Passive and Agressive Audience?

In the Richter background reading for Friday I noticed an interesting distinction that I connected both with Longinus, so I thought I'd give it a go, small and random as it is.

On the last page of the Richter background (965), he talks about Peter Rabinowitz, a former student of Booth's, and his work on reader response theory.  Apparently his key ideas of reader response center around the distinction between a "narrative audience" and an "authorial audience".  When readers act the part of the narrative audience, they "follow the events of the narrative as if they were really happening" and the role of authorial audience requires that readers "read the text knowing that it is just a story created by an author with some sort of effect in mind".

Here's how I connect it back with Longinus.  With Longinus and his implied roles of the critic and the reader of the sublime, he made a similar distinction.  The reader, or "narrative audience" was just supposed to be effected by the presence of the sublime, to be overwhelmed emotionally and mentally and thrown into a state of bliss, in a sense, a suspension of disbelief.  The critic, or the "authorial audience" was meant to know the same criteria for the sublime as the writer, and therefore be able to identify it, seek it out, and judge its worth.  Do these given roles and descriptions not sound similar?  I mean, if this was really about reader response theory and Longinus was discussing appropriate identification and reaction to the sublime, is that not just a specified category of reader response that he is discussing?

So here it is, can the narrative audience be perhaps redefined as "passive audience" and authorial audience redefined as "aggressive audience"?  Do you guys think that the passive reader-reactor is the narrative audience and the attentive, judgmental and structure/pattern seeking critic works as aggressive or authorial?  Can they embody the same person at the same time?  If the narrative audience is meant to lose themselves in a work of fiction, is that what we refer to as suspension of disbelief, and if so, does the authorial role rip us out of that suspension?