21 found
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  1.  43
    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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  2.  65
    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:e347.
    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 (apparent) 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, (...)
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  3.  70
    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.
    Admiration and adoration have been considered as emotions with the power to change people, yet our knowledge of the specific nature and function of these emotions is quite limited. From an interdisciplinary perspective, we present a prototype approach to admiration and what has variously been labelled adoration, worship, or reverence. Both admiration and adoration contribute to the formation of personal and collective ideals, values, and identities, but their workings differ. We offer a detailed theoretical account of commonalities and differences in (...)
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  4.  31
    Aesthetic emotions are a key factor in aesthetic evaluation: Reply to Skov and Nadal (2020).Winfried Menninghaus, Ines Schindler, Valentin Wagner, Eugen Wassiliwizky, Julian Hanich, Thomas Jacobsen & Stefan Koelsch - 2020 - Psychological Review 127 (4):650-654.
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  5.  34
    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 (C):48-60.
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  6.  25
    Sound Predicts Meaning: Cross‐Modal Associations Between Formant Frequency and Emotional Tone in Stanzas.Jan Auracher, Winfried Menninghaus & Mathias Scharinger - 2020 - Cognitive Science 44 (10):e12906.
    Research on the relation between sound and meaning in language has reported substantial evidence for implicit associations between articulatory–acoustic characteristics of phonemes and emotions. In the present study, we specifically tested the relation between the acoustic properties of a text and its emotional tone as perceived by readers. To this end, we asked participants to assess the emotional tone of single stanzas extracted from a large variety of poems. The selected stanzas had either an extremely high, a neutral, or an (...)
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  7.  37
    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, Rüdiger Steinlein & Winfried Menninghaus - 2014 - Frontiers in Psychology 5:120654.
    Emotional competence has an important influence on development in school. We hypothesized that reading and discussing children’s books with emotional content increases children’s emotional competence. To examine this assumption, we developed a literature-based intervention, named READING and FEELING, and tested it on 104 second and third graders in their after-school care center. Children who attended the same care center but did not participate in the emotion-centered literary program formed the control group ( n = 104). Our goal was to promote (...)
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  8.  11
    Mimological Reveries? Disconfirming the Hypothesis of Phono-Emotional Iconicity in Poetry.Maria Kraxenberger & Winfried Menninghaus - 2016 - Frontiers in Psychology 7.
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  9.  17
    Dimensions and Clusters of Aesthetic Emotions: A Semantic Profile Analysis.Ursula Beermann, Georg Hosoya, Ines Schindler, Klaus R. Scherer, Michael Eid, Valentin Wagner & Winfried Menninghaus - 2021 - Frontiers in Psychology 12.
    Aesthetic emotions are elicited by different sensory impressions generated by music, visual arts, literature, theater, film, or nature scenes. Recently, the AESTHEMOS scale has been developed to facilitate the empirical assessment of such emotions. In this article we report a semantic profile analysis of aesthetic emotion terms that had been used for the development of this scale, using the GRID approach. This method consists of obtaining ratings of emotion terms on a set of meaning facets which represent five components of (...)
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  10.  18
    Prosody-Based Sound-Emotion Associations in Poetry.Maria Kraxenberger, Winfried Menninghaus, Anna Roth & Mathias Scharinger - 2018 - Frontiers in Psychology 9:366776.
    Conveying emotions in spoken poetry may be based on a poem’s semantic content and/or on emotional prosody, i.e. on acoustic features above single speech sounds. However, hypotheses of more direct sound–emotion relations in poetry, such as those based on the frequency of occurrence of certain phonemes, have not withstood empirical (re)testing. Therefore, we investigated sound–emotion associations based on prosodic features as a potential alternative route for the, at least partially, non-semantic expression and perception of emotions in poetry. We first conducted (...)
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  11.  29
    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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  12.  27
    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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  13.  24
    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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  14.  19
    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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  15.  8
    Aesthetics after Darwin: the multiple origins and functions of arts.Winfried Menninghaus - 2019 - Boston, MA: Academic Studies Press.
    Competitive courtship and aesthetic judgment/choice : Darwin's model of the arts -- The arts as promoters of social cooperation and cohesion -- Engagement in the arts as ontogenetic self-(trans-)formation -- A cooptation model of the evolution of the human arts : the special role of play behavior -- Technology, and symbolic cognition.
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  16.  8
    Disgust: Theory and History of a Strong Sensation.Winfried Menninghaus - 2012 - SUNY Press.
    Disgust (Ekel, dégoût) is a state of high alert. It acutely says "no" to a variety of phenomena that seemingly threaten the integrity of the self, if not its very existence. A counterpart to the feelings of appetite, desire, and love, it allows at the same time for an acting out of hidden impulses and libidinal drives. In Disgust, Winfried Menninghaus provides a comprehensive account of the significance of this forceful emotion in philosophy, aesthetics, literature, the arts, psychoanalysis, and theory (...)
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  17.  12
    Ekel: Theorie und Geschichte einer starken Empfindung.Winfried Menninghaus - 1999 - Frankfurt am Main: Suhrkamp.
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  18.  14
    Introduction.Winfried Menninghaus - 1999 - Critical Inquiry 25 (2):199-200.
  19.  10
    La teoria darwiniana sulla musica e la retorica.Winfried Menninghaus - 2013 - Rivista di Estetica 54:135-156.
    This essay offers a new perspective on Darwin’s evolutionary theorizing on the human arts of music, poetry and rhetoric. It argues that Darwin’s theory of the human arts is primarily a theory of their effects on our emotions. Contrary to the topical understanding Darwin nowhere claimed that the music of homo sapiens sapiens used to be performed, let alone still is performed in the service of sexual success. He exclusively stipulated that some such evolutionary attractor might have shaped the vocal (...)
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  20.  13
    Unendliche Verdopplung: die frühromantische Grundlegung der Kunsttheorie im Begriff absoluter Selbstreflexion.Winfried Menninghaus - 1987 - Frankfurt am Main: Suhrkamp.
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  21.  50
    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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