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Participants evaluated the artworks on several aesthetic dimensions (liking, valence, moving, and inter- est), while their bodily reactions indicative of empathetic engagement (facial electromyography-EMG, and skin conductance responses-SCR) were recorded.
Similarly, Miu and Baltes (2012, p 3) manipulated empathetic engagement by instructing persons to adopt an emotional focus (i.e
Interestingly, Freedberg and Gallese (2007) argue that in the case of non- figurative abstract art, empathetic engagement should be particularly pronounced in viewers.
Currie 2011) argue empathetic engagement through feeling into is only a corollary of ordinary perceptual processes with little impact or speci- ficity on the aesthetic experience.
For example, findings implying a link between amount of empathetic engagement and higher liking (e.g.
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