No Romance Found in Hawthornes Young Goodman Brown :: Young Goodman Brown YGB

No Romance Found in Young Goodman Brown   â â â â Nathaniel Hawthorne, in his short story, Youthful Goodman Brown, produces a relationship in direct appear differently in relation to that of a genuine sentiment among the jobs of Faith and Young Goodman Brown.â Whereas, a genuine sentiment is the perfect sentiment, exhibitingâ ethical viewpoints, for example, trust, also as a consuming energy and an undying adoration for one another.â The relationship which Young Goodman makes among himself and Faith is one that is inert , and depends on doubt and a readiness on his part to surrender her.   â â â â Consequently, undoubtedly, somebody rapidly call Dr. Ruth since this marriage is in trouble.â After Faith asks Goodman not to leave that night, arguing, supplicate delay with me this night, dear spouse, of the entire evenings in the year, he answers her adage , my excursion must be done.â He at that point addresses the truthfulness of her impossible to miss supplication asking whether she questions him.â Since when is it such a unrealistic solicitation for a spouse to approach her better half for organization on guaranteed night?â Does this solicitation connote an absence of trust in her husband?â If anything, it shows an absence of self-assurance in himself just as a absence of trust in her.â moreover, in the wake of withdrawing his better half, Goodman Brown states to the puzzling man he meets in the woodland, that Confidence kept [him] back awhile.â This implies albeit the two his better half, Faith, and his own confidence defer him, they can't stop him and along these lines aren't a higher priority than submitting this deed.   â â â â Furthermore, there is no proof of his trust for her in the marriage.â Immediately subsequent to seeing a pink strip shuddering down onto the part of a tree, Young Goodman Brown shouts out, my Faith is no more! By this announcement, Goodman implies that his better half has genuinely headed toward the fallen angel and that his confidence in her is gone.â This, in this way demonstrates the nonattendance of trust in his wife.â When he sees Faith in the woods, he shouts to her to oppose the fallen angel, yet is uncertain of her ultmate choice. In this way, upon his arrival to town, Hawthorne composes after that night, he shrank from the chest of Faith.

AS 100 Spring 2016 Midterm Study Guide Essays - Defense, Military

AS 100 Spring 2016 Midterm Study Guide Essays - Defense, Military AS 100 Spring 2016 Midterm Study Guide Exercise TITLE: AIR FORCE INSTALLATIONS Test of Behavior : Identify the administrations and offices accessible in the base network. Know the obligations of the accompanying: Traffic Management Office (TMO) - Ships Household Goods - Do It Yourself Move (DITY): Will be remunerated with a motivating force installment of 95% of what it would have cost the administration to move the family unit products Open Affairs Office - Disseminates inner and open data and directions network relations Military Personnel Section - Responsible for all work force activities that influence military individuals yet can likewise offer a few types of assistance to wards of military individuals too Armed force and Air Force Exchange Service (AAFES) - Manages a few retail locations Power Support Squadron - Maintains recreational offices on-and-misguided - advances outdoor supplies and recreational gear - Provides different administrations for use by deployment ready, retirees, wards of both, and went with visitors BX - Provides product and administrations at costs impressively lower than those for practically identical items on regular citizen markets - Generates sensible winning to help Service markets (SVS) Commis s ary - Provides implies for the Air Force to take care of its individuals Aviators and Family Readiness Center (AFRC) - Aids deployment ready, Guard, Reserve, and regular citizen staff and their families in meeting individual issues. Exercise TITLE: LISTENING - THE NEGLECTED SKILL Test of Behavior : Identify the contrasts among hearing and tuning in. Hearing: - Physical Act of accepting sound - Passive Process - No endeavors Tuning in: - Selective Process - Active Process - Takes Work Test of Behavior : Define successful tuning in and the five stages of the listening procedure. Successful Listening: Receiving, dissecting, and understanding messages advised to you. Five Steps: Receiving, Attending to, Understanding Evaluating, and Responding to Exercise TITLE: WAR and THE U.S. MILITARY Test of Behavior : Define war A State of equipped clash between various countries or state or various gatherings inside a country or state Test of Behavior : State the three suffering realities that depict the major idea of war. An instrument of approach, system, or culture An intricate and tumultuous human undertaking A conflict of contradicting wills Test of Behavior : Identify the four distinct perspectives on war. Authenticity Blessed War Pacifism Simply War Theory Test of Behavior : List the three factors that command war. Haze Grinding Possibility Exercise TITLE: AIR FORCE HERITAGE Test of Behavior: Identify the province of American airpower after entering WWI. Positioned fourteenth among airpowers of the world Test of Behavior : List the basic occasions of the Combined Bomber Offensive. fourteenth October 1943: AFF propelled two gatherings of B-17 to assault Schweinfurt, Germany Test of Behavior : Identify a key innovative headway of the Korean War. The Korean War saw the main full presentation of the fly warrior by the two members

The Joy Of Laughter :: Biology Essays Research Papers

The Joy Of Laughter Chuckling is characterized by dictionary.com as the demonstration of communicating certain feelings, particularly merriment or pleasure, by a progression of unconstrained, generally unsaid sounds frequently joined by comparing facial and substantial movements.(1) A thesaurus offers huge measures of equivalents for chuckle, including laugh, cluck, chuckle, grunt, laugh, crow, wail, giggle, snigger, writhe, titter, and the rundown goes on.(2) There are numerous words to depict chuckling in light of the fact that it is such a vital piece of our lives. The topic of why we chuckle may initially be replied by taking a gander at giggling in the simply physiological sense, which has been concentrated as gelotology. At that point we can take a gander at the impacts of chuckling, genuinely, however intellectually and socially too. Subsequent to going over the oft-neglected foundation of chuckling, we can dive into the inspirations driving our giggling. The real progression of physical impacts in the cerebrum in the wake of hearing a joke are as per the following. To start with, the left half of the cortex breaks down the words and structure of the joke. At that point the cerebrum's huge frontal flap turns out to be dynamic. This piece of the mind has a great deal to do with social enthusiastic reactions. After this, the correct side of the equator of the cortex assists with appreciation of the joke. At that point incitement of the engine areas happened, creating the physical reactions of laughter.(3) The creation of giggling is likewise exceptionally engaged with specific pieces of the cerebrum. For instance, the focal cortex has been found to have a contrary electrical wave as an individual giggles. The nerve center, some portion of the focal cortex, has been seen as a principle supporter of the creation of noisy, wild chuckling. The mix of the arrangement of motions and creation of sound is the thing that makes up chuckling. The genuine muscles that make a grin are fifteen facial muscles which contract and animate the zygomatic significant muscle, which fundamentally lifts your upper lip. At the point when the epiglottis half-close the larynx, the respiratory framework is disturbed which causes air admission to happen unpredictably, making you wheeze. (3) In outrageous conditions, the tear pipes are enacted, so that while the mouth is opening and shutting and the battle for oxygen admission proceeds, the face gets sodden and frequently red. Chuckles can run in sound from for all intents and purposes quiet to uproarious laughs. The general physical impacts of chuckling are that giggling animates the safe framework. The experience of giggling brings down serum cortisol levels.

Savant syndrome the phenomenon of the savant minds

The Famous savants Savant syndrome is not recognized as a type of health disorder in medical sources. Nevertheless, there is an undisputable fact that savants exist. The unifying feature of savants is the supernatural abilities expressed along with some type of cognitive deficiency. The first savant that was detected was the autistic savant who in spite of his behavioral and cognitive disorder could perform outstanding calculations in his head. Later on, scientists noticed that savant syndrome is present in many of the autistic children or people with other types of cognitive disorders. Savant syndrome is a phenomenon, the combination of impossible and the flourishing of the intellect in the desert of deficiency. So, who are those famous people, who are blessed and deprived at the same time? Here is the list of the most famous savants throughout the history: The live Rain Man – Kim Peek. Kim had inborn brain damage. His father was recommended to leave him to the special institution. He could not walk, could not button his T-shirt and scored below the average at the regular IQ tests. At the same time, Kim has the marvelous gift. He can read the book page in 3 seconds and remember the content by heart. Moreover, he can read the left page with the left eye and the right page with the right eye simultaneously. At the moment, Kim has already read more than 12,000 books. And he remembers all of them. Â   Temple Grandin – savant-professor! This woman is the example of an autistic savant, who used her impressive skills to develop more human treatment technologies to livestock. Temple managed to overcome the path from the silent child to the prominent scientist. Â   Leslie Lemke – blind pianist! Leslie was born with multiple deficiencies. Doctors had to remove his eyes, and his mother gave the child for adoption. Leslie was adopted by the kind woman May Lemke who took exceptional care of him. He learned how to walk at the age of 15. When he was 16, out of the blue Leslie impressed his relatives with the exceptional talent. May was awoken by Leslie playing Tchaikovsky's Piano Concerto No. 1. The boy had never ever practiced. He heard this concert once, and he could reproduce the melody flawlessly. Lemke became famous and gave many concerts before his health seriously deteriorated. Â   Derek Paravicini Derek is physically dysfunctional. He can hardly button his shirt and trousers. However, he is a talented musician that plays the piano. He can perform in any style, and his play is flawless. Â   Alonzo Clemons – sculptural genius! At the early childhood, Alonzo was injured. The injury caused the permanent learning disabilities in a boy. The IQ of the boy hardly reached the point of 40, his speech was deficient. But, Alonzo opened the exceptional talent – sculpting. Alonzo grasps the shapes in a moment and reproduces the same shape in a form of sculpture. His favorite theme is animal-sculpting. He creates realistic sculptures of horses, antelopes and bulls, and needs less than half an hour for finishing the artistic artifact. Â   Tom Wiggins – Mr. Imitator! Tom was born in a family of Black slaves. Shortly, his White masters have noticed the superficial ability to imitate the sounds of any complexity. The masters used the boy to earn money by giving the tours around the US. Tom was able to play one melody with his right hand, one piece with his left hand and sing simultaneously. He is one of the most famous savants in a history. Â   Stephen Wiltshire – a Camera Man! Stephen was born mute and diagnosed ASD. However, he has a savant gift. Stephen can draw in detail the picture he saw only for a few minutes. For example, he drew the 10-meter panorama of Tokyo city after a helicopter trip. He remembers in detail the location of objects and reproduces everything in his pictures. Â   Did you enjoy reading our article? If yes, do not hesitate to address for writing services. We are ready to provide the quality writing assistance for any topic, complexity level, and type of writing. Essays, articles, fun-stories, course works, presentations, SEO-writing and more! Contact for details, and place your order! Blog tags:Savant syndrome

What Your GMAT Score Means for Your MBA Application

Hannah Arendt s Interpretation Of The Eichmann Trial

Term Paper: A Life on Trial: What Motivated Adolf Eichmann and How Have Future Generations Understood Him?†¨Ã¢â‚¬ ¨Abstract: In this term paper, I will be focussing on the contradictory reviews on Hannah Arendt’s interpretation of The Eichmann Trial. With information from her book as well as commentary from other authors specifically David Cesarani and Deborah E. Lipstadt, I will be focussing on arguments in relation to Eichmann’s war crimes and the role he played in the mass-murder of European Jewry.†¨Ã¢â‚¬ ¨Adolf Eichmann as a man was considered to be mediocre. The importance of understanding who he was as a person is much more than his anti-semitic values. He was raised in northern Austria, in a middle-class household where casual anti-semitism was nothing out of the ordinary. In 1920 Austria, Eichmann considered Jews to be acquaintances. He was employed by Jews as an Oil and Kerosene salesman. He had Jewish relatives through marriage. Arendt specifically a nalyses that Anti-semitism was not the root cause for Eichmann joining the Nazi Party in 1932. She stresses the reason that he was a joiner. Cesarani delves deeper into Eichmann’s personal connections and issues more, he rationalised that Eichmann admired the Nazi’s position regarding the Treaty of Versailles. But he also agreed with Arendt’s opinion that anti-semitism was not the reason that led Eichmann into the Nazi Party. †¨Ã¢â‚¬ ¨Ã¢â‚¬Å"Although she was wonderfully perceptive about the structure and working of the Third Reich and Eichmann’s

Arts Marketing Essay Example For Students

Arts Marketing Essay Todays arts managers are well informed about current marketing theory and acknowledge its strategic importance tort the arts. Many to them have acquired their marketing knowledge by studying standard marketing textbooks as well as specialized publications on arts marketing and by following courses (Barrooms 1 998), The proliferation of arts marketing has been accompanied by an increasing number of academic publications. Quite a few books have been published on this subject (e. G. Make et al, 1980; Kettle Chefs 1997; Barrooms 1998; Kettle Kettle 1398; Kola 2000; Collect et al. 2001; Klein 2001) and an increasing number f articles are being published in leading journals (Renascence 20021 Renascences examination of these publications shows that the focus during the past decades has evolved from marketing as a functional tool to a focus on marketing as a business philosophy and strategy. During the past 25 years, arts marketing seems to have developed into a mature academic discipline (Renascence 2002). Renascence (2002) identifies the publications of Kettle and Chefs (1997) and Kettle and Kettle (1998) as leading texts on strategic arts marketing that have helped to extend the interest in marketing as a business philosophy. According to these texts, arts marketing programmer should begin by addressing fundamental questions such as: Moo is the International Journal of Cultural Policy, Volvo. 12, No. 1, 2006 SINS 1028-6632 print/SINS 1477-2833 online 106/010073-20 c 2006 Taylor Francis DOI: 10, 1080/10286630600613333 74 MIRANDA BARROOMS customer? What does the customer value? And how can we create more value for the customer? (Kettle Chefs 1997, p. 31). The authors promote a customer- centered organizational mindset, which requires that the arts organization systematically studies consumers needs and wants, perceptions and attitudes, as well as their preferences and levels of satisfaction, and acts on this information to improve vat is offered (Kettle Chefs 1997, p. 34). They assu me that the customer-value approach, Which has proved to be successful in commercial business, is also the best approach for marketing the arts as long as it is applied Within the constraints Of the artistic mission. The basic principle of the customer-value approach is that the patronage of customers is best attracted by the creation Of value for these customers. This line Of thinking seems plausible, but is not undisputed. There is some evidence that performance can also decline when arts organizations are too customer focused. Voss and Voss (2000), for example, measured the impact of product orientation and customer orientation on subscriber ticket sales, total income and net surplus/deficit in professional theatres, and found that customer orientation results in a negative association with these performance criteria. These findings indicate that the customer approach seems to have limitations. 1 Other scholars, such as Cast (2003) and Nielsen (2003) go even further and postulate fundamental objections o the adoption of businesslike language and philosophies in the arts scene. They claim that this inevitably increases the risk to making artistic sacrifices. Cast (2003, p, 58) explicitly warns that a businesslike approach will lead to the production of safe, consumer-oriented arts products which, in the end, may not be what the audience either wants or needs. This unintended effect can be called the arts marketing pitfall. The cases for and against the customer- value approach are both well thought out. Both views contain important truths. Therefore it is not wise to reject the customer-value approach prematurely, or o copy the marketing philosophy of commercial business indiscriminately. Also, there is no doubt that most artists and arts organizations need an audience and that audience building is one Of the main tasks Of arts management. The question then arises as to how to implement a customer-centered mindset at the strategic level Of arts organizations Without ending up facing the arts marketing pitfall. This article explores the question by combining arts marketing ideas with some recent insights from philosophical and psychological aesthetics and proposes a strategic concept for arts marketing that balances customer value tit artistic value. Evading or Bridging the Arts Marketing Pitfall? Leading textbooks such as Kettle and Chefs (1997), Kettle and Kettle (1998), Collect et al. 2001) and Klein (2001) otter systematic and practical overviews of how current marketing knowledge can be applied to the arts. The authors of these textbooks have recognized the arts marketing pitfall and have developed a line of thinking intended to evade it, Like most arts marketing scholars, they exclude the artistic product the core product from the arts marketing task. Kettle and Chefs (1 997, p. 34) suggest that the customer-cen tered approach would not be applied to the artwork itself, but instead applied to the way the work is described, priced, packaged, enhanced and delivered. They define a customer-centered organization as one that makes every effort to sense, serve, and satisfy the needs and wants of its clients and publics within the constraints of its mission and budget (Kettle Chefs 1997, p. 36). The role of arts marketing is considered to be one of indirectly supporting the accomplishment Of the arts organizations artistic mission by increasing attendance and generating funds, but not one that defines that mission (Kettle Kettle 1998, p. 22). Collect (2003) states: The artistic product does not exist to fulfill a market need Instead of seeking to meet consumers needs by offering them a product they desire, the arts manager seeks consumers who are attracted to the product, These views on arts marketing and the solutions designed to evade the arts marketing pitfall are based upon the (implicit) assumption of a romantic conception of art as an autonomous phenomenon. With the assumption of autonomy, artistic creation and arts marketing can be defined as independent tasks, each maintaining its own logic and responsibilities. This ultimately presupposes that the arts marketing task of finding and building audiences can be undertaken without affecting or changing the artistic results. From a managerial point of view, this is a convenient stand, but unfortunately it is out of step with recent developments within philosophical aesthetics. Contemporary philosophers of art have become more and more critical of the concept of autonomous art. The autonomy of art is a modernist concept. According to Invite (2001), modernists tend toward the view that art is a self-contained phenomenon and it tan be defined on the basis of intrinsic properties. They assume that there are clear boundaries that distinguish art from life. Since the postmodern turn, Which took place during the second half of the Pointiest century, the arts and philosophical thought about art seem to have moved further and further away from this view (e. G. Schaeffer 1998; Invite 2001). Nowadays the arts are seen as a culturally and socially embedded phenomenon and considered the product of social interaction. This relational view has implications for the concept of artistic value. The assumption that artistic value can be realized autonomously, independently of the patronage f arts consumers, is no longer valid, Artistic value goes beyond the product in terms of its form. Steersman (2001), for instance, advocates the pragmatist view within philosophical aesthetics based on the legacy of Dewey as representing an excellent point of departure for todays aesthetic thinking. For this pragmatism, the experience of art ? and not the artifact itself ? is the final criterion to artistic_ value (Steersman 2001 , p. 101). The philosopher Schaeffer (1998, p. 47) also emphasizes the importance of the experience of art and claims that in todays world the relationship between art-making and reception can no monger be ignored or considered extrinsic to the core of art as art. 2 Within the relational perspective, cosmogonist and aestheticism can be distinguished as rival views on artistic value (Kiering 2001). These views agree on the notion that the value of art lies in its evocation of a specific response, but they ivory with different conceptions of this response. Aestheticism emphasize the distinctness of aesthetic pleasure and cosmogonists point to a particular cognitive-affective response. According to Kiering both views contain important truths about the value of art and should be treated as complementary lines of thinking the appropriateness Of one or the Other depends upon the particular art forms and genres, ranging from abstract art and pure music to representational art forms such as film and literature. Both views, however, purport that a work Of art needs the confrontation with an audience to be able to function as art and to contribute as such to the achievement Of the artistic Objectives. In this article, the relational perspective is adopted and it is presumed that art production and consumption are essentially communicative acts. Art production is understood as a specific form of language construction the creation of new, authentic adaptors which break down existing aesthetic symbol systems and create new ones (Goodman 1976; E bbing 2002, up. 28-29). The art consumer plays a crucial role in the final stage of this process. Art consumption is the criterion the touchstone that determines whether a meaningful new metaphor is created (Barrooms I egg, 2002). The Oak Tree: A symbol for America EssayDeduction does not result in the creation of new meaning. This can only arise when the consumer resolves the tension between the sensory perception of the new metaphor and their own worldview by means of their imaginative powers in free play, which is to be free from a prejudiced determination based in pre-existing concepts and external interests. Constructing new meaning in this way is what provides consumers with an artistic experience (Van Mean 1997, 2004; Barrooms BIBB), In a sense his view corresponds in part to what Kant (1994 ) described as the essence of aesthetic judgments. It is, however, not only the sensory stimulation by the tort by the aesthetic qualities but also the interruption of the consumers perceptual system and the subsequent production of new meaning that touches the consumer and provides pleasure (CT. Shoemakers 1992). The consumer will attach value to the cognitive outcome, but more importantly, the process of assimilation and the accommodation of the perceptual system arouse emotions such as excitement and admiration (Pravda 1986)_ Art challenges the cognitive, recapture and emotional systems simultaneously as the artistic experience is characterized by the full engagement of these mental capacities and goes far beyond the experience of pleasure in the narrow sense (Goldman 2001 , p. 188). The artistic experience is a rewarding value that consumers receive in return for their efforts to complete the work of art. 6 This value is not created for the customer, but created in cooperation With the customer. Monroe Beardsley a well-known scholar in psychological aesthetics in the Deanna tradition describes the artistic experience as a willing surrender to the phenomenal object n which attention is fixed with a feeling that things are working or have worked themselves out fittingly (Beardsley 1982, p. 288). The core of Beardsley theory is formed by the proposition that an experience has artistic character if it has this feature of object directness and at least three of four other features. One of these other features is called active discovery: A sense of actively exercising constructive powers of the mind, to being challenged by a variety of potentially conflicting stimuli to try to make them cohere (Beardsley 1 982, p, Beardsley (1982, p. 92) considers the experience to discovery to be one of the central components of the artistic experience, His theory is much cited, though not always without criticism. Nevertheless, it is still considered to be a relevant line of thinking in todays philosophical discourse on the psychology of the artistic experience (CT. Fanner 2003), and can offer valuable clues for the empirical measurement of artistic experiences (e. G. Everyman 20041 Beardsley claims that the artistic experience is unique to the arts, but he admits that some of its features als o apply to a certain degree to other events such as religious experiences, sporting climaxes and scientific discovery. The challenge of discovery and the highly focused state of consciousness that characterize the artistic experience are also characteristics of the so-called flow experience (e. G. Sentimentally Robinson 1990; Hamster 1994, p. 102; Everyman 2004). Flow tends to occur in activities such as mountain climbing, playing chess or performing complex surgery, but also in activities such as reading, listening to music and watching a theatre performance. How occurs when the activity demands concentrated attention and challenges a persons skills. Flow experiences have been theorized and empirically researched exhaustively by the psychologist Sentimentally_ The characteristics tool are the deep and concentrated involvement in risky or difficult tasks that challenge and extend the persons capacity, an element of novelty and discovery, and the enjoyment of the activity for own sake (Sentimentally 1996, Chapter g). Plow experiences are quite the opposite of feelings of comfort and relaxation that people usually experience while they are engaged in passive entertainment such as watching a television quiz. Such arms of passive entertainment give pleasure without expending energy. They are found to be relaxing but relatively unchallenged activities (Sentimentally Cube 1981). Sentimentally found that flow experiences occur more often in situations where the challenge to achieve something, to solve a problem or to create something, is enhanced. Flow-producing activities require an initial investment of attentiveness before they begin to become enjoyable, and overcoming this initial obstacle requires discipline. It is hard to draw a clear line between artistic experiences and flow experiences. The specific nature of he artistic experience is connected to the specific qualities of the stimulus the new aesthetic metaphor and the specific skills of the consumer to whom the stimulus appeals the creative imagination, The artistic experience can be seen as a specific form of the flow experience, and it is the customer value that the art consumer receives in return for the completion of the work of art. Fifth art consumer regards the artistic experience as a valuable, important customer benefit, then this could be a starting point for the implementation of the customer-value approach as a means to optimize artistic exchange. In that case, arts marketing programs must focus on the artistic experience as the core customer value. To find out whether the artistic experience is an important benefit sought by arts consumers or not, research is needed to examine the reasons why people attend the arts. Within the scope of arts marketing research, relatively few academic scholars have investigated these motives, The next section discusses the present state of these investigations. What Does the Art Consumer Value? Marketing research into the benefits Of art consumption is still in the early Stage of explorations (Collect 2003). Two pioneering breakthroughs in behavioral research that inspired these explorations were: first, the conceptualization Of hedonistic or experiential consumption (Hiroshima Holbrook 1982; Holbrook Hiroshima 1982); and second, the study by Broodier (1984) into the social factors that play a part in the judgment of taste. These investigations are discussed below. Hedonistic Benefits of Arts Consumption The hedonistic perspective analyses the choices of consumers not in terms of the products utility, but on the basis of the pleasure, hedonistic fulfillment, emotional arousal, amusement, and imaginary and sensory stimulation experienced by the consumer. The focus is on the experiences that accompany product usage, Unlike the utilitarian perspective, the hedonistic perspective emphasizes the dynamic interaction between consumer and product. Arts and other leisure activities are typical examples of experiential products. They are consumed primarily for intrinsic rewards for the experience itself. The extrinsic utilitarian rewards are considered Of minor importance. The consumption Of utilitarian products is generally studied using the rational problem-solving model for analyzing Objective product characteristics in relation to their utilitarian value. In contrast, hedonistic consumption decisions are less rational and often based on exploitative search behavior and holistic impressions (Holbrook Hiroshima 1982). The hedonistic perspective has inspired arts marketing researchers to identify emotions as one of the core benefits of arts consumption (e. . Holbrook Sirloin 1985; Woods 1 987; Bidder-Papillae 1 999; Bottom 2000; Burgeon- Renault 2000; quadrant Moll 2000: Collect 2003) and to advocate a total experience approach to arts marketing management (e. G. Kettle Kettle 1 998, 2000: Kettle 1999; Kola 2000). Some of these studies, in particular those that are psychologically oriented, attempted to conceptualize the emotional response to artistic stimuli and the motives tor t seeking these emotions using Berliners (1971) arousal theory (Holbrook Sirloin 1 985; Woods 1987).