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  1. Differentiation of 13 positive emotions by appraisals.Eddie M. W. Tong - 2015 - Cognition and Emotion 29 (3):484-503.
    This research examined how strongly appraisals can differentiate positive emotions and how they differentiate positive emotions. Thirteen positive emotions were examined, namely, amusement, awe, challenge, compassion, contentment, gratitude, hope, interest, joy, pride, relief, romantic love and serenity. Participants from Singapore and the USA recalled an experience of each emotion and thereafter rated their appraisals of the experience. In general, the appraisals accurately classified the positive emotions at rates above chance levels, and the appraisal–emotion relationships conformed to predictions. Also, the appraisals (...)
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  • What is shared, what is different? Core relational themes and expressive displays of eight positive emotions.Belinda Campos, Michelle N. Shiota, Dacher Keltner, Gian C. Gonzaga & Jennifer L. Goetz - 2013 - Cognition and Emotion 27 (1):37-52.
    Understanding positive emotions' shared and differentiating features can yield valuable insight into the structure of positive emotion space and identify emotion states, or aspects of emotion states, that are most relevant for particular psychological processes and outcomes. We report two studies that examined core relational themes (Study 1) and expressive displays (Study 2) for eight positive emotion constructs—amusement, awe, contentment, gratitude, interest, joy, love, and pride. Across studies, all eight emotions shared one quality: high positive valence. Distinctive core relational theme (...)
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  • Awe or horror: differentiating two emotional responses to schema incongruence.Pamela Marie Taylor & Yukiko Uchida - 2019 - Cognition and Emotion 33 (8):1548-1561.
    ABSTRACTExperiences that contradict one's core concepts elicit intense emotions. Such schema incongruence can elicit awe, wherein experiences that are too vast...
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  • 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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