Abstract
AbstractDistancing and then embracing constitutes a useful way of thinking about the paradox of aesthetic pleasure. However, the model does not account for live theatre. When live actors perform behaviors perceptually close to real life and possibly really experienced by the actors, audiences may experience autonomic reactions, with less distance, or may have to distance post-experiencing/embracing their emotions.
Publisher
Cambridge University Press (CUP)
Subject
Behavioral Neuroscience,Physiology,Neuropsychology and Physiological Psychology
Cited by
1 articles.
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