Back to photography though, isn't the 'psychology of framing' part of the exercise? Isn't the creative use of focal length, isolation, focusing attention, distortion, depth of field all part of the telling of the story?
I think Bob is on the right track here. The size of the print and the distance of the viewer are very significant factors in determining what looks natural in a photograph.
Whether the scene is a wide panorama produced by stitching several images, or the result of a single shot taken with a wide-angle lens or even standard lens,the sense of perspective in the photo can always be distorted by print size in relation to viewer distance.
In other words, if the original scene required the photographer or viewer to turn his head in order to focus on the entire scene from left to right, then in order to portray on a print that same perspective, the print on the wall should be sufficiently large, and the viewer sufficiently close, so that the viewer has to turn his head from side to side in order to focus on all that's depicted in the print, or at least move his eyeballs from one extreme to the other.
I'm reminded of the first panoramic stitch I ever attempted, in the days when I was still using a film SLR and scanning my own negatives. It consisted of 13 shots, with camera held vertical.
The lens I used was 300mm and the final width of the stitch I estimate would have been equivalent to a single shot using a camera with a 10 inch wide negative or plate; in other words, an 8"x10" field camera.
I remember being particularly pleased because I had achieved a result using a consumer SLR which I was convinced was sharper than a single shot from a professional 8x10 field camera, cropped to the same proportions; the point being that a standard lens on an 8x10" is 320mm and I had used a 300mm lens only marginally wider, but definitely sharper than any standard lens for the 8x10" format as a result of the smaller image circle required for a 35mm format lens.
The first print I made, using roll paper on my A3+ format Epson 1200 printer, was approximately 8ft x 1ft.
From a viewing distance sufficiently close to see reasonably clear detail, it was necessary to turn one's head from left to right in order to focus on each part of the scene depicted on the print, just as it was in in real life when the scene was shot.
No psychological problems at all.