The interdisciplinary field of emotion studies disregarded historical perspectives on translation and left out a substantial body of scientific research on feelings and emotions that was not published in English. Yet these texts were foundational in forging the scientific concept of emotion in experimental psychology in the 19th century. The current approach to emotion science overlooks that translation issues occurred between three languages, German, French, and English, as physiological psychologists at the time were reading each other in these languages all (...) the while writing about the same topics in their respective language. Historical perspectives are important to clarify the ambiguities of emotion terms and include non-Anglophone frameworks into current transdisciplinary debates. (shrink)

Ever since records began, accounts of other peoples and their institutions and customs have included comments about their mental characteristics. The present article traces this feature from the 18th century to roughly the First World War, with a brief sketch of more recent developments. For most of this period two contrasting positions prevailed: the dominant one attributed human differences to ‘race’, while the other one explained them in terms of psychological, environmental and historical factors. The present account focuses on the (...) latter, among them those who asserted ‘the psychic unity of mankind’. Generally it is shown that from the early period when writings were based almost entirely on secondary sources, to the beginnings of empirical studies, ethnological theories were indissolubly linked to psychological concerns. (shrink)

Human beings respond to their immediate environments in a variety of ways, with emotion playing a cardinal role. In evolutionary theories, emotions are thought to prepare an organism for action. The interplay of acoustic environments, emotions, and evolutionary needs are currently subject to discussion in soundscape research. Universal definitions of emotion and its nature are currently missing, but there seems to be a fundamental consensus that emotions are internal, evanescent, mostly conscious, relational, manifest in different forms, and serve a purpose. (...) Research in this area is expanding, particularly in regards to the context-related, affective, and emotional processing of environmental stimuli. A number of studies present ways to determine the nature of emotions elicited by a soundscape and to measure these reliably. Yet the crucial question—which basic and complex emotions are triggered and how they relate to affective appraisal—has still not been conclusively answered. To help frame research on this topic, an overview of the theoretical background is presented that applies emotion theory to soundscape. Two latent fundamental dimensions are often found at the center of theoretical concepts of emotion: valence and arousal. These established universal dimensions can also be applied in the context of emotions that are elicited by soundscapes. Another, and perhaps more familiar, parallel is found between emotion and music. However, acoustic environments are more subtle than musical arrangements, rarely applying the compositional and artistic considerations frequently used in music. That said, the measurement of emotion in the context of soundscape studies is only of additional value if some fundamental inquiries are sufficiently answered: To what extent does the reporting act itself alter emotional responses? Are all important affective qualities consciously accessible and directly measurable by self-reports? How can emotion related to the environment be separated from affective predisposition? By means of a conceptual analysis of relevant soundscape publications, the consensus and conflicts on these fundamental questions in the light of soundscape theory are highlighted and needed research actions are framed. The overview closes with a proposed modification to an existing, standardized framework to include the meaning of emotion in the design of soundscapes. (shrink)

Illustrations played an important role in the articulation of Wundt’s experimental program. Focusing on the woodcuts of apparatus and experimental designs in the six editions of his Grundzüge der physiologischen Psychologie (published between 1873 and 1911), we investigate the uses and functions of illustrations in the experimental culture of the physiological and psychological sciences. We will first present some statistics on the increasing number of illustrations Wundt included in each new edition of his handbook. Next we will show how Wundt (...) managed to introduce the material and literary technologies of physiology into the ‘new psychology’. The distribution of Wundt’s material technology will be further demonstrated by highlighting the crucial role of technicians and instrument-makers. We will use Shapin and Schaffer’s notions of the ‘three technologies’ and ‘virtual witnessing’, combined with Latour’s concept of ‘immutable mobiles’, as analytical tools to explore the strategic aspects of Wundt’s illustrations. (shrink)