How Are You, My Dearest Mozart? Well-Being and Creativity of Three Famous Composers Based on Their Letters

Borowiecki, Karol Jan

doi:10.1162/rest_a_00616

Cited by 43 publications

(32 citation statements)

References 43 publications

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“…Interestingly, "philosophy and art" was also mentioned as a positive feature. Negative emotions, such as sadness, often lead to greater artistic creativity (Akinola & Mendes, 2008;Borowiecki, 2017). Sadness has been explored as an emotion associated with authentic experiences, representing the existence of something that we value, and self-indulgent pleasure.…”

Section: Part 2 Results and Discussionmentioning

confidence: 99%

Identifying Positive Features of the Sadness Prototype

Shirai

Nagamine

2020

Percept Mot Skills

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Sadness, an emotional experience of daily life, is typically associated with negative experiences such as the loss of a loved one. However, sadness also has an adaptive function, as it can help us respond appropriately to environmental demands. While previous research has revealed positive functions of sadness, it is unclear whether laypeople recognize any positive aspects of sadness. In the present three-part study, we aimed to identify whether laypeople conceptualize any positive features of sadness. In Part 1, we asked Japanese participants ( n = 122) to describe the features of “sadness,” and their responses revealed 37 different sadness features, some of which were assumed to be positive aspects (e.g., meaning making). In Part 2, we asked a second group of Japanese participants ( n = 140) to rate the centrality of each previously named feature, and we then classified the features into either central or peripheral sadness features. At this point, participants reported positive aspects of sadness (e.g., co-occurrence of positive emotion). To confirm the differences between central and peripheral features, in Part 3 we examined automatic responses toward these features from a third group of Japanese participants ( n = 91) and demonstrated the relationship between the concept of sadness and its characteristic features. We presented these participants with a subset of the features of sadness and then asked them to complete a recall and recognition task. As expected, they recalled central features more often than peripheral features of sadness, and they generated false recognitions to central features. In conclusion, this three-part study indicated that there are positive features related to the function of sadness that laypeople can identify in their mental lexicon.

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Section: Part 2 Results and Discussionmentioning

confidence: 99%

Identifying Positive Features of the Sadness Prototype

Shirai

Nagamine

2020

Percept Mot Skills

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“…The dictionary itself has been revised and validated over the course of two decades, and the most recent version consists of 6,400 English words/word stems, covering a range of social and psychological constructs such as affect, cognition, and biological processes [28]. Currently, LIWC is one of the most popular and reliable programs for text analysis available; it has been employed in hundreds of studies across the social sciences, including psychology, sociology, communication, political sciences, and economics [34,35].…”

Section: Computerized Text Analysis and Liwcmentioning

confidence: 99%

Developing and validating the self-transcendent emotion dictionary for text analysis

Raney

2020

PLoS ONE

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Recent years have seen a growing amount of research effort directed toward what positive media psychologists refer to as self-transcendent emotions, such as awe, admiration, elevation, gratitude, inspiration, and hope. While these emotions are invaluable to promote greater human connectedness, prosociality, and human flourishing, researchers are constrained in terms of analyzing self-transcendent emotions as expressed in spoken and written languages. Drawing upon the word-counting approach of the text analysis paradigm, this project aimed at constructing a dictionary tool-Self-Transcendent Emotion Dictionary (STED)-which can be uploaded into mainstream, text analytic software (e.g., LIWC) to identify and analyze self-transcendent emotions in large corpora. This dictionary tool was then refined and validated via three studies, where individual words were first rated with regard to their fitness into the proposed construct (Step 1), and then used to analyze essays written to reflect the corresponding construct (Step 2). Finally, the refined dictionary was applied to examine words used in nearly 4,000 human-coded New York Times articles (Step 3). Results indicated that the final dictionary, consisting of 351 lexicons and phrases, exhibits acceptable face and construct validity, and possesses a reasonable level of external validity and applicability. Despite its shortcoming in accounting for the rhetorical techniques ingrained in natural human language, the STED could be instrumental for social scientific inquiry of positive emotions in textual narratives.

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“…While our focus is on a liberalization of artistic policy that has not been studied in the economic literature, our work relates to multiple strands of research. At a preliminary level, it belongs to the recent interdisciplinary literature on the economic determinants of artistic creativity (Hulst, 2017;Borowiecki and Greenwald, 2018), including works by Galenson (2006Galenson ( , 2007Galenson ( , 2009 on the careers of artists, David et al (2014) on the role of art dealership, Borowiecki (2015Borowiecki ( , 2017 on the origins of cultural supply and the creativity of music composers, Etro (2018), Etro and Stepanova (2015); Etro andPagani (2012, 2013), Etro andStepanova (2016, 2017) on a Schumpeterian approach to artistic creativity. Our contribution is to show that centralized and decentralized organizations of the art market can affect differently the reward of artistic innovations.…”

Section: Introductionmentioning

confidence: 99%

Liberalizing art. Evidence on the Impressionists at the end of the Paris Salon

Etro

Marchesi

Степанова

2020

European Journal of Political Economy

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We analyze the art market in Paris between the government-controlled Salon as a centralized organization for art exhibition and the post-1880 system when the Republican government liberalized art exhibitions. The jury of the old Salon decided on submissions with a bias toward conservative art of the academic insiders, erecting entry barriers against outsiders as the Impressionists. With a di¤erence-in-di¤erence estimation, we provide evidence that the end of the government-controlled Salon contributed to start the increase of the prices of the Impressionists relative to the insiders.

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How Are You, My Dearest Mozart? Well-Being and Creativity of Three Famous Composers Based on Their Letters

Cited by 43 publications

References 43 publications

Identifying Positive Features of the Sadness Prototype

Identifying Positive Features of the Sadness Prototype

Developing and validating the self-transcendent emotion dictionary for text analysis

Liberalizing art. Evidence on the Impressionists at the end of the Paris Salon

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