, and the Passions (Ithaca, NY: Cornell University Press, 1995).
• —— ‘Not Ideal: Collingwood's Expression Theory’, Journal of Aesthetics and Art History 55 (1997), 263–72.
• —— ‘Tragedy’, in Jerrold Levinson (ed.), The Oxford Handbook of Aesthetics (Oxford: Oxford University Press, 2003), 408–20.
• RINCK, M., and BOWER, G. H., ‘Anaphora Resolution and the Focus of Attention in Situation Models’, Journal of Memory and Language 34 (1995), 110–31.
• ROBINSON, JENEFER, ‘Emotion, Judgment, and Desire’, Journal of Philosophy 80 (1983), 731–40.
• —— ‘Art as Expression’, in Hugh Mercer Curtler (ed.), What Is Art? (New York: Haven, 1983), 93–121.
• —— ‘Style and Personality in the Literary Work’, Philosophical Review 94 (1985), 227–48.
• —— ‘The Expression and Arousal of Emotion in Music’, Journal of Aesthetics and Art Criticism 52 (1994), 13–22.
• RORTY, AMÉLIE, Explaining Emotions (Berkeley: University of California Press, 1980).
• —— ‘Explaining Emotions’, in ead (ed.), Explaining Emotions (Berkeley: University of California Press, 1980), 103–26.
• ROZIN, PAUL, and FALLON, A. E., ‘A Perspective on Disgust’, Psychological Review 94 (1987), 23–41.
• RUSSELL, JAMES A., ‘Culture and the Categorization of Emotions’, Psychological Bulletin 110 (1991), 426–50.
• SACKS, OLIVER, The Man Who Mistook His Wife for a Hat (New York: Harper & Row, 1987).
• —— An Anthropologist on Mars (New York: Vintage Books, 1995).
• SADIE, STANLEY (ed.), The New Grove Dictionary of Music and Musicians (London: Macmillan, 1980).
• SAGAN, Françoise, Aimez-vous Brahms... (Julliard, 1959)
• SALOVEY, PETER, BEDELL, BRIAN T., DETWEILER, JERUSHA B., and MAYER, JOHN D., ‘Current Directions in Emotional Intelligence Research’, in Michael Lewis and Jeannette M. Haviland‐Jones (eds.), Handbook of Emotions, 2nd edn. (New York: Guilford, 2000), 504–20.
• SCHACHTER, STANLEY, The Psychology of Affliation: Experimental Studies of the Sources of Gregariousness (Stanford, Calif.: Stanford University Press, 1959).
• —— & SINGER, JEROME, ‘Cognitive, Social, and Physiological Determinants of Emotional State’, Psychological Review 69 (1962), 379–99.
• SCHERER, KLAUS, R., Facets of Emotion: Recent Research (Hillsdale, NJ: L. Erlbaum, 1988).
• —— ‘On the Nature and Function of Emotion: A Component Process Approach’, in Klaus R. Scherer and Paul Ekman (eds.), Approaches to Emotion (Hillsdale, NJ: Erlbaum, 1984), 293–317.
• —— ‘Vocal Affect Expression: A Review and a Model for Future Research’, Psychological Bulletin 99 (1986), 143–65.
• —— & EKMAN, PAUL (eds.), Approaches to Emotion (Hillsdale, NJ: Erlbaum, 1984).
• —— & ZENTNER, MARCEL R., ‘Emotional Effects of Music: Production Rules’, in Patrik N. Juslin and John Sloboda (eds.), Music and Emotion: Theory and Research (Oxford: Oxford University Press, 2001), 361–92.
• —— et al., ‘Vocal Cues in Emotion Encoding and Decoding’, Motivation and Emotion 15 (1991), 123–48.
• SCRUTON, ROGER, Art and Imagination (London: Methuen, 1974).
• —— The Aesthetic Understanding: Essays in the Philosophy of Art and Culture (London: Methuen, 1983).
• —— The Aesthetics of Music (Oxford: Oxford University Press, 1997).
• SHAKESPEARE, WILLIAM, Macbeth, ed. Kenneth Muir, 9th edn. Arden Shakespeare (London: Methuen, 1962).
• SHOSTAKOVICH, DMITRI DMITRIEVICH, Testimony: The Memoirs of Dimitri Shostakovich, as Related to and Edited by Solomon Volkov, trans. Antonina W. Bouis (New York: Harper & Row, 1979).
• SIRCELLO, GUY JOSEPH, Mind & Art: An Essay on the Varieties of Expression (Princeton, NJ: Princeton University Press, 1972).
• SLOBODA, JOHN, ‘Musical Performance and Emotion: Issues and Developments’, in S. W. Yi (ed.), Music, Mind, and Science (Seoul: Western Music Research Institute, 2000), 220–38.
• —— ‘Music—Where Cognition and Emotion Meet’, The Psychologist 12 (1999), 450–5.
• —— and JUSLIN, PATRIK N., ‘Psychological Perspectives on Music and Emotion’, in Patrik N. Juslin and John A. Sloboda (eds.), Music and Emotion: Theory and Research (Oxford: Oxford University Press, 2001), 71–104.
• SOLOMON, ROBERT C., The Passions, 1st edn. (Garden City, NY: Anchor Press/ Doubleday, 1976).
• —— ‘Emotions and Choice’, in Amélie Rorty (ed.), Explaining Emotions (Berkeley: University of California Press, 1980), 251–81.
• —— ‘On Emotions as Judgments’, American Philosophical Quarterly 25 (1988), 183–91.
• —— ‘The Politics of Emotion’, In Midwest Studies in Philosophy: Philosophy of Emotions, (Notre Dame: University of Notre Dame Press, 1998), 1–20.
• —— Not Passion's Slave: Emotions and Choice (New York: Oxford University Press, 2003).
• —— (ed.), Thinking about Feeling: Contemporary Philosophers on Emotions (New York: Oxford University Press, 2004).
• SONTAG, MICHAEL. ‘Emotion and the Labeling Process’ (Cincinnati: University of Cincinnati, forthcoming 2005).
• SOUSA, RONALD DE, The Rationality of Emotion (Cambridge, Mass.: MIT, 1987).
• SPARSHOTT, FRANCIS, The Theory of the Arts (Princeton, NJ: Princeton University Press, 1982).
• SPINOZA, BARUCH, Ethics (Indianapolis: Hackett, 1992).
• SQUIRE, L. R., KNOWLTON, B., and MUSEN, G., ‘The Structure and Organization of Memory’, Annual Review of Psychology 44 (1993), 453–95.
• SROUFE, ALAN L., ‘The Organization of Emotional Development’, in Klaus R. Scherer, and Paul Ekman (eds.), Approaches to Emotion (Hillsdale, NJ: Erlbaum, 1984), 109–28.
• STECKER, ROBERT, ‘Expression of Emotion in (Some of) the Arts’, Journal of Aesthetics and Art Criticism 42 (1984), 409–18.
• —— Interpretation and Construction: Art, Speech and the Law (Oxford: Blackwell, 2003).
• STERN, DANIEL N., The Interpersonal World of the Infant: A View from Psychoanalysis and Developmental Psychology (New York: Basic Books, 1985).
• STOCK, KATHLEEN, Philosophy of Music (Oxford: Oxford University Press, forthcoming).
• STOLNITZ, JEROME, Aesthetics and Philosophy of Art Criticism: A Critical Introduction (Boston: Houghton Mifflin, 1960).
• SULEIMAN, SUSAN, and CROSMAN INGE, (eds.), The Reader in the Text: Essays on Audience and Interpretation (Princeton, NJ: Princeton University Press, 1980).
• SWAFFORD, JAN, Johannes Brahms: A Biography, 1st edn. (New York: Alfred A. Knopf: distrib. Random House, 1997).
• TANGNEY, JUNE PRICE, and FISCHER, KURT W., Self‐Conscious Emotions: The Psychology of Shame, Guilt, Embarrassment, and Pride (New York: Guilford, 1995).
• TAYLOR, GABRIELE, Pride, Shame, and Guilt: Emotions of Self‐Assessment (New York: Oxford University Press, 1985).
• TOLSTOY, LEO, What Is Art?, trans. Aylmer Maude (Indianapolis: Bobbs‐Merrill, 1960).
• —— Anna Karenina, trans. Rosemary Edmonds (Harmondsworth: Penguin, 1971).
• TOMPKINS, JANE P., Reader‐Response Criticism: From Formalism to Post‐ Structuralism (Baltimore: Johns Hopkins University Press, 1980).
• TORMEY, ALAN, The Concept of Expression: A Study in Philosophical Psychology and Aesthetics (Princeton, NJ: Princeton University Press, 1971).
• TREHUB, SANDRA, ‘Musical Predispositions in Infancy: An Update’, in R. J. Zatorre and Isabelle Peretz (eds.), The Cognitive Neuroscience of Music (Oxford: Oxford University Press, 2003), 3–20.
• TREITLER, LEO, Music and the Historical Imagination (Cambridge, Mass.: Harvard University Press, 1989).
• —— ‘Language and the Interpretation of Music’, in Jenefer Robinson (ed.), Music and Meaning (Ithaca, NY: Cornell University Press, 1997), 23–56.
• URMSON, J. O. ‘What Makes a Situation Aesthetic?’, in Joseph Margolis (ed.), Philosophy Looks at the Arts: Contemporary Readings in Aesthetics (New York: Charles Scribner's Sons, 1962), 13–27.
• VERMAZEN, BRUCE, ‘Expression as Expression’, Pacific Philosophical Quarterly 67 (1986), 196–224.
• VRANA, S. R., CUTHBERT, B. N., and LANG, P. J., ‘Processing Fearful and Neutral Sentences: Memory and Heart Rate Change’, Cognition and Emotion 3 (1989), 179–95.
• WALTON, KENDALL, ‘Fearing Fictions’, Journal of Philosophy 75 (1978), 5–27.
• —— ‘Style and the Products and Processes of Art’, in Berel Lang (ed.), The Concept of Style, (Philadelphia: University of Pennsylvania Press, 1979), 45–66.
• —— Mimesis as Make‐Believe: On the Foundations of the Representational Arts (Cambridge, Mass.: Harvard University Press, 1990).
• —— ‘Listening with Imagination’, in Jenefer Robinson (ed.), Music and Meaning, (Ithaca, NY: Cornell University Press, 1997), 57–82.
• WATSON, DAVID, Mood and Temperament (New York: Guilford, 2000).
• WATSON, JOHN B., Psychology, from the Standpoint of a Behaviorist, 2nd edn. (Philadelphia: J. B. Lippincott, 1924).
• WEITZ, MORRIS, ‘The Role of Theory in Aesthetics’, in Joseph Margolis (ed.), Philosophy Looks at the Arts, (New York: Scribner's Sons, 1956), 48–60.
• —— (ed.), Problems in Aesthetics: An Introductory Book of Readings (New York: Macmillan, 1970).
• WHARTON, EDITH, The Reef (New York: Macmillan (Collier Books), 1987).
• —— Summer (New York: Macmillan (Collier Books), 1987).
• WITVLIET, C. V., and VRANA, S. R., ‘The Emotional Impact of Instrumental Music on Affect Ratings, Facial Emg, Autonomic Response, and the Startle Reflex: Effects of Valence and Arousal’, Psychophysiology Supplement 91 (1996).
• —— —— and WEBB‐TALMADGE, N., ‘In the Mood: Emotion and Facial Expressions During and after Instrumental Music, and During an Emotional Inhibition Task’, Psychophysiology Supplement 88 (1998).
• WOLLHEIM, RICHARD, Art and Its Objects. An Introduction to Aesthetics (New York: Harper & Row, 1968).
• —— On Art and the Mind (Cambridge, Mass.: Harvard University Press, 1974).
• —— Painting as an Art, A. W. Mellon Lectures in the Fine Arts 1984 (London: Thames & Hudson, 1987).
• ZAJONC, ROBERT, ‘Feeling and Thinking: Preferences Need No Inferences’, American Psychologist 35 (1980), 151–75.
• —— ‘On the Primacy of Affect’, American Psychologist 39 (1984), 117–29.
• —— ‘Evidence for Nonconscious Emotions’, in Paul Ekman and Richard J. Davidson (eds.), The Nature of Emotion, (New York: Oxford University Press, 1994), 293–97.
• —— and MARKUS, HAZEL, ‘Affect and Cognition: The Hard Interface’, in Carroll E. Izard, Jerome Kagan, and Robert B. Zajonc (eds.), Emotion, Cognition, and Behavior, (New York: Cambridge University Press, 1984), 73–102.
• ZATORRE, R. J., and PERETZ, ISABELLE, The Cognitive Neuroscience of Music (Oxford: Oxford University Press, 2003).
• ZIMNY, G. H., and WEIDENFELLER, E. W., ‘Effects of Music Upon GSR and Heart Rate’, American Journal of Psychology 76 (1963), 311–14.

Per approfondire, vedi Serie delle interpretazioni, Serie letteratura moderna e Serie misticismo ebraico.