Publication:
Negative Emotions in Art Reception

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cris.virtual.departmentAllgemeine und Biologische Psychologie
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cris.virtual.departmentbrowseAllgemeine und Biologische Psychologie
cris.virtual.departmentbrowseAllgemeine und Biologische Psychologie
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dc.contributor.authorMenninghaus, Winfried
dc.contributor.authorWagner, Valentin
dc.contributor.authorHanich, Julian
dc.contributor.authorWassiliwizky, Eugen
dc.contributor.authorJacobsen, Thomas
dc.contributor.authorKoelsch, Stefan
dc.date.issued2017
dc.description.abstractWhile covering all commentaries, our response specifically focuses on the following issues: How can the hypothesis of emotional distancing (qua art framing) be compatible with stipulating high levels of felt negative emotions in art reception? Which concept of altogether pleasurable mixed emotions does our model involve? Can mechanisms of predictive coding, social sharing, and immersion enhance the power of our model?
dc.description.versionNA
dc.identifier.citationEnthalten in: Behavioral and brain sciences. - New York, NY [u.a.] : Cambridge Univ. Press, 1978. - Online-Ressource . - Bd. 40.2017, 380
dc.identifier.doi10.1017/S0140525X17001947
dc.identifier.urihttps://openhsu.ub.hsu-hh.de/handle/10.24405/4149
dc.language.isoen
dc.publisherCambridge Univ. Press
dc.relation.journalBehavioral and brain sciences : BBS
dc.relation.orgunitAllgemeine und Biologische Psychologie
dc.rights.accessRightsmetadata only access
dc.titleNegative Emotions in Art Reception
dc.title.alternativeRefining Theoretical Assumptions and Adding Variables to the Distancing-Embracing-Model
dc.typeResearch article
dcterms.bibliographicCitation.originalpublisherplaceNew York, NY
dspace.entity.typePublication
hsu.peerReviewed
hsu.uniBibliography
oaire.citation.issuee380
oaire.citation.volume40
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