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. The first group consists of psychological distancing mechanisms that are activated along with the cognitive schemata of art, representation, and fiction. These schemata imply personal safety and control over continuing or discontinuing exposure to artworks, thereby preventing negative emotions from becoming outright incompatible with expectations of enjoyment. This distancing sets the stage for a second group of processing components that allow art recipients to positively embrace the experiencing of negative emotions, thereby rendering art reception more intense, more interesting, more emotionally moving, more profound, and occasionally even more beautiful. These components include compositional interplays of positiveandnegative emotions, the effects of aesthetic virtues of using the media of (re)presentation (musical sound, words/language, color, shapes) on emotion perception, and meaning-making efforts. Moreover, our Distancing-Embracing model proposes that concomitant mixed emotions often help integrate negative emotions into altogether pleasurable trajectories. (shrink)

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 (...) the emotion process. The aims here were to determine the dimensionality of the GRID features when applied to aesthetic emotions and compare it to published results for emotion terms in general, and to examine the internal organization of the domain of aesthetic emotion terms in order to identify salient clusters of these items based on the similarity of their feature profiles on the GRID. Exploratory Principal Component Analyses suggest a four-dimensional structure of the semantic space consisting of valence, power, arousal, and novelty, converging with earlier GRID studies on large sets of standard emotion terms. Using cluster analyses, 15 clusters of aesthetic emotion terms with similar GRID feature profiles were identified, revealing the internal organization of the aesthetic emotion terms domain and meaningful subgroups of aesthetic emotions. While replication for further languages is required, these findings provide a solid basis for further research and methodological development in the realm of aesthetic emotions. (shrink)