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Aesthetic emotions are emotions that are felt during aesthetic activity or appreciation. These emotions may be of the everyday variety (such as fear, wonder or sympathy) or may be specific to aesthetic contexts. Examples of the latter include the sublime, the beautiful, and the kitsch. In each of these respects, the emotion usually constitutes ...
Tone and mood are not the same. The tone of a piece of literature is the speaker's or narrator's attitude towards the subject, rather than what the reader feels, as in mood. Mood is the general feeling or atmosphere that a piece of writing creates within the reader. Mood is produced most effectively through the use of setting, theme, voice and
This is a list of emoticons or textual portrayals of a writer's moods or facial expressions in the form of icons. Originally, these icons consisted of ASCII art, and later, Shift JIS art and Unicode art. In recent times, graphical icons, both static and animated, have joined the traditional text-based emoticons; these are commonly known as ...
A link to edit the reading list. background: Background color of the reading list box. text_color: Text color of the article titles. font_size (Optional) Font size for the text. font_family (Optional) Font family for the text. text_align (Optional) Alignment of the text (left, right, center).
The emotional feeling of beauty, or an aesthetic experience, does not have a valence emotional undercurrent. Rather it is general cognitive arousal due to the fluent processing of a novel stimuli. [11] Some authors believe that aesthetic emotions is enough of a unique and verifiable experience that it should be included in general theories of ...
Aesthetic reading differs from efferent reading in that the former describes a reader coming to the text expecting to devote attention to the words themselves, to take pleasure in their sounds, images, connotations, etc. Efferent reading, on the other hand, describes someone, "reading for knowledge, for information, or for the conclusion to an ...
Romanticism saw a cult of sorrow develop, reaching back to The Sorrows of Young Werther of 1774, and extending through the nineteenth century with contributions like Tennyson's "In Memoriam" — "O Sorrow, wilt thou live with me/No casual mistress, but a wife" [3] — up to W. B. Yeats in 1889, still "of his high comrade Sorrow dreaming". [4]
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