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Charlotte L Doyle

Biographic Data

ID1072353
NAMECharlotte L Doyle
GIVEN NAMESCharlotte L
FAMILY NAMEDoyle
SIGNATUREDOYLE C L
AFFILIATIONSSarah Lawrence College
ORCID0000-0003-3351-1694
VERIFIEDYes
TOTAL WORKS6
TOTAL CITATIONS7
WORKS AS AUTHOR6
WORKS AS EDITOR0
FIRST PUBLICATION YEAR1975
LATEST PUBLICATION YEAR2024
H-INDEX1
  • Creative Experience–Multiple Worlds, Projects, Emotions, and Endpoints

    Charlotte L Doyle•ARTICLE•Creativity Research Journal•2024

    Glăveanu & Beghetto recently proposed defining creativity as the experience of novel person-world encounters with features of open-endedness, non-linearity, pluri-perspectives, and future orientation. This comment joins the discussion by bringing the phenomenological concepts of William James and Alfred Schütz into the conversation. They pointed out that, over time, we inhabit different realities, different experiential worlds, among them: the ev…

  • Tributes to Howard E. Gruber

    Open Access•Doris B Wallace, Fazal Ibrahim Ali et al.•ARTICLE•Journal of Psycholinguistic…•2003

  • The Influence of Titles on How Paintings Are Seen

    Margery B Franklin, Robert C Becklen et al.•ARTICLE•Leonardo•1993•Cited by: 7

    Recently, aestheticians have become interested in questions about title/artwork relations. Following a brief discussion of issues, the authors report on a study that explored how viewers responded to a painting under different titling conditions. Viewing the projected image of a painting while hearing the title spoken, individual subjects talked about what they were seeing and used a flashlight pointer to indicate where they were looking. In this…

  • Living and Knowing an Imaginary World

    Charlotte L Doyle•ARTICLE•Metaphor and Symbolic Activity•1988

    The lived/known distinction illuminates various aspects of the three previous articles. Doris Wallace's work reveals that reflections by the novelist Dorothy Richardson resulted in a gender-specific theory of experience, a theory shaping both the form of her novel and the thinking of her major character. Richardson also displayed the roots of an adult's metaphor--roots in lived childhood experience and adolescent reflection. Sara Davis made visib…

  • Interpersonal dynamics in role playing

    Charlotte L Doyle•ARTICLE•American Psychologist•1975

  • Interpersonal dynamics in role playing

    Charlotte L Doyle•ARTICLE•American Psychologist•1975

  • The Influence of Titles on How Paintings Are Seen

    Margery B Franklin, Robert C Becklen et al.•ARTICLE•Leonardo•1993•Cited by: 7

    Recently, aestheticians have become interested in questions about title/artwork relations. Following a brief discussion of issues, the authors report on a study that explored how viewers responded to a painting under different titling conditions. Viewing the projected image of a painting while hearing the title spoken, individual subjects talked about what they were seeing and used a flashlight pointer to indicate where they were looking. In this…

  • Interpersonal dynamics in role playing

    Charlotte L Doyle•ARTICLE•American Psychologist•1975

  • Interpersonal dynamics in role playing

    Charlotte L Doyle•ARTICLE•American Psychologist•1975

  • Living and Knowing an Imaginary World

    Charlotte L Doyle•ARTICLE•Metaphor and Symbolic Activity•1988

    The lived/known distinction illuminates various aspects of the three previous articles. Doris Wallace's work reveals that reflections by the novelist Dorothy Richardson resulted in a gender-specific theory of experience, a theory shaping both the form of her novel and the thinking of her major character. Richardson also displayed the roots of an adult's metaphor--roots in lived childhood experience and adolescent reflection. Sara Davis made visib…

  • The Influence of Titles on How Paintings Are Seen

    Margery B Franklin, Robert C Becklen et al.•ARTICLE•Leonardo•1993•Cited by: 7

    Recently, aestheticians have become interested in questions about title/artwork relations. Following a brief discussion of issues, the authors report on a study that explored how viewers responded to a painting under different titling conditions. Viewing the projected image of a painting while hearing the title spoken, individual subjects talked about what they were seeing and used a flashlight pointer to indicate where they were looking. In this…

  • Tributes to Howard E. Gruber

    Open Access•Doris B Wallace, Fazal Ibrahim Ali et al.•ARTICLE•Journal of Psycholinguistic…•2003

  • Creative Experience–Multiple Worlds, Projects, Emotions, and Endpoints

    Charlotte L Doyle•ARTICLE•Creativity Research Journal•2024

    Glăveanu & Beghetto recently proposed defining creativity as the experience of novel person-world encounters with features of open-endedness, non-linearity, pluri-perspectives, and future orientation. This comment joins the discussion by bringing the phenomenological concepts of William James and Alfred Schütz into the conversation. They pointed out that, over time, we inhabit different realities, different experiential worlds, among them: the ev…

Psychology (5 works) · Social Psychology (3 works) · Art (2 works) · Art Education and Development (2 works) · Dynamics (music) (2 works) · Emotional Intelligence and Performance (2 works) · Group dynamic (2 works) · Interpersonal communication (2 works) · Interpersonal relationship (2 works) · Language, Metaphor, and Cognition (2 works)

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