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, 380-
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.sponsorshipAllgemeine und Biologische Psychologie-
dc.language.isoeng-
dc.publisherCambridge Univ. Press-
dc.relation.ispartofBehavioral and brain sciences : BBS-
dc.titleNegative Emotions in Art Reception-
dc.title.alternativeRefining Theoretical Assumptions and Adding Variables to the Distancing-Embracing-Model-
dc.typeArticle-
dc.identifier.doi10.1017/S0140525X17001947-
dcterms.bibliographicCitation.volume40-
dcterms.bibliographicCitation.issuee380-
dcterms.bibliographicCitation.originalpublisherplaceNew York, NY-
local.submission.typeonly-metadata-
hsu.opac.importopac-2017-
hsu.identifier.ppn101005791X-
hsu.peerReviewed-
item.grantfulltextnone-
item.languageiso639-1en-
item.fulltext_sNo Fulltext-
item.openairetypeArticle-
item.fulltextNo Fulltext-
crisitem.author.deptAllgemeine und Biologische Psychologie-
crisitem.author.orcid0000-0002-1523-3996-
crisitem.author.parentorgFakultät für Geistes- und Sozialwissenschaften-
Appears in Collections:3 - Publication references (without fulltext)
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