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Jerrold Levinson

, almost machinelike way in which the visitor pursues her strange mission that impresses on us the absolute alienness of her perspective, despite the all-too-human Johansson body in which it is situated—a body that we learn at the film’s tragic conclusion

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Torben Grodal

mentioned, display psychopathic playful behaviors, Hans is always very serious and therefore the absolute opposite of John, who often acts in a playful fashion. Whereas John’s playfulness is mostly aimed at regulating his own emotions, the other villains

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Andreas Baranowski and Heiko Hecht

mental process, rather than absolute reality of space or time. He believed that the primary data for mental activity was sensory information (something he had already discussed in earlier works as “action theory”). This was in concordance with Eisenstein

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Murray Smith

tasks in the process of generating knowledge are ful(filled), it doesn’t matter in principle to which department or faculty the investigators belong. (It might matter in terms of funding, of course.) Indeed, an absolute division of labor, strictly

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Toward a Naturalized Aesthetics of Film Music

An Interdisciplinary Exploration of Intramusical and Extramusical Meaning

Timothy Justus

classic work Emotion and Meaning in Music (1956), is that between what he termed “absolute meaning” and “referential meaning.” Following more recent terminology in the psychology of music (e.g., Koelsch 2012 ), I will use the related phrases

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The Editors

Our journal did not come into the world with authority and certainty but did so, instead, with some hesitation and tentativeness. The narrator of Jonathan Swift’s eighteenth-century satire on modern learning, A Tale of a Tub (1704) claims for himself “an absolute authority in right” as the “last writer” and “freshest modern.” We make no such claim. At this point we may be both new and fresh, but we need to feel our way, to discover what is out there and what we might realistically expect to come into our own purview. But tentativeness is good. It allows us to be responsive to a variety of articles so long as they satisfy our goal of exploring film and mind. Tentativeness also allows us a sustained and continuing debate.

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Eliza Deac

perspective was encouraged by the fact that, at the early stages at least, e-literature did not claim absolute novelty but was preoccupied with finding precursors and precedents in the field of literary practice and theory. At the time when Patchwork Girl

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The Eisenstein-Vygotsky-Luria Collaboration

Triangulation and Third Culture Debates

Julia Vassilieva

sound or color and emotion: “We do not submit ourselves to any ‘immanent laws’ of absolute ‘connotation’ and relationships between colors and sound, or to any ‘absolute’ correspondences between them and specific emotions, but … we ascribe to colors and

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Objet A(ffect) and Che(www) Vuoi

The Fleshy Horror of the Unknowable Other in Spring and Honeymoon

Dewey Musante

one … [and] herein lies the basis of what [we] would call ‘cosmic horror’—the paradoxical realization of the world’s hideousness as an absolute hiddenness” (2011: 80). Pertinent for my argument here is his distinction that the human condition (which

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The Feel-Good Film

Genre Features and Emotional Rewards

Keyvan Sarkhosh and Winfried Menninghaus

, amounting to 1,160 film titles, were listed. From these entries we calculated the Cognitive Salience Index (CSI; Sutrop 2001 ) by dividing the absolute frequency of the titles listed by the product of the number of participants and the mean list position