DC FieldValueLanguage
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.accessioned2019-03-28T13:18:00Z-
dc.date.available2019-03-28T13:18:00Z-
dc.date.issued2017-
dc.identifier.citationEnthalten in: Behavioral and brain sciences. - New York, NY [u.a.] : Cambridge Univ. Press, 1978. - Online-Ressource . - Bd. 40.2017, 380de_DE
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?de_DE
dc.description.sponsorshipAllgemeine und Biologische Psychologiede_DE
dc.language.isoeng-
dc.publisherCambridge Univ. Pressde_DE
dc.relation.ispartofBehavioral and brain sciences : BBSde_DE
dc.titleNegative Emotions in Art Receptionde_DE
dc.title.alternativeRefining Theoretical Assumptions and Adding Variables to the Distancing-Embracing-Modelde_DE
dc.typeArticlede_DE
dc.identifier.doi10.1017/S0140525X17001947-
dcterms.bibliographicCitation.volume40de_DE
dcterms.bibliographicCitation.issuee380de_DE
dcterms.bibliographicCitation.originalpublisherplaceNew York, NYde_DE
local.submission.typeonly-metadatade_DE
hsu.identifier.ppn101005791X-
item.fulltext_sNo Fulltext-
item.fulltextNo Fulltext-
item.grantfulltextnone-
item.languageiso639-1en-
item.openairetypeArticle-
crisitem.author.deptAllgemeine und Biologische Psychologie-
crisitem.author.orcid0000-0002-1523-3996-
crisitem.author.parentorgFakultät für Geistes- und Sozialwissenschaften-
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