13 found
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  1.  21
    The Distancing-Embracing Model of the Enjoyment of Negative Emotions in Art Reception.Winfried Menninghaus, Valentin Wagner, Julian Hanich, Eugen Wassiliwizky, Thomas Jacobsen & Stefan Koelsch - 2017 - Behavioral and Brain Sciences 40:1-58.
    Why are negative emotions so central in art reception far beyond tragedy? Revisiting classical aesthetics in the light of recent psychological research, we present a novel model to explain this much discussed paradox. We argue that negative emotions are an important resource for the arts in general, rather than a special license for exceptional art forms only. The underlying rationale is that negative emotions have been shown to be particularly powerful in securing attention, intense emotional involvement, and high memorability, and (...)
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  2.  10
    What Are Aesthetic Emotions?Winfried Menninghaus, Valentin Wagner, Eugen Wassiliwizky, Ines Schindler, Julian Hanich, Thomas Jacobsen & Stefan Koelsch - 2019 - Psychological Review 126 (2):171-195.
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  3.  39
    Admiration and Adoration: Their Different Ways of Showing and Shaping Who We Are.Ines Schindler, Veronika Zink, Johannes Windrich & Winfried Menninghaus - 2013 - Cognition and Emotion 27 (1):85-118.
  4.  8
    Rhetorical Features Facilitate Prosodic Processing While Handicapping Ease of Semantic Comprehension.Winfried Menninghaus, Isabel C. Bohrn, Christine A. Knoop, Sonja A. Kotz, Wolff Schlotz & Arthur M. Jacobs - 2015 - Cognition 143:48-60.
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  5.  1
    Prosody-Based Sound-Emotion Associations in Poetry.Maria Kraxenberger, Winfried Menninghaus, Anna Roth & Mathias Scharinger - 2018 - Frontiers in Psychology 9.
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  6.  8
    Negative Emotions in Art Reception: Refining Theoretical Assumptions and Adding Variables to the Distancing-Embracing Model.Winfried Menninghaus, Valentin Wagner, Julian Hanich, Eugen Wassiliwizky, Thomas Jacobsen & Stefan Koelsch - 2017 - Behavioral and Brain Sciences 40.
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  7.  15
    READING and FEELING: The Effects of a Literature-Based Intervention Designed to Increase Emotional Competence in Second and Third Graders.Irina R. Kumschick, Luna Beck, Michael Eid, Georg Witte, Gisela Klann-Delius, Isabella Heuser, Rã¼Diger Steinlein & Winfried Menninghaus - 2014 - Frontiers in Psychology 5.
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  8.  3
    Measuring Optimal Reading Experiences: The Reading Flow Short Scale.Birte A. K. Thissen, Winfried Menninghaus & Wolff Schlotz - 2018 - Frontiers in Psychology 9.
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  9.  9
    Sentence-Level Effects of Literary Genre: Behavioral and Electrophysiological Evidence.Stefan Blohm, Winfried Menninghaus & Matthias Schlesewsky - 2017 - Frontiers in Psychology 8.
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  10.  15
    Walter Benjamin’s Variations of Imagelessness.Winfried Menninghaus - 2013 - Critical Horizons 14 (3):407-428.
    Strongly positive uses of terms that designate an absence, a cognitive or ontological impossibility or a sensory privation are among the persistent conceptual figures of Benjamin’s thought. This article analyses the moves by which Benjamin gave his concept of ‘the expressionless’ its intriguing semantic meaning and moral value. Drawing on the poetics and philosophy of the sublime from Greek antiquity through modern times, the article reveals key historical reference points of Benjamin’s concept and, furthermore, his strategy of advocating a novel (...)
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  11.  13
    Im Wechselbad der Gefuhle Zur Emotionsvielfalt im filmischen Melodram Eine Mikroanalyse.Julian Hanich & Winfried Menninghaus - 2011 - Zeitschrift für Ästhetik Und Allgemeine Kunstwissenschaft 56 (2):175-201.
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  12.  1
    La Teoria Darwiniana Sulla Musica E la Retorica.Winfried Menninghaus - 2013 - Rivista di Estetica 54:135-156.
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  13.  2
    Introduction.Winfried Menninghaus - 1999 - Critical Inquiry 25 (2):199-200.