BEHAVIORAL AND BRAIN SCIENCES (2017), Page 1 of 63 doi:10.1017/S0140525X17000309, e347 The Distancing-Embracing model of the enjoyment of negative emotions in art reception Winfried Menninghaus1 Department of Language and Literature, Max Planck Institute for Empirical Aesthetics, 60322 Frankfurt am Main, Germany
[email protected] Valentin Wagner Department of Language and Literature, Max Planck Institute for Empirical Aesthetics, 60322 Frankfurt am Main, Germany
[email protected] Julian Hanich Department of Arts, Culture and Media, University of Groningen, 9700 AB Groningen, The Netherlands
[email protected] Eugen Wassiliwizky Department of Language and Literature, Max Planck Institute for Empirical Aesthetics, 60322 Frankfurt am Main, Germany
[email protected] Thomas Jacobsen Experimental Psychology Unit, Helmut Schmidt University/University of the Federal Armed Forces Hamburg, 22043 Hamburg, Germany
[email protected] Stefan Koelsch University of Bergen, 5020 Bergen, Norway
[email protected] Abstract: 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, and hence is precisely what artworks strive for. Two groups of processing mechanisms are identified that conjointly adopt the particular powers of negative emotions for art’s purposes.