摘要
This essay discusses the role of mood in Clarice Beckett's painting “Evening, St. Kilda Road,” 1930. To begin I briefly discuss the difference between moods and emotions. Then I examine various philosophical treatments of how artworks are expressive, including views of Tolstoy (direct communication), Carroll (audience arousal), and Robinson (use of a ‘persona’ in the work or in its composition). I apply these to Beckett's work by examining some of its distinctive features in comparison to somewhat similar paintings by Childe Hassam and J.M.W. Turner. Finally, I describe some recent treatments of mood in film theory, by Sinnerbrink and Plantinga, who define mood as a holistic sort of creation of a “world” in film. Painting has different resources from film, but it is still possible to describe the kind of world Beckett presents in her work: one that is detached but serene and not melancholy.
摘要译文
本文讨论了克拉丽斯贝克特的绘画“晚上，圣基尔达路”1930年情绪的作用。首先，我简要讨论情绪和情绪之间的差异。然后我研究了艺术作品如何表达的各种哲学处理方法，包括托尔斯泰（直接交流），卡罗尔（观众唤醒）和罗宾逊（在作品或作品中使用'人物'）的观点。我将这些应用于贝克特的作品中，通过检查一些与众不同的特征，与Childe Hassam和J.M.W的类似画作相比较。车工。最后，我描述了Sinnerbrink和Plantinga最近对电影理论中情绪的一些处理方法，他们将情绪定义为电影中“整体”的整体创造。绘画与电影有不同的资源，但仍然可以描述贝克特在她的作品中所呈现的那种世界：一种独立但又安详但不忧郁的世界。
Cynthia Freeland. Clarice Beckett and Mood[J]. Curator: The Museum Journal, 2019,62(1): 27-34