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Negative emotions in art reception: Refining theoretical assumptions and adding variables to the Distancing-Embracing model

Published online by Cambridge University Press:  29 November 2017

Winfried Menninghaus
Department of Language and Literature, Max Planck Institute for Empirical Aesthetics, 60322 Frankfurt am Main, Germany. w.m@aesthetics.mpg.devalentin.wagner@aesthetics.mpg.deeugen.wassiliwizky@aesthetics.mpg.de
Valentin Wagner
Department of Language and Literature, Max Planck Institute for Empirical Aesthetics, 60322 Frankfurt am Main, Germany. w.m@aesthetics.mpg.devalentin.wagner@aesthetics.mpg.deeugen.wassiliwizky@aesthetics.mpg.de
Julian Hanich
Department of Arts, Culture and Media, University of Groningen, 9700 AB Groningen, The Netherlands. j.hanich@rug.nl
Eugen Wassiliwizky
Department of Language and Literature, Max Planck Institute for Empirical Aesthetics, 60322 Frankfurt am Main, Germany. w.m@aesthetics.mpg.devalentin.wagner@aesthetics.mpg.deeugen.wassiliwizky@aesthetics.mpg.de
Thomas Jacobsen
Experimental Psychology Unit, Helmut Schmidt University/University of the Federal Armed Forces Hamburg, 22043 Hamburg, Germany. jacobsen@hsu-hh.de
Stefan Koelsch
University of Bergen, 5020 Bergen, Norway. stefan.koelsch@uib.no


While 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?

Authors' Response
Copyright © Cambridge University Press 2017 

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