Practicing psychology in the art gallery: Vernon Lee's aesthetics of empathy
Identifieur interne : 000935 ( Istex/Corpus ); précédent : 000934; suivant : 000936Practicing psychology in the art gallery: Vernon Lee's aesthetics of empathy
Auteurs : Susan LanzoniSource :
- Journal of the History of the Behavioral Sciences [ 0022-5061 ] ; 2009-09.
English descriptors
- Teeft :
- Abstract form, Academic psychology, Actual movement, Actual movements, Aesthetic, Aesthetic appreciation, Aesthetic contemplation, Aesthetic context, Aesthetic experience, Aesthetic experiments, Aesthetic form, Aesthetic object, Aesthetic perception, Aesthetic pleasure, Aesthetic reception, Aesthetic response, Aesthetic standpoint, Aesthetic theories, Aesthetician, Aestheticism, Aesthetics, Aesthetik, Aesthetische genuss, Allgemeine kunstwissenschaft, Anstrutherthomson, Architectural forms, Archiv systematische philosophie, August, Baldwin, Behavioral, Behavioral sciences, Berenson, Bernard berenson, Biographical essay, Blank wall, Bodily, Bodily accompaniments, Bodily activity, Bodily basis, Bodily movements, Bodily responses, Bodily sensations, Bodley head, British aestheticism, California press, Cambridge university press, Catherine maxwell, Chicago press, Christa zorn, Colby, Colby college, Commonplace book, Commonplace books, Connoisseur bernard berenson, Contemporary psychologists, Contemporary review, Cornell psychologist, Critical discourse, Decadence, December, Downward pressure, Empathic, Empathic projection, Empathic response, Empathy, Empathy theory, Evolutionary models, Experimental physiology, Experimental psychology, Experimental studies, Experimental subject, Fine arts, Florentine painters, Fraser, Gallery diaries, George allen unwin, German aesthetics, Getty center, Great number, Groos, Henry james, Hermann lotze, Hilary fraser, Historical journal, Historigraphical review, Holograph notes, Impressionistic method, Inner imitation, Inner mimicry, Inner motor movements, International universities press, Intimate friends, Introspection, Irene cooper willis, James sully, James wood, Johns hopkins university press, Karl groos, Kinesthetic images, Lanzoni, Laurus nobilis, Leipzig, Lipps, Literary biography, Literary scholars, Localized sensations, Macmillan, Mark baldwin, Miller library, Modern culture, Moral claims, Motor movements, Motor responses, Motor theories, Motor type, Nineteenth century, Ohio university press, Other psychologists, Other studies, Oxford university, Oxford university press, Paget, Palgrave, Palgrave macmillan, Pater, Pater circle, Patricia pulham, Photographic print, Physiological aesthetics, Physiological theories, Plural anomalies, Popular culture, Psychological aesthetics, Psychological congress, Psychological laboratory, Psychological literature, Psychological review, Psychologist, Psychologist karl groos, Psychology, Pulham, Renaissance italy, Revue philosophique, Ribot, Santa monica, Scientific journals, Sexual sublimation, Short stories, Social history, Somerville, Somerville college, Spatial enclosure, Sthetik, Subjective states, Susan lanzoni, Sympathie revue philosophique, Theodor lipps, Third dimension, Titchener, Towheed, Transitional object, Twentieth century, University press, Unpublished papers, Vernon, Victorian studies, Vineta colby, Violet paget, Virginia press, Virginia woolf, Vischer, Visual aesthetics, Wiley periodicals, William james, Word sympathy, Yale university press, Zorn.
Abstract
Late nineteenth‐century psychologists and aestheticians were fascinated by the study of psychological and physiological aspects of aesthetic response, and the British intellectual and aesthete Vernon Lee was a major participant in this venture. Working outside the academy, Lee conducted informal experiments with Clementina Anstruther‐Thomson, recording changes in respiration, balance, emotion, and body movements in response to aesthetic form. In fashioning her aesthetics of empathy, she mined a wealth of psychological theories of the period including motor theories of mind, physiological theories of emotion, evolutionary models of the usefulness of art, and, most prominently, the empathic projection of feeling and movement into form. Lee distributed questionnaires, contributed to scientific journals, carried out her own introspective studies, and debated aesthetics with leading psychologists. This paper critiques the prevailing view of Lee's aesthetics as a displaced sign of her gender or sexuality, and questions her status as simply an amateur in the field of psychology. Instead, I argue that Lee's empirically based empathy theory of art was a significant contribution to debates on psychological aesthetics at the outset of the twentieth century, offering a synthesis of Lipps's mentalistic Einfühlung and sensation‐based imitation theories of aesthetic response. © 2009 Wiley Periodicals, Inc.
Url:
DOI: 10.1002/jhbs.20395
Links to Exploration step
ISTEX:E03BDADFD4FBBA4FE4A1BD1723008CF04FCF2139Le document en format XML
<record><TEI wicri:istexFullTextTei="biblStruct"><teiHeader><fileDesc><titleStmt><title xml:lang="en">Practicing psychology in the art gallery: Vernon Lee's aesthetics of empathy</title><author><name sortKey="Lanzoni, Susan" sort="Lanzoni, Susan" uniqKey="Lanzoni S" first="Susan" last="Lanzoni">Susan Lanzoni</name><affiliation><mods:affiliation>Visiting Scholar, Science, Technology, and Society program, MIT and teaches at the Harvard Extension School</mods:affiliation></affiliation></author></titleStmt><publicationStmt><idno type="wicri:source">ISTEX</idno><idno type="RBID">ISTEX:E03BDADFD4FBBA4FE4A1BD1723008CF04FCF2139</idno><date when="2009" year="2009">2009</date><idno type="doi">10.1002/jhbs.20395</idno><idno type="url">https://api.istex.fr/document/E03BDADFD4FBBA4FE4A1BD1723008CF04FCF2139/fulltext/pdf</idno><idno type="wicri:Area/Istex/Corpus">000935</idno><idno type="wicri:explorRef" wicri:stream="Istex" wicri:step="Corpus" wicri:corpus="ISTEX">000935</idno></publicationStmt><sourceDesc><biblStruct><analytic><title level="a" type="main" xml:lang="en">Practicing psychology in the art gallery: Vernon Lee's aesthetics of empathy</title><author><name sortKey="Lanzoni, Susan" sort="Lanzoni, Susan" uniqKey="Lanzoni S" first="Susan" last="Lanzoni">Susan Lanzoni</name><affiliation><mods:affiliation>Visiting Scholar, Science, Technology, and Society program, MIT and teaches at the Harvard Extension School</mods:affiliation></affiliation></author></analytic><monogr></monogr><series><title level="j" type="main">Journal of the History of the Behavioral Sciences</title><title level="j" type="alt">JOURNAL OF THE HISTORY OF THE BEHAVIORAL SCIENCES</title><idno type="ISSN">0022-5061</idno><idno type="eISSN">1520-6696</idno><imprint><biblScope unit="vol">45</biblScope><biblScope unit="issue">4</biblScope><biblScope unit="page" from="330">330</biblScope><biblScope unit="page" to="354">354</biblScope><biblScope unit="page-count">25</biblScope><publisher>Wiley Subscription Services, Inc., A Wiley Company</publisher><pubPlace>Hoboken</pubPlace><date type="published" when="2009-09">2009-09</date></imprint><idno type="ISSN">0022-5061</idno></series></biblStruct></sourceDesc><seriesStmt><idno type="ISSN">0022-5061</idno></seriesStmt></fileDesc><profileDesc><textClass><keywords scheme="Teeft" xml:lang="en"><term>Abstract form</term><term>Academic psychology</term><term>Actual movement</term><term>Actual movements</term><term>Aesthetic</term><term>Aesthetic appreciation</term><term>Aesthetic contemplation</term><term>Aesthetic context</term><term>Aesthetic experience</term><term>Aesthetic experiments</term><term>Aesthetic form</term><term>Aesthetic object</term><term>Aesthetic perception</term><term>Aesthetic pleasure</term><term>Aesthetic reception</term><term>Aesthetic response</term><term>Aesthetic standpoint</term><term>Aesthetic theories</term><term>Aesthetician</term><term>Aestheticism</term><term>Aesthetics</term><term>Aesthetik</term><term>Aesthetische genuss</term><term>Allgemeine kunstwissenschaft</term><term>Anstrutherthomson</term><term>Architectural forms</term><term>Archiv systematische philosophie</term><term>August</term><term>Baldwin</term><term>Behavioral</term><term>Behavioral sciences</term><term>Berenson</term><term>Bernard berenson</term><term>Biographical essay</term><term>Blank wall</term><term>Bodily</term><term>Bodily accompaniments</term><term>Bodily activity</term><term>Bodily basis</term><term>Bodily movements</term><term>Bodily responses</term><term>Bodily sensations</term><term>Bodley head</term><term>British aestheticism</term><term>California press</term><term>Cambridge university press</term><term>Catherine maxwell</term><term>Chicago press</term><term>Christa zorn</term><term>Colby</term><term>Colby college</term><term>Commonplace book</term><term>Commonplace books</term><term>Connoisseur bernard berenson</term><term>Contemporary psychologists</term><term>Contemporary review</term><term>Cornell psychologist</term><term>Critical discourse</term><term>Decadence</term><term>December</term><term>Downward pressure</term><term>Empathic</term><term>Empathic projection</term><term>Empathic response</term><term>Empathy</term><term>Empathy theory</term><term>Evolutionary models</term><term>Experimental physiology</term><term>Experimental psychology</term><term>Experimental studies</term><term>Experimental subject</term><term>Fine arts</term><term>Florentine painters</term><term>Fraser</term><term>Gallery diaries</term><term>George allen unwin</term><term>German aesthetics</term><term>Getty center</term><term>Great number</term><term>Groos</term><term>Henry james</term><term>Hermann lotze</term><term>Hilary fraser</term><term>Historical journal</term><term>Historigraphical review</term><term>Holograph notes</term><term>Impressionistic method</term><term>Inner imitation</term><term>Inner mimicry</term><term>Inner motor movements</term><term>International universities press</term><term>Intimate friends</term><term>Introspection</term><term>Irene cooper willis</term><term>James sully</term><term>James wood</term><term>Johns hopkins university press</term><term>Karl groos</term><term>Kinesthetic images</term><term>Lanzoni</term><term>Laurus nobilis</term><term>Leipzig</term><term>Lipps</term><term>Literary biography</term><term>Literary scholars</term><term>Localized sensations</term><term>Macmillan</term><term>Mark baldwin</term><term>Miller library</term><term>Modern culture</term><term>Moral claims</term><term>Motor movements</term><term>Motor responses</term><term>Motor theories</term><term>Motor type</term><term>Nineteenth century</term><term>Ohio university press</term><term>Other psychologists</term><term>Other studies</term><term>Oxford university</term><term>Oxford university press</term><term>Paget</term><term>Palgrave</term><term>Palgrave macmillan</term><term>Pater</term><term>Pater circle</term><term>Patricia pulham</term><term>Photographic print</term><term>Physiological aesthetics</term><term>Physiological theories</term><term>Plural anomalies</term><term>Popular culture</term><term>Psychological aesthetics</term><term>Psychological congress</term><term>Psychological laboratory</term><term>Psychological literature</term><term>Psychological review</term><term>Psychologist</term><term>Psychologist karl groos</term><term>Psychology</term><term>Pulham</term><term>Renaissance italy</term><term>Revue philosophique</term><term>Ribot</term><term>Santa monica</term><term>Scientific journals</term><term>Sexual sublimation</term><term>Short stories</term><term>Social history</term><term>Somerville</term><term>Somerville college</term><term>Spatial enclosure</term><term>Sthetik</term><term>Subjective states</term><term>Susan lanzoni</term><term>Sympathie revue philosophique</term><term>Theodor lipps</term><term>Third dimension</term><term>Titchener</term><term>Towheed</term><term>Transitional object</term><term>Twentieth century</term><term>University press</term><term>Unpublished papers</term><term>Vernon</term><term>Victorian studies</term><term>Vineta colby</term><term>Violet paget</term><term>Virginia press</term><term>Virginia woolf</term><term>Vischer</term><term>Visual aesthetics</term><term>Wiley periodicals</term><term>William james</term><term>Word sympathy</term><term>Yale university press</term><term>Zorn</term></keywords></textClass></profileDesc></teiHeader><front><div type="abstract" xml:lang="de">Late nineteenth‐century psychologists and aestheticians were fascinated by the study of psychological and physiological aspects of aesthetic response, and the British intellectual and aesthete Vernon Lee was a major participant in this venture. Working outside the academy, Lee conducted informal experiments with Clementina Anstruther‐Thomson, recording changes in respiration, balance, emotion, and body movements in response to aesthetic form. In fashioning her aesthetics of empathy, she mined a wealth of psychological theories of the period including motor theories of mind, physiological theories of emotion, evolutionary models of the usefulness of art, and, most prominently, the empathic projection of feeling and movement into form. Lee distributed questionnaires, contributed to scientific journals, carried out her own introspective studies, and debated aesthetics with leading psychologists. This paper critiques the prevailing view of Lee's aesthetics as a displaced sign of her gender or sexuality, and questions her status as simply an amateur in the field of psychology. Instead, I argue that Lee's empirically based empathy theory of art was a significant contribution to debates on psychological aesthetics at the outset of the twentieth century, offering a synthesis of Lipps's mentalistic Einfühlung and sensation‐based imitation theories of aesthetic response. © 2009 Wiley Periodicals, Inc.</div></front></TEI><istex><corpusName>wiley</corpusName><keywords><teeft><json:string>aesthetics</json:string><json:string>colby</json:string><json:string>empathy</json:string><json:string>colby college</json:string><json:string>behavioral sciences</json:string><json:string>groos</json:string><json:string>lanzoni</json:string><json:string>lipps</json:string><json:string>anstrutherthomson</json:string><json:string>psychological aesthetics</json:string><json:string>berenson</json:string><json:string>empathic</json:string><json:string>aesthetic experience</json:string><json:string>pulham</json:string><json:string>titchener</json:string><json:string>december</json:string><json:string>somerville college</json:string><json:string>ribot</json:string><json:string>susan lanzoni</json:string><json:string>aesthetik</json:string><json:string>aesthetic response</json:string><json:string>august</json:string><json:string>palgrave</json:string><json:string>zorn</json:string><json:string>towheed</json:string><json:string>karl groos</json:string><json:string>sthetik</json:string><json:string>fraser</json:string><json:string>aestheticism</json:string><json:string>vischer</json:string><json:string>aesthetician</json:string><json:string>bodily sensations</json:string><json:string>leipzig</json:string><json:string>macmillan</json:string><json:string>palgrave macmillan</json:string><json:string>commonplace book</json:string><json:string>nineteenth century</json:string><json:string>commonplace books</json:string><json:string>inner imitation</json:string><json:string>contemporary review</json:string><json:string>victorian studies</json:string><json:string>third dimension</json:string><json:string>holograph notes</json:string><json:string>laurus nobilis</json:string><json:string>paget</json:string><json:string>behavioral</json:string><json:string>patricia pulham</json:string><json:string>aesthetic appreciation</json:string><json:string>henry james</json:string><json:string>bodily responses</json:string><json:string>william james</json:string><json:string>irene cooper willis</json:string><json:string>chicago press</json:string><json:string>bodley head</json:string><json:string>aesthetic reception</json:string><json:string>catherine maxwell</json:string><json:string>biographical essay</json:string><json:string>physiological aesthetics</json:string><json:string>german aesthetics</json:string><json:string>empathic projection</json:string><json:string>santa monica</json:string><json:string>getty center</json:string><json:string>motor type</json:string><json:string>empathic response</json:string><json:string>introspection</json:string><json:string>cambridge university press</json:string><json:string>physiological theories</json:string><json:string>bodily accompaniments</json:string><json:string>transitional object</json:string><json:string>actual movements</json:string><json:string>university press</json:string><json:string>psychological literature</json:string><json:string>intimate friends</json:string><json:string>literary biography</json:string><json:string>pater circle</json:string><json:string>allgemeine kunstwissenschaft</json:string><json:string>mark baldwin</json:string><json:string>george allen unwin</json:string><json:string>bernard berenson</json:string><json:string>inner mimicry</json:string><json:string>yale university press</json:string><json:string>hilary fraser</json:string><json:string>scientific journals</json:string><json:string>florentine painters</json:string><json:string>california press</json:string><json:string>motor theories</json:string><json:string>decadence</json:string><json:string>baldwin</json:string><json:string>somerville</json:string><json:string>bodily</json:string><json:string>actual movement</json:string><json:string>theodor lipps</json:string><json:string>localized sensations</json:string><json:string>aesthetic context</json:string><json:string>virginia woolf</json:string><json:string>british aestheticism</json:string><json:string>experimental studies</json:string><json:string>historigraphical review</json:string><json:string>historical journal</json:string><json:string>contemporary psychologists</json:string><json:string>bodily movements</json:string><json:string>psychological congress</json:string><json:string>plural anomalies</json:string><json:string>other psychologists</json:string><json:string>ohio university press</json:string><json:string>james wood</json:string><json:string>christa zorn</json:string><json:string>johns hopkins university press</json:string><json:string>social history</json:string><json:string>virginia press</json:string><json:string>experimental psychology</json:string><json:string>vineta colby</json:string><json:string>impressionistic method</json:string><json:string>moral claims</json:string><json:string>renaissance italy</json:string><json:string>literary scholars</json:string><json:string>modern culture</json:string><json:string>experimental physiology</json:string><json:string>psychological laboratory</json:string><json:string>architectural forms</json:string><json:string>sexual sublimation</json:string><json:string>connoisseur bernard berenson</json:string><json:string>aesthetic experiments</json:string><json:string>short stories</json:string><json:string>academic psychology</json:string><json:string>psychological review</json:string><json:string>violet paget</json:string><json:string>fine arts</json:string><json:string>james sully</json:string><json:string>miller library</json:string><json:string>bodily activity</json:string><json:string>critical discourse</json:string><json:string>great number</json:string><json:string>photographic print</json:string><json:string>unpublished papers</json:string><json:string>aesthetic contemplation</json:string><json:string>downward pressure</json:string><json:string>bodily basis</json:string><json:string>subjective states</json:string><json:string>spatial enclosure</json:string><json:string>hermann lotze</json:string><json:string>motor movements</json:string><json:string>aesthetic object</json:string><json:string>psychologist karl groos</json:string><json:string>inner motor movements</json:string><json:string>aesthetic pleasure</json:string><json:string>twentieth century</json:string><json:string>archiv systematische philosophie</json:string><json:string>revue philosophique</json:string><json:string>empathy theory</json:string><json:string>evolutionary models</json:string><json:string>aesthetic form</json:string><json:string>aesthetische genuss</json:string><json:string>aesthetic theories</json:string><json:string>other studies</json:string><json:string>motor responses</json:string><json:string>experimental subject</json:string><json:string>popular culture</json:string><json:string>oxford university</json:string><json:string>gallery diaries</json:string><json:string>word sympathy</json:string><json:string>sympathie revue philosophique</json:string><json:string>oxford university press</json:string><json:string>visual aesthetics</json:string><json:string>aesthetic perception</json:string><json:string>kinesthetic images</json:string><json:string>aesthetic standpoint</json:string><json:string>international universities press</json:string><json:string>abstract form</json:string><json:string>blank wall</json:string><json:string>wiley periodicals</json:string><json:string>cornell psychologist</json:string><json:string>vernon</json:string><json:string>aesthetic</json:string><json:string>psychology</json:string><json:string>pater</json:string><json:string>psychologist</json:string></teeft></keywords><author><json:item><name>Susan Lanzoni</name><affiliations><json:string>Visiting Scholar, Science, Technology, and Society program, MIT and teaches at the Harvard Extension School</json:string></affiliations></json:item></author><articleId><json:string>JHBS20395</json:string></articleId><arkIstex>ark:/67375/WNG-DK3BH62T-J</arkIstex><language><json:string>eng</json:string></language><originalGenre><json:string>article</json:string></originalGenre><abstract>Late nineteenth‐century psychologists and aestheticians were fascinated by the study of psychological and physiological aspects of aesthetic response, and the British intellectual and aesthete Vernon Lee was a major participant in this venture. Working outside the academy, Lee conducted informal experiments with Clementina Anstruther‐Thomson, recording changes in respiration, balance, emotion, and body movements in response to aesthetic form. In fashioning her aesthetics of empathy, she mined a wealth of psychological theories of the period including motor theories of mind, physiological theories of emotion, evolutionary models of the usefulness of art, and, most prominently, the empathic projection of feeling and movement into form. Lee distributed questionnaires, contributed to scientific journals, carried out her own introspective studies, and debated aesthetics with leading psychologists. This paper critiques the prevailing view of Lee's aesthetics as a displaced sign of her gender or sexuality, and questions her status as simply an amateur in the field of psychology. Instead, I argue that Lee's empirically based empathy theory of art was a significant contribution to debates on psychological aesthetics at the outset of the twentieth century, offering a synthesis of Lipps's mentalistic Einfühlung and sensation‐based imitation theories of aesthetic response. © 2009 Wiley Periodicals, Inc.</abstract><qualityIndicators><score>9.376</score><pdfWordCount>15233</pdfWordCount><pdfCharCount>90324</pdfCharCount><pdfVersion>1.3</pdfVersion><pdfPageCount>25</pdfPageCount><pdfPageSize>486 x 720 pts</pdfPageSize><refBibsNative>true</refBibsNative><abstractWordCount>198</abstractWordCount><abstractCharCount>1414</abstractCharCount><keywordCount>0</keywordCount></qualityIndicators><title>Practicing psychology in the art gallery: Vernon Lee's aesthetics of empathy</title><pmid><json:string>19798650</json:string></pmid><genre><json:string>article</json:string></genre><host><title>Journal of the History of the Behavioral Sciences</title><language><json:string>unknown</json:string></language><doi><json:string>10.1002/(ISSN)1520-6696</json:string></doi><issn><json:string>0022-5061</json:string></issn><eissn><json:string>1520-6696</json:string></eissn><publisherId><json:string>JHBS</json:string></publisherId><volume>45</volume><issue>4</issue><pages><first>330</first><last>354</last><total>25</total></pages><genre><json:string>journal</json:string></genre><subject><json:item><value>Research Article</value></json:item></subject></host><namedEntities><unitex><date><json:string>2009</json:string><json:string>1893</json:string><json:string>1882</json:string><json:string>1912</json:string><json:string>1901</json:string><json:string>1898</json:string><json:string>1906</json:string><json:string>the twentieth century</json:string><json:string>1894</json:string><json:string>1924</json:string><json:string>1899</json:string><json:string>the nineteenth century</json:string><json:string>1866</json:string><json:string>1890s</json:string><json:string>twentieth century</json:string><json:string>1873</json:string><json:string>1891</json:string><json:string>1880</json:string><json:string>in the nineteenth century</json:string><json:string>nineteenth century</json:string><json:string>1910</json:string><json:string>1896</json:string><json:string>from December 1903 to April 1904</json:string><json:string>2008</json:string><json:string>1892</json:string><json:string>1879</json:string><json:string>1909</json:string><json:string>1911</json:string><json:string>1900</json:string><json:string>1897</json:string><json:string>the Eighteenth Century</json:string></date><geogName></geogName><orgName><json:string>Ohio University</json:string><json:string>Stanford University</json:string><json:string>Germany, Gustav Fechner</json:string><json:string>Modern American and European Variations</json:string><json:string>The Scientific Lady</json:string><json:string>Harvard University</json:string><json:string>University of Bonn</json:string><json:string>Oxford University</json:string><json:string>Psychological Congress</json:string><json:string>International Congress</json:string><json:string>University of London</json:string><json:string>Congress</json:string><json:string>Wiley Periodicals, Inc</json:string><json:string>Yale University</json:string></orgName><orgName_funder></orgName_funder><orgName_provider></orgName_provider><persName><json:string>Groos</json:string><json:string>Stefano Evangelista</json:string><json:string>W. J. Shaw</json:string><json:string>Hugo Münsterberg</json:string><json:string>Charlton Bastian</json:string><json:string>Joseph Bristow</json:string><json:string>Oscar Wilde</json:string><json:string>Herbert Spencer</json:string><json:string>Patricia Phillips</json:string><json:string>Mary Robinson</json:string><json:string>Caballero</json:string><json:string>Deborah Silverman</json:string><json:string>Margaret Rossiter</json:string><json:string>Grant Allen</json:string><json:string>Henry James</json:string><json:string>Catherine Maxwell</json:string><json:string>Mary F. Robinson</json:string><json:string>C. Anstruther-Thomson</json:string><json:string>Anna Graves</json:string><json:string>Fraser</json:string><json:string>Allison Winter</json:string><json:string>Timothy Lenoir</json:string><json:string>Francis Galton</json:string><json:string>J. Ricker</json:string><json:string>La Sympathie</json:string><json:string>Mark Jarzombek</json:string><json:string>Immanuel Kant</json:string><json:string>Colby College</json:string><json:string>Jo Briggs</json:string><json:string>Külpe</json:string><json:string>Silverman</json:string><json:string>Ann B. Shteir</json:string><json:string>Alfred Fouillée</json:string><json:string>Listowell</json:string><json:string>Wilhelm Wundt</json:string><json:string>John Singer</json:string><json:string>Conrad Fiedler</json:string><json:string>Elizabeth Baldwin</json:string><json:string>An Apology</json:string><json:string>J. M. Baldwin</json:string><json:string>Theodor Lipps</json:string><json:string>Pauline Adams</json:string><json:string>Juliet Koss</json:string><json:string>Simone Martini</json:string><json:string>Théodule Ribot</json:string><json:string>James Wood</json:string><json:string>Maria Waser-Krebs</json:string><json:string>Lee</json:string><json:string>Sally Gregory</json:string><json:string>C. K. Ogden</json:string><json:string>Science</json:string><json:string>I. A. Richards</json:string><json:string>Salomon Stricker</json:string><json:string>Cooper Willis</json:string><json:string>German Aesthetics</json:string><json:string>Irene</json:string><json:string>Carl Markgraf</json:string><json:string>Werner S. Pluhar</json:string><json:string>Robert Vischer</json:string><json:string>R. Brain</json:string><json:string>German Romantics</json:string><json:string>Kathy Alexis</json:string><json:string>Robert M. Brain</json:string><json:string>Mark Baldwin</json:string><json:string>Wilhelm Worringer</json:string><json:string>Lady Tal</json:string><json:string>T. S. Eliot</json:string><json:string>Violet Paget</json:string><json:string>Wintz</json:string><json:string>Edmund Gurney</json:string><json:string>Martin Jay</json:string><json:string>James Ward</json:string><json:string>Vernon Lee</json:string><json:string>Max Dessoir</json:string><json:string>Virginia Woolf</json:string><json:string>Jonathan Crary</json:string><json:string>Laura Gropallo</json:string><json:string>Bernard Berenson</json:string><json:string>Hermann Lotze</json:string><json:string>Emily Harrington</json:string><json:string>Karl Groos</json:string><json:string>Dessoir</json:string><json:string>Theodore Flournoy</json:string><json:string>G. Jahoda</json:string><json:string>Susan Lanzoni</json:string><json:string>Although Schopenhauer</json:string><json:string>Alexander Bain</json:string><json:string>Harry Francis</json:string><json:string>Lee Archive</json:string><json:string>Carl J. Weber</json:string><json:string>Martha Vicinus</json:string><json:string>W. B. Pillsbury</json:string><json:string>Matilda Paget</json:string><json:string>Pater Circle</json:string><json:string>Talia Schaffer</json:string><json:string>Oswald Külpe</json:string><json:string>Walter Pater</json:string><json:string>S. Lanzoni</json:string><json:string>Oscar Külpe</json:string><json:string>Hermann Helmholtz</json:string><json:string>Patricia Pulham</json:string><json:string>Friedrich Theodor</json:string><json:string>Nicole Fluhr</json:string><json:string>Hilary Fraser</json:string><json:string>Richard Dellamora</json:string><json:string>Anstruther-Thomson</json:string><json:string>Charles Bell</json:string><json:string>August Schmarsow</json:string><json:string>George Allen</json:string><json:string>Rudolf Arnheim</json:string><json:string>William James</json:string><json:string>Johannes Volkelt</json:string><json:string>Eugene Lee-Hamilton</json:string><json:string>K. Anstruther-Thomson</json:string><json:string>H. G. Cocks</json:string><json:string>Berenson</json:string><json:string>O. Külpe</json:string><json:string>Christa Zorn</json:string><json:string>Barbara T. Gates</json:string><json:string>R. Piper</json:string><json:string>Even Botticelli</json:string><json:string>A. Young</json:string><json:string>Laurel Brake</json:string><json:string>Max Nordau</json:string><json:string>E. B. Titchener</json:string><json:string>Carlo Caballero</json:string><json:string>James Sully</json:string><json:string>Kit Anstruther-Thomson</json:string><json:string>Linda Dowling</json:string><json:string>T. Ribot</json:string></persName><placeName><json:string>Leipzig</json:string><json:string>Stanford</json:string><json:string>Paris</json:string><json:string>Germany</json:string><json:string>New Literary</json:string><json:string>Munich</json:string><json:string>Bonn</json:string><json:string>London</json:string><json:string>Würzburg</json:string><json:string>Vancouver</json:string><json:string>Athens</json:string><json:string>America</json:string><json:string>Vienna</json:string><json:string>Basel</json:string><json:string>Rome</json:string><json:string>CA</json:string><json:string>York</json:string><json:string>Florence</json:string><json:string>Bari</json:string><json:string>Tulsa</json:string><json:string>Italy</json:string><json:string>OH</json:string></placeName><ref_url></ref_url><ref_bibl><json:string>Oxford: Blackwell, 1992</json:string><json:string>Arnheim, 1986, p. 60</json:string><json:string>University of Wisconsin Press, 1997</json:string><json:string>Fraser, 1998, p. 94</json:string><json:string>Lee, 1910, p. 174</json:string><json:string>October 1901</json:string><json:string>Small, 1991</json:string><json:string>Lee & Anstruther-Thomson, 1897, p. 678</json:string><json:string>Winter,1994</json:string><json:string>Bastian, 1880, p. 543</json:string><json:string>Lee & AnstrutherThomson, 1912, p. 173</json:string><json:string>Lee & AnstrutherThomson, 1912, p. 331</json:string><json:string>September 1901</json:string><json:string>December 8, 1901</json:string><json:string>Lee & Anstruther-Thomson, 1912, p. 106</json:string><json:string>Jacob & Sturkenboom 2003, p. 222</json:string><json:string>Indianapolis: Hackett Publishing, 1987</json:string><json:string>Maltz, 1999</json:string><json:string>December 14, 1901</json:string><json:string>Harrington, 2006</json:string><json:string>Cooter and Pumfrey, 1994</json:string><json:string>Lee & Anstruther-Thomson, 1897, p. 672</json:string><json:string>Baltimore: Johns Hopkins University Press, 1982</json:string><json:string>Hirn, 1900</json:string><json:string>Lee & Anstruther-Thomson, 1912, p. 325</json:string><json:string>Santa Monica CA: Getty Center, 1994</json:string><json:string>Morgan, 1996, p. 321</json:string><json:string>Cambridge, Cambridge University Press, 2000</json:string><json:string>Cambridge MA: MIT Press, 1999</json:string><json:string>Lee & Anstruther-Thomson, 1912, p. 24</json:string><json:string>Martin, 1939, p. 161</json:string><json:string>Small, 1991, p. 9</json:string><json:string>Lee and Anstruther-Thomson (1897, p. 545)</json:string><json:string>Hampshire: Palgrave, 2006</json:string><json:string>Berenson, 1896, p. 4</json:string><json:string>Hampshire: Macmillan, 2006</json:string><json:string>Sully, 1880</json:string><json:string>Lipps, 1900</json:string><json:string>Langfeld, 1920, p. 119</json:string><json:string>Danziger, 1990</json:string><json:string>July, 2008</json:string><json:string>Titchener, 1908, p. 179</json:string><json:string>Vischer, 1873</json:string><json:string>Groos, 1909</json:string><json:string>Fechner, 1876</json:string><json:string>Zorn, 2006</json:string><json:string>Lee, 1896</json:string><json:string>Lee & Anstruther-Thomson, 1897, p. 555</json:string><json:string>Lee, 1910, p. 149</json:string><json:string>Lee and Anstruther-Thomson (1912, p. 244)</json:string><json:string>Lee & Anstruther-Thomson, 1897, p. 566</json:string><json:string>London: Palgrave Macmillan, 2006</json:string><json:string>Beauty and Ugliness, 1912</json:string><json:string>Titchener, 1909a, p. 21</json:string><json:string>Charlottesville: University Press of Virgina, 1996</json:string><json:string>Lee, 1910</json:string><json:string>Lee & Anstruther-Thomson, 1912, p. 258</json:string><json:string>Allesch, 1987</json:string><json:string>New York: International Universities Press, 1953</json:string><json:string>Colby, 2003, p. 152</json:string><json:string>London: The Bodley Head, 1909</json:string><json:string>Lipps, 1900, p. 385</json:string><json:string>Lee & Anstruther-Thomson, 1912, p. 67</json:string><json:string>Lee & AnstrutherThomson, 1912, p. 7</json:string><json:string>Hildebrand, 1893, p. 247</json:string><json:string>Lee & Anstruther-Thomson, 1897, p. 554</json:string><json:string>Lee & Anstruther-Thomson 1912, p. 268</json:string><json:string>Lee & Anstruther-Thomson, 1912, p. 362</json:string><json:string>Lee & Anstruther-Thomson, 1897, p. 669</json:string><json:string>Anstruther-Thomson, 1924, p. 46</json:string><json:string>Unwin Ltd., 1922</json:string><json:string>Ashgate, 2008</json:string><json:string>Maltz, 1999, p. 212</json:string><json:string>Stricker, 1880</json:string><json:string>Lee, 1923, p. 132</json:string><json:string>Anstruther-Thomson, 1924, p. 57</json:string><json:string>Lee & AnstrutherThomson, 1912, p. 333</json:string><json:string>Müller-Tamm, 2005</json:string><json:string>Imola: Coopérative Typographique Édit, 1901</json:string><json:string>Lee & AnstrutherThomson, 1912, p. 47</json:string><json:string>Anstruther-Thomson, 1924, p. 79</json:string><json:string>Lee & AnstrutherThomson, 1912, p. 355</json:string><json:string>Baldwin, 1895, p. 433</json:string><json:string>Titchener, 1909a</json:string><json:string>Lee & Anstruther-Thomson, 1897, p. 564</json:string><json:string>Anstruther-Thomson, 1924, p. 90</json:string><json:string>Allen, 1877</json:string><json:string>Colby, 2003, p. 167</json:string><json:string>Mallgrave (1994, p. 289)</json:string><json:string>New York: Appleton, 1901</json:string><json:string>Maxwell & Pulham, 2006, p. 7</json:string><json:string>see also Gardner, 1987</json:string><json:string>[1908]</json:string><json:string>AnstrutherThomson, 1924, p. 78</json:string><json:string>Beauty and Ugliness (1912)</json:string><json:string>Woolf, 1989, p. 79</json:string><json:string>Zorn, 2003, p. 39</json:string><json:string>Towheed, 2005</json:string><json:string>University of California Press, 2005</json:string><json:string>Gurney, 1880, p. 79</json:string><json:string>Charlottesville: University of Virginia Press, 2003</json:string><json:string>Lee & AnstrutherThomson, 1912, p. 68</json:string></ref_bibl><bibl></bibl></unitex></namedEntities><ark><json:string>ark:/67375/WNG-DK3BH62T-J</json:string></ark><categories><wos><json:string>1 - social science</json:string><json:string>2 - history of social sciences</json:string></wos><scienceMetrix><json:string>1 - arts & humanities</json:string><json:string>2 - historical studies</json:string><json:string>3 - history of science, technology & medicine</json:string></scienceMetrix><scopus><json:string>1 - Social Sciences</json:string><json:string>2 - Psychology</json:string><json:string>3 - Psychology (miscellaneous)</json:string><json:string>1 - Social Sciences</json:string><json:string>2 - Arts and Humanities</json:string><json:string>3 - History</json:string></scopus></categories><publicationDate>2009</publicationDate><copyrightDate>2009</copyrightDate><doi><json:string>10.1002/jhbs.20395</json:string></doi><id>E03BDADFD4FBBA4FE4A1BD1723008CF04FCF2139</id><score>1</score><fulltext><json:item><extension>pdf</extension><original>true</original><mimetype>application/pdf</mimetype><uri>https://api.istex.fr/document/E03BDADFD4FBBA4FE4A1BD1723008CF04FCF2139/fulltext/pdf</uri></json:item><json:item><extension>zip</extension><original>false</original><mimetype>application/zip</mimetype><uri>https://api.istex.fr/document/E03BDADFD4FBBA4FE4A1BD1723008CF04FCF2139/fulltext/zip</uri></json:item><istex:fulltextTEI uri="https://api.istex.fr/document/E03BDADFD4FBBA4FE4A1BD1723008CF04FCF2139/fulltext/tei"><teiHeader><fileDesc><titleStmt><title level="a" type="main" xml:lang="en">Practicing psychology in the art gallery: Vernon Lee's aesthetics of empathy</title></titleStmt><publicationStmt><authority>ISTEX</authority><publisher>Wiley Subscription Services, Inc., A Wiley Company</publisher><pubPlace>Hoboken</pubPlace><availability><licence>© 2009 Wiley Periodicals, Inc.</licence></availability><date type="published" when="2009-09"></date></publicationStmt><notesStmt><note type="content-type" subtype="article" source="article" scheme="https://content-type.data.istex.fr/ark:/67375/XTP-6N5SZHKN-D">article</note><note type="publication-type" subtype="journal" scheme="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</note></notesStmt><sourceDesc><biblStruct type="article"><analytic><title level="a" type="main" xml:lang="en">Practicing psychology in the art gallery: Vernon Lee's aesthetics of empathy</title><title level="a" type="short" xml:lang="en">Practicing Psychology in the Art Gallery</title><author xml:id="author-0000"><persName><forename type="first">Susan</forename><surname>Lanzoni</surname></persName><affiliation>Visiting Scholar, Science, Technology, and Society program, MIT and teaches at the Harvard Extension School<address><country key="US"></country></address></affiliation></author><idno type="istex">E03BDADFD4FBBA4FE4A1BD1723008CF04FCF2139</idno><idno type="ark">ark:/67375/WNG-DK3BH62T-J</idno><idno type="DOI">10.1002/jhbs.20395</idno><idno type="unit">JHBS20395</idno><idno type="toTypesetVersion">file:JHBS.JHBS20395.pdf</idno></analytic><monogr><title level="j" type="main">Journal of the History of the Behavioral Sciences</title><title level="j" type="alt">JOURNAL OF THE HISTORY OF THE BEHAVIORAL SCIENCES</title><idno type="pISSN">0022-5061</idno><idno type="eISSN">1520-6696</idno><idno type="book-DOI">10.1002/(ISSN)1520-6696</idno><idno type="book-part-DOI">10.1002/jhbs.v45:4</idno><idno type="product">JHBS</idno><imprint><biblScope unit="vol">45</biblScope><biblScope unit="issue">4</biblScope><biblScope unit="page" from="330">330</biblScope><biblScope unit="page" to="354">354</biblScope><biblScope unit="page-count">25</biblScope><publisher>Wiley Subscription Services, Inc., A Wiley Company</publisher><pubPlace>Hoboken</pubPlace><date type="published" when="2009-09"></date></imprint></monogr></biblStruct></sourceDesc></fileDesc><profileDesc><abstract xml:lang="de" style="main"><head>Abstract</head><p>Late nineteenth‐century psychologists and aestheticians were fascinated by the study of psychological and physiological aspects of aesthetic response, and the British intellectual and aesthete Vernon Lee was a major participant in this venture. Working outside the academy, Lee conducted informal experiments with Clementina Anstruther‐Thomson, recording changes in respiration, balance, emotion, and body movements in response to aesthetic form. In fashioning her aesthetics of empathy, she mined a wealth of psychological theories of the period including motor theories of mind, physiological theories of emotion, evolutionary models of the usefulness of art, and, most prominently, the empathic projection of feeling and movement into form. Lee distributed questionnaires, contributed to scientific journals, carried out her own introspective studies, and debated aesthetics with leading psychologists. This paper critiques the prevailing view of Lee's aesthetics as a displaced sign of her gender or sexuality, and questions her status as simply an amateur in the field of psychology. Instead, I argue that Lee's empirically based empathy theory of art was a significant contribution to debates on psychological aesthetics at the outset of the twentieth century, offering a synthesis of Lipps's mentalistic <hi rend="italic">Einfühlung</hi> and sensation‐based imitation theories of aesthetic response. © 2009 Wiley Periodicals, Inc.</p></abstract><textClass><keywords rend="articleCategory"><term>Research Article</term></keywords><keywords rend="tocHeading1"><term>Research Articles</term></keywords></textClass><langUsage><language ident="en"></language></langUsage></profileDesc></teiHeader></istex:fulltextTEI><json:item><extension>txt</extension><original>false</original><mimetype>text/plain</mimetype><uri>https://api.istex.fr/document/E03BDADFD4FBBA4FE4A1BD1723008CF04FCF2139/fulltext/txt</uri></json:item></fulltext><metadata><istex:metadataXml wicri:clean="Wiley, elements deleted: body"><istex:xmlDeclaration>version="1.0" encoding="UTF-8" standalone="yes"</istex:xmlDeclaration><istex:document><component version="2.0" type="serialArticle" xml:lang="en"><header><publicationMeta level="product"><publisherInfo><publisherName>Wiley Subscription Services, Inc., A Wiley Company</publisherName><publisherLoc>Hoboken</publisherLoc></publisherInfo><doi registered="yes">10.1002/(ISSN)1520-6696</doi><issn type="print">0022-5061</issn><issn type="electronic">1520-6696</issn><idGroup><id type="product" value="JHBS"></id></idGroup><titleGroup><title type="main" xml:lang="en" sort="JOURNAL OF THE HISTORY OF THE BEHAVIORAL SCIENCES">Journal of the History of the Behavioral Sciences</title><title type="short">J. Hist. Behav. Sci.</title></titleGroup></publicationMeta><publicationMeta level="part" position="40"><doi origin="wiley" registered="yes">10.1002/jhbs.v45:4</doi><numberingGroup><numbering type="journalVolume" number="45">45</numbering><numbering type="journalIssue">4</numbering></numberingGroup><coverDate startDate="2009-09">Autumn (Fall) 2009</coverDate></publicationMeta><publicationMeta level="unit" type="article" position="2" status="forIssue"><doi origin="wiley" registered="yes">10.1002/jhbs.20395</doi><idGroup><id type="unit" value="JHBS20395"></id></idGroup><countGroup><count type="pageTotal" number="25"></count></countGroup><titleGroup><title type="articleCategory">Research Article</title><title type="tocHeading1">Research Articles</title></titleGroup><copyright ownership="publisher">© 2009 Wiley Periodicals, Inc.</copyright><eventGroup><event type="firstOnline" date="2009-10-01"></event><event type="publishedOnlineFinalForm" date="2009-10-21"></event><event type="publishedOnlineAcceptedOrEarlyUnpaginated" date="2009-10-01"></event><event type="xmlConverted" agent="Converter:JWSART34_TO_WML3G version:2.4.7 mode:FullText source:HeaderRef result:HeaderRef" date="2011-02-24"></event><event type="xmlConverted" agent="Converter:WILEY_ML3G_TO_WILEY_ML3GV2 version:3.8.8" date="2014-01-31"></event><event type="xmlConverted" agent="Converter:WML3G_To_WML3G version:4.1.7 mode:FullText,remove_FC" date="2014-10-30"></event></eventGroup><numberingGroup><numbering type="pageFirst">330</numbering><numbering type="pageLast">354</numbering></numberingGroup><linkGroup><link type="toTypesetVersion" href="file:JHBS.JHBS20395.pdf"></link></linkGroup></publicationMeta><contentMeta><countGroup><count type="figureTotal" number="2"></count><count type="tableTotal" number="0"></count><count type="referenceTotal" number="101"></count></countGroup><titleGroup><title type="main" xml:lang="en">Practicing psychology in the art gallery: Vernon Lee's aesthetics of empathy</title><title type="short" xml:lang="en">Practicing Psychology in the Art Gallery</title></titleGroup><creators><creator xml:id="au1" creatorRole="author" affiliationRef="#af1"><personName><givenNames>Susan</givenNames><familyName>Lanzoni</familyName></personName></creator></creators><affiliationGroup><affiliation xml:id="af1" countryCode="US" type="organization"><unparsedAffiliation>Visiting Scholar, Science, Technology, and Society program, MIT and teaches at the Harvard Extension School</unparsedAffiliation></affiliation></affiliationGroup><abstractGroup><abstract type="main" xml:lang="de"><title type="main">Abstract</title><p>Late nineteenth‐century psychologists and aestheticians were fascinated by the study of psychological and physiological aspects of aesthetic response, and the British intellectual and aesthete Vernon Lee was a major participant in this venture. Working outside the academy, Lee conducted informal experiments with Clementina Anstruther‐Thomson, recording changes in respiration, balance, emotion, and body movements in response to aesthetic form. In fashioning her aesthetics of empathy, she mined a wealth of psychological theories of the period including motor theories of mind, physiological theories of emotion, evolutionary models of the usefulness of art, and, most prominently, the empathic projection of feeling and movement into form. Lee distributed questionnaires, contributed to scientific journals, carried out her own introspective studies, and debated aesthetics with leading psychologists. This paper critiques the prevailing view of Lee's aesthetics as a displaced sign of her gender or sexuality, and questions her status as simply an amateur in the field of psychology. Instead, I argue that Lee's empirically based empathy theory of art was a significant contribution to debates on psychological aesthetics at the outset of the twentieth century, offering a synthesis of Lipps's mentalistic <i>Einfühlung</i> and sensation‐based imitation theories of aesthetic response. © 2009 Wiley Periodicals, Inc.</p></abstract></abstractGroup></contentMeta></header></component></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>Practicing psychology in the art gallery: Vernon Lee's aesthetics of empathy</title></titleInfo><titleInfo type="abbreviated" lang="en"><title>Practicing Psychology in the Art Gallery</title></titleInfo><titleInfo type="alternative" contentType="CDATA" lang="en"><title>Practicing psychology in the art gallery: Vernon Lee's aesthetics of empathy</title></titleInfo><name type="personal"><namePart type="given">Susan</namePart><namePart type="family">Lanzoni</namePart><affiliation>Visiting Scholar, Science, Technology, and Society program, MIT and teaches at the Harvard Extension School</affiliation><role><roleTerm type="text">author</roleTerm></role></name><typeOfResource>text</typeOfResource><genre type="article" displayLabel="article" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-6N5SZHKN-D">article</genre><originInfo><publisher>Wiley Subscription Services, Inc., A Wiley Company</publisher><place><placeTerm type="text">Hoboken</placeTerm></place><dateIssued encoding="w3cdtf">2009-09</dateIssued><copyrightDate encoding="w3cdtf">2009</copyrightDate></originInfo><language><languageTerm type="code" authority="rfc3066">en</languageTerm><languageTerm type="code" authority="iso639-2b">eng</languageTerm></language><physicalDescription><extent unit="figures">2</extent><extent unit="tables">0</extent><extent unit="references">101</extent></physicalDescription><abstract lang="de">Late nineteenth‐century psychologists and aestheticians were fascinated by the study of psychological and physiological aspects of aesthetic response, and the British intellectual and aesthete Vernon Lee was a major participant in this venture. Working outside the academy, Lee conducted informal experiments with Clementina Anstruther‐Thomson, recording changes in respiration, balance, emotion, and body movements in response to aesthetic form. In fashioning her aesthetics of empathy, she mined a wealth of psychological theories of the period including motor theories of mind, physiological theories of emotion, evolutionary models of the usefulness of art, and, most prominently, the empathic projection of feeling and movement into form. Lee distributed questionnaires, contributed to scientific journals, carried out her own introspective studies, and debated aesthetics with leading psychologists. This paper critiques the prevailing view of Lee's aesthetics as a displaced sign of her gender or sexuality, and questions her status as simply an amateur in the field of psychology. Instead, I argue that Lee's empirically based empathy theory of art was a significant contribution to debates on psychological aesthetics at the outset of the twentieth century, offering a synthesis of Lipps's mentalistic Einfühlung and sensation‐based imitation theories of aesthetic response. © 2009 Wiley Periodicals, Inc.</abstract><relatedItem type="host"><titleInfo><title>Journal of the History of the Behavioral Sciences</title></titleInfo><titleInfo type="abbreviated"><title>J. Hist. Behav. Sci.</title></titleInfo><genre type="journal" authority="ISTEX" authorityURI="https://publication-type.data.istex.fr" valueURI="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</genre><subject><genre>article-category</genre><topic>Research Article</topic></subject><identifier type="ISSN">0022-5061</identifier><identifier type="eISSN">1520-6696</identifier><identifier type="DOI">10.1002/(ISSN)1520-6696</identifier><identifier type="PublisherID">JHBS</identifier><part><date>2009</date><detail type="volume"><caption>vol.</caption><number>45</number></detail><detail type="issue"><caption>no.</caption><number>4</number></detail><extent unit="pages"><start>330</start><end>354</end><total>25</total></extent></part></relatedItem><identifier type="istex">E03BDADFD4FBBA4FE4A1BD1723008CF04FCF2139</identifier><identifier type="ark">ark:/67375/WNG-DK3BH62T-J</identifier><identifier type="DOI">10.1002/jhbs.20395</identifier><identifier type="ArticleID">JHBS20395</identifier><accessCondition type="use and reproduction" contentType="copyright">© 2009 Wiley Periodicals, Inc.</accessCondition><recordInfo><recordContentSource authority="ISTEX" authorityURI="https://loaded-corpus.data.istex.fr" valueURI="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-L0C46X92-X">wiley</recordContentSource><recordOrigin>Wiley Subscription Services, Inc., A Wiley Company</recordOrigin></recordInfo></mods><json:item><extension>json</extension><original>false</original><mimetype>application/json</mimetype><uri>https://api.istex.fr/document/E03BDADFD4FBBA4FE4A1BD1723008CF04FCF2139/metadata/json</uri></json:item></metadata><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
EXPLOR_STEP=$WICRI_ROOT/Wicri/Psychologie/explor/BernheimV1/Data/Istex/Corpus
HfdSelect -h $EXPLOR_STEP/biblio.hfd -nk 000935 | SxmlIndent | more
Ou
HfdSelect -h $EXPLOR_AREA/Data/Istex/Corpus/biblio.hfd -nk 000935 | SxmlIndent | more
Pour mettre un lien sur cette page dans le réseau Wicri
{{Explor lien
|wiki= Wicri/Psychologie
|area= BernheimV1
|flux= Istex
|étape= Corpus
|type= RBID
|clé= ISTEX:E03BDADFD4FBBA4FE4A1BD1723008CF04FCF2139
|texte= Practicing psychology in the art gallery: Vernon Lee's aesthetics of empathy
}}
| This area was generated with Dilib version V0.6.33. |  |