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(28). According to Formalist critics, this action of creating an emotion through external factors and evidence linked together and thus forming an objective correlative should produce an author's detachment from the depicted character and unite the emotion of the literary work. The "occasion" of Eugenio Montale is a further form of correlative ...
Thus, a growing body of literature describes the distinct functions of positive emotions. For example, research suggests that the function of romantic love is to facilitate mating, [30] the function of amusement is to facilitate play, [31] which encourages learning, and the function of awe is to accommodate new information. [32]
For example, if one is to genuinely display fear towards an entity, one must believe that the entity exists and has features such as being dangerous, warranting the emotion of fear. [6] However, since people consuming fiction usually do not believe in the genuine existence of the fictitious things or events, one cannot feel genuine emotion.
Mar et al., in a study of 94 participants, identified that the primary mode of literature that increases empathy is fiction, as opposed to non-fiction. [5] Other studies verify these results and go on to specify that active fiction in particular engages with the reader and affects the reader’s empathy, at the very least in adults, rather than passive, entertainment fiction. [6]
The Role of Emotions in Productivity. Unresolved emotions often drive behaviors like procrastination and over-committing. For example, many of us overcommit due to a fear of disappointing others ...
Emotion Attribution Theory, proposed by Jesse Prinz, focuses on the role of emotion attributions in the experience and understanding of emotions. Key ideas and components of Prinz's theory include: Emotion Attribution : Prinz suggests that emotions are recognized through a process of attributing specific emotional states to oneself and others ...
For example, Donald Nathanson uses the "affect" to create a narrative for one of his patients: [5] I suspect that the reason he refuses to watch movies is the sturdy fear of enmeshment in the affect depicted on the screen; the affect mutualization for which most of us frequent the movie theater is only another source of discomfort for him. ...
Both have theorized and tested ideas about what produces emotions such as suspense, curiosity, surprise in readers, the necessary factors involved, and the role the reader plays. Jenefer Robinson, a philosopher, has recently blended her studies on emotion with its role in literature, music, and art. [17]