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Book
Winfried Menninghaus · 2017
A psychological and aesthetic model explaining how negative emotions become central to art reception across genres. The authors propose that negative emotions serve art's purposes through distancing mechanisms (art, representation, fiction schemata) that ensure safety, combined with embracing mechanisms that integrate negative affect into pleasurable aesthetic experiences.
Sequence ladder
Narrative Intelligence sources live outside the figurative image sequence ladder. Adaptive placement applies to image sequences, not this reading library.
What this book knows
Negative emotions in art are not paradoxes to explain away but resources art is structurally predestined to exploit for heightened enjoyment.
mind-and-cognition
negative emotions are quite generally a resource predestined for the arts' purposes — high intensity of feeling, powerful grip on attention, privileged storage in memory
DEME-RC-004"bad is stronger than good" — negative emotions may not be an exceptional phenomenon but a structural feature of aesthetic power
DEME-RC-007narrative suspense goes through varying degrees of fearful and hopeful anticipations, creating pleasurable mixed emotional states
DEME-RC-029grief
sad feelings elicited by artworks cluster closely with feelings of being moved, attachment feelings, nostalgia, and feelings of quiet
DEME-RC-024bidding farewell co-activates both the pain of severing an important social bond and a heightened sense of that bond's value
DEME-RC-023self-and-identity
reevaluating negative affect from the perspective of higher-order meaningfulness plays a large role in the enjoyment of sad films
DEME-RC-0356 published passages · book excerpt · research analysis
Reader resonance signals for text sources are not wired to this view yet.
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