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Re-Affecting the Stage: Affective Resonance as the Function of the Audience
 
 
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Correction

Correction: Ana Pais. “Re-Affecting the Stage: Affective Resonance as the Function of the Audience.” Humanities 5 (2016): 79

1
Centro de Estudos de Teatro, University of Lisbon, Alameda da Universidade, 1600-214 Lisboa, Portugal
2
Fundação para a Ciência e Tecnologia, 1249-074 Lisboa, Portugal
3
Department of English, McGill University, 853 Sherbrooke Street West, Montreal, QC H3A 0G5, Canada
Humanities 2016, 5(4), 83; https://doi.org/10.3390/h5040083
Submission received: 2 November 2016 / Revised: 3 November 2016 / Accepted: 3 November 2016 / Published: 8 November 2016
(This article belongs to the Special Issue Emotions and Affect in the Humanities, Creative Arts, and Performance)
The author wishes to make the following correction to the paper published in Humanities [1]. By mistake, during the editing process, my phrase “the author” was substituted by “I” in the following sentences.
On p. 7 “According to Brennan’s theory, living attention is the premise of affect transmission and the condition for its perception and discernment. The senses, I further maintain, are the vehicles for the circulation of living attention.” should read “According to Brennan’s theory, living attention is the premise of affect transmission and the condition for its perception and discernment. The senses, Brennan further maintains, are the vehicles for the circulation of living attention.
On p. 9 “Although Stern’s findings are based on modes of communication specific to mothers and children (audio-tactile), I suggest that these affects encompass all our life experience.” should read “Although Stern’s findings are based on modes of communication specific to mothers and children (audio-tactile), he suggests that these affects encompass all our life experience.”
I apologize to readers of Humanities for any inconvenience. The manuscript will be updated and the original will remain online on the article webpage.

Reference

  1. Ana Pais. “Re-Affecting the Stage: Affective Resonance as the Function of the Audience.” Humanities 5 (2016): 79. [Google Scholar] [CrossRef]

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MDPI and ACS Style

Pais, A. Correction: Ana Pais. “Re-Affecting the Stage: Affective Resonance as the Function of the Audience.” Humanities 5 (2016): 79. Humanities 2016, 5, 83. https://doi.org/10.3390/h5040083

AMA Style

Pais A. Correction: Ana Pais. “Re-Affecting the Stage: Affective Resonance as the Function of the Audience.” Humanities 5 (2016): 79. Humanities. 2016; 5(4):83. https://doi.org/10.3390/h5040083

Chicago/Turabian Style

Pais, Ana. 2016. "Correction: Ana Pais. “Re-Affecting the Stage: Affective Resonance as the Function of the Audience.” Humanities 5 (2016): 79" Humanities 5, no. 4: 83. https://doi.org/10.3390/h5040083

APA Style

Pais, A. (2016). Correction: Ana Pais. “Re-Affecting the Stage: Affective Resonance as the Function of the Audience.” Humanities 5 (2016): 79. Humanities, 5(4), 83. https://doi.org/10.3390/h5040083

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