The Sense of Beauty

Hagman, George

doi:10.1516/002075702760022613

Cited by 9 publications

(7 citation statements)

References 5 publications

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“…Beauty is "an aspect of the experience of idealisation in which an object(s), sound(s), or concept(s) is believed to possess qualities of formal perfection" (Hagman, 2002, p. 661). A sense of beauty has been recognized as an important human capacity and that the subjective experience of beauty is characterized by a sublime and exalted state that is unique, psychologically significant and desirable (Hagman, 2002). With the sense of beauty there is a feeling of wholeness, pleasure, a lessening of anxiety, awe, joy, excitement, optimism and contentment (Hagman, 2002).…”

Section: Beautymentioning

confidence: 99%

“…A sense of beauty has been recognized as an important human capacity and that the subjective experience of beauty is characterized by a sublime and exalted state that is unique, psychologically significant and desirable (Hagman, 2002). With the sense of beauty there is a feeling of wholeness, pleasure, a lessening of anxiety, awe, joy, excitement, optimism and contentment (Hagman, 2002). The display of the beauty may be created by humans, as found in art, reworks, architecture, or landscaped terrain (Stebbins, 1997), for example: Walking through the grounds was difficult as we had to stop and admire the elegant and colourful landscaping at every turn and of course pose for photos [.…”

Section: Beautymentioning

confidence: 99%

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Using netnography research method to reveal the underlying dimensions of the customer/tourist experience

Rageh

Melewar

Woodside

2013

Qualitative Market Research: An International Journal

141

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Purpose -The interest in customer experience has increased at a phenomenal rate. However, research to capture the true meaning of the concept is limited. Therefore, this study aims to address the question of what are the underlying dimensions that constitute the construct of customer experience. Design/methodology/approach -The netnography method is utilized to validate a priori concepts that have been identified in the literature within the tourist industry in Egypt. Findings -The results identified eight dimensions; comfort, educational, hedonic, novelty, recognition, relational, safety and beauty, which are consistent with major studies on experience.Research limitations/implications -The focus of the study was on customer reviews that were written in English and posted online. Therefore, care should be taken when interpreting these findings.Practical implications -This study attempted to gain a meaningful degree of understanding of customer experience construct. The results suggest a number of implications for service, marketing and brand managers. The knowledge of customer experience and the challenge of creating great customer experience are of utmost importance. Many marketers acknowledge the importance of customer experience, but they have very little knowledge of what the components are of customer experience. Originality/value -Netnography has not been widely used as a marketing research technique.

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Section: Beautymentioning

confidence: 99%

Section: Beautymentioning

confidence: 99%

Using netnography research method to reveal the underlying dimensions of the customer/tourist experience

Rageh

Melewar

Woodside

2013

Qualitative Market Research: An International Journal

141

View full text Add to dashboard Cite

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“…Lee (1947) puts it like this: “The inner sense of beauty results from the magical regeneration of the object and the union with it” (p. 520). Hagman (2002) thus links fascination with a type of aesthetic experience which he calls tame beauty , i.e. a domesticated beauty which makes it possible to soothe tension or anxiety, to offer the illusion of rediscovering something.…”

Section: Fascination and Bewitchmentmentioning

confidence: 99%

Aesthetic experience

Sirois

2008

The International Journal of Psychoanalysis

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An initial clinical question, 'Why does an analysand talk about his/her relationship with an aesthetic object?' opens an investigation into the nature of aesthetic experience. Three principal aspects of the psychoanalytic approach are presented: sublimation, a Freudian concept concerning the vicissitudes of the drives; reparation, a Kleinian concept linked to depressive anxiety; and transformation, a concept of object-relations theory about primitive ego-states. The article discusses the psychic function of aesthetic feelings in mastering anxiety as related to ego, id and superego. The transformation of the experience of passivity is a common link underlying these aspects. Such transformation relies on tolerating ambiguous and contrary feelings within the self, fostered by contact with an aesthetic object. This balance can, however, be upset: two excessive forms of aesthetic experience ensue, namely, fascination and bewitchment. The first belongs to the experience of awe; the second can lead to claustrophobic anxiety. The initial clinical question requires an elaboration of aesthetic transference, a variant of the narcissistic transference, whereby the analysand invites the analyst to share his/her internal state as a common unspoken object.

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“…These studies aim to reconstruct the history of a specifi c psychoanalytic concept. The IJP 2002-3 sample produced two papers of this type: Hagman (2002) focuses on the history of the concept of beauty (even covering some Middle Ages art history and its discussion by psychoanalytic authors). As his genuine own contribution, he sees the integration of nine different aspects into a current (conceptual) understanding of the 'sense of beauty' and its function within a society.…”

Section: Conceptual Research Focused On Historical Refl Ectionsmentioning

confidence: 99%

What is conceptual research in psychoanalysis?

Leuzinger‐Bohleber¹,

Fischmann

2006

The International Journal of Psychoanalysis

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The development of psychoanalysis as a science and clinical practice has always relied heavily on various forms of conceptual research. Thus, conceptual research has clarified, formulated and reformulated psychoanalytic concepts permitting to better shape the findings emerging in the clinical setting. By enhancing clarity and explicitness in concept usage it has facilitated the integration of existing psychoanalytic thinking as well as the development of new ways of looking at clinical and extraclinical data. Moreover, it has offered conceptual bridges to neighbouring disciplines particularly interested in psychoanalysis, e.g. philosophy, sociology, aesthetics, history of art and literature, and more recently cognitive science/neuroscience. In the present phase of psychoanalytic pluralism, of worldwide scientific communication among psychoanalysts irrespective of language differences and furthermore of an intensifying dialogue with other disciplines, the relevance of conceptual research is steadily increasing. Yet, it still often seems insufficiently clear how conceptual research can be differentiated from clinical and empirical research in psychoanalysis. Therefore, the Subcommittee for Conceptual Research of the IPA presents some of its considerations on the similarities and the differences between various forms of clinical and extraclinical research, their specific aims, quality criteria and thus their specific chances as well as their specific limitations in this paper. Examples taken from six issues of the International Journal of Psychoanalysis in 2002-3 serve as illustrations for seven different subtypes of conceptual research.

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The Sense of Beauty

Cited by 9 publications

References 5 publications

Using netnography research method to reveal the underlying dimensions of the customer/tourist experience

Using netnography research method to reveal the underlying dimensions of the customer/tourist experience

Aesthetic experience

What is conceptual research in psychoanalysis?

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