In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Theories of Emotion: Expressing, Feeling, Acting by Pia CAMPEGGIANISabrina B. LittleCAMPEGGIANI, Pia. Theories of Emotion: Expressing, Feeling, Acting. New York: Bloomsbury Publishing, 2023. xiv + 199 pp. Cloth, $80.89; paper, $21.60In Theories of Emotion, Pia Campeggiani provides a philosophical introduction to the emotions. The book is multidisciplinary and empirically informed. It is organized around three “groundbreaking intuitions” of emotion theory—(1) expression, (2) (...) subjectivity, and (3) action. Each section corresponds to a different thinker—Charles Darwin, William James, and John Dewey, respectively—and each section concludes with a discussion of relevant debates. This book is outstanding. It is clearly written, well organized, and impressive in its scope. In what follows, I outline key ideas and raise questions generated by each section, then conclude with general reflections on the text.Campeggiani begins with the “scandal” of emotion research: There is no agreement about what an emotion is. In part, this lack of consensus is due to the imprecise ways we employ concepts like feelings, emotions, affect, and passions in ordinary discourse. In part, it is due to empirical difficulties. For example, Campeggiani describes how implicit assumptions and a forced-choice format compromised an experiment about expression universality.Additionally, Campeggiani points out that the category “emotions” has an internal structure that lacks clear-cut boundaries. There are paradigmatic examples of emotions, such as fear and anger, but there are also ambiguous phenomena, such as respect and modesty, which we may or may not recognize as such. Throughout the text, Campeggiani introduces and evaluates numerous accounts of emotions, drawing our attention to the strengths, limitations, and empirical adequacy of each.Part 1 begins with Charles Darwin’s contributions to emotion theory—an emphasis on the biological origins of emotions and a focus on expression. This section examines emotions in connection to adaptive fitness, exploring phenomena such as blushing when we are ashamed and the biological bases of emotions. A highlight of this section is an exploration of the social or communicative character of the emotions, which Darwin described as “only a secondary effect” of expression. Campeggiani examines emotional contagion and imitation, as well as the [End Page 141] phenomenon of feeling more pain when we express pain on our faces. There is also a rich discussion about constructionism as an alternative to basic emotions theory.Part 2 opens with William James on subjective experience. Campeggiani describes the limitations of James’s position—of understanding emotions to be reducible to feelings. For starters, this position is not empirically well supported. Campeggiani cites Walter Cannon’s observation that “many of the autonomic changes that are symptomatic of a given emotion can also occur in its absence.” Additionally, James fails to “properly flesh out the link between emotions and evaluations.” Campeggiani then describes the cognitive turn in emotion theory that emerged in response to the lack of attention paid to evaluation. Cognitive accounts of emotion deemphasize the bodily dimensions of emotional experiences in favor of the intentional properties, or “aboutness,” of emotions. Emotions see things as things.From my vantage, this was the best part of the book. Campeggiani highlights Damasio’s point that decision-making depends on having a “correct affective perception of the values at stake in a given situation.” For instance, feeling outsized or misdirected fear may undermine our decision-making. Campeggiani also introduces debates about whether emotions are appraisals, and whether emotions entail judgments or make judgments more likely. In the introduction, she mentions that “decision-making processes are always and inevitably underpinned by emotions, for good and for ill.” We see what she means in this section. Emotions participate in reason, impede reason, and have cognitive content themselves.That emotions involve or participate in our judgments raises two kinds of concerns—epistemic and normative. The epistemic worry is that inaccurate appraisals may undermine our understanding of the world. This is especially worrisome for the class of emotions Campeggiani calls “recalcitrant,” or closed off to other mental states, and for the emotions she says are “heavily influenced by our needs and goals.” Emotions are imperfectly truth-tracking, as was made clear earlier, in part 1, regarding their adaptive nature. The normative worry is that certain emotional... (shrink)

Research on facial emotion expression has mostly focused on emotion recognition, assuming that a small number of discrete emotions is elicited and expressed via prototypical facial muscle configurations as captured in still photographs. These are expected to be recognized by observers, presumably via template matching. In contrast, appraisal theories of emotion propose a more dynamic approach, suggesting that specific elements of facial expressions are directly produced by the result of certain appraisals and predicting the facial (...) patterns to be expected for certain appraisal configurations. This approach has recently been extended to emotion perception, claiming that observers first infer individual appraisals and only then make categorical emotion judgments based on the estimated appraisal patterns, using semantic inference rules. Here we report two related studies to empirically investigate the facial action unit configurations that are used by actors to convey specific emotions in short affect bursts and to examine to what extent observers can infer a person’s emotions from the predicted facial expression configurations. The results show that 1) professional actors use many of the predicted facial action unit patterns to enact systematically specified appraisal outcomes in a realistic scenario setting, and 2) naïve observers infer the respective emotions based on highly similar facial movement configurations with a degree of accuracy comparable to earlier research findings. Based on estimates of underlying appraisal criteria for the different emotions we conclude that the patterns of facial action units identified in this research correspond largely to prior predictions and encourage further research on appraisal-driven expression and inference. (shrink)

Today appraisal theories are the foremost approach to emotions in philosophy and psychology. The general assumption underlying these theories is that evaluations (appraisals) are the most crucial factor in emotions. This assumption may imply that: (a) evaluative pattems distinguish one emotion from another; (b) evaluative pattems distinguish emotions from nonemotions; (e) emotional evaluations of the eliciting event determine emotional intensity. These claims are not necessarily related. Accepting one of them does not necessarily imply acceptance of the others. I (...) believe that whereas (b) is false, (a) and (c) are basically true. (shrink)

Appraisal theories of emotion have two fundamental assumptions: (a) that there are regularities to be discovered between situations and components of emotional episodes, and (b) that the influence of these situations on these components is causally mediated by a mental process called appraisal. Appraisal theories come in different flavors, proposing different to-be-explained phenomena and different underlying mechanisms for the influence of appraisal on the other components.

Appraisal theories of emotion generally presuppose that emotions are “directed at” various items. They also hold that emotions have motivational properties. However, although it coheres well with their views, they have yet to seriously develop the idea that the function of emotional direction is to guide those properties. I argue that this “guidance hypothesis” can open up a promising new field of research in emotion theory. But I also argue that before appraisal theorists can take (...) full advantage of it, they must drop their further assumption that to determine an emotion's direction, one need only retrace the process that caused it. Contrary to this “retracing view,” I argue for an “independence thesis”: directed emotions are produced by two functionally independent sub-processes. The first, “affect-causation,” functions in part to produce a state with certain motivational properties given certain representations. The second, “affect-direction,” has the function of optimally guiding those motivational properties by associating them with representations that may properly be quite dissimilar from the causal ones. By provisionally adopting the independence thesis and empirically testing the guidance hypothesis, I argue that appraisal theorists stand a good chance of significantly increasing the explanatory power of their theories. (shrink)

Vacillating and mixed emotional experiences are often difficult to explore and understand because they confront the limits of our language's ability to capture private experiences in extreme or abnormal circumstances. In this paper, we build upon remarks by Wittgenstein (1953) to present a conceptual-discursive perspective based on naturalistic examples of individuals vacillating between pride and other emotions. This perspective is used to show how relevant emotion theories contain conceptual errors of the sort identified by Wittgenstein. The “assembled reminders” of (...) shifts between pride and other emotions are presented in contrast to analyses that focus on people's identification of causes of emotions, an approach which leads to theoretical speculation about underlying appraisal set changes or discussion of the empirical justification of cognitive ontology. We bypass a direct confrontation on these issues by examining how people's talk about the content of vacillating and mixed emotional experiences (i.e., aspect shifts) augments a shared “emotionology” with creative expressions and poetic comparisons. This last point is illustrated by the emotional instability experienced by individuals with Borderline Personality Disorder (BPD). Support for the conceptual-discursive perspective is provided by the success of a particular therapeutic approach, the Conversational Model, in ameliorating the developmental disruption of BPD by encouraging participation in empathic conversations. We conclude that a conceptual-discursive perspective undermines the cognitive appraisal “picture” of vacillating emotions and adds to our understanding. (shrink)

Embodied Appraisals and Non-emotional States We present the embodied appraisal theory of emotions and show how it handles a variety of intuitions we hold about affective states. While appreciating its integrative potential, we point out possible difficulties that it might face from further investigation of embodied non-emotional states. Following Darwin and his work on the expression of emotions, we suggest that some obviously non-emotional mental states comply with the criteria set by Prinz's theory. Therefore it is (...) doubtful whether his definition of emotions is correct and whether perceptual approaches are useful in explicating the nature of emotion types. (shrink)

Mimicry of appearance or of facial, vocal, or gestural expressions emerges frequently among members of different species. When such mimicry directly relates to affective aspects of an interaction, researchers talk about “emotional mimicry”. Emotional mimicry has been amply documented but its functionality is still debated. Why and when do people mimic the expressions of others, who benefits, the mimicker or the mimicked, and how do they benefit? Which processes underlie emotional mimicry? Is it completely automatic and unconscious or can it (...) be deliberate and conscious? The current Theory Section addresses these questions from different theoretical perspectives. The invited article by Hess and Fischer focused on the role of mimicry in social regulation and social bonding. The invited comment by Krets and Akyüz highlights information gathering and prediction in social interaction. The invited comment by Bernhold and Giles emphasizes vocal communication and its role in interpersonal accommodation. In this editorial, I propose the different theoretical perspectives may be integrated by assuming a multilevel appraisal and response generation mechanism. I also suggest that emotional mimicry research may be broadened by including social learning, vocal imitation, interspecies comparisons, and affective computing approaches. (shrink)

I reject Lindquist et al.'s implicit claim that all emotion theories other than constructionist ones subscribe to a “brain locationist” approach. The neural mechanisms underlying relevance detection, reward, attention, conceptualization, or language use are consistent with many theories of emotion, in particular componential appraisal theories. I also question the authors' claim that the meta-analysis they report provides support for thespecificassumptions of constructionist theories.

The aim of appraisal theory in the psychology of emotion is to identify the features of the emotion-eliciting situation that lead to the production of one emotion rather than another². A model of emotional appraisal takes the form of a set of dimensions against which potentially emotion-eliciting situations are assessed. The dimensions of the emotion hyperspace might include, for example, whether the eliciting situation fulfills or frustrates the subject’s goals or whether an (...) actor in the eliciting situation has violated a norm. Richard Lazarus’s well-known model of emotional appraisal has six dimensions, and the regions of the resulting hyperspace that correspond to particular emotions are summarized by Lazarus as the ‘core relational themes’ of those emotions. Anger, for examples, is elicited by the core relational theme ‘a demeaning offence against me and mine’, sadness by ‘having experienced an irrevocable loss’ and guilt by ‘having transgressed a moral imperative’ (Lazarus, 1991). (shrink)

We highlight the need to focus on the underlying determinants and production mechanisms to fully understand the nature of facial expression of emotion and to settle the theoretical debate about the meaning of motor expression. Although emotion theorists have generally remained rather vague about the details of the process, this has been a central concern of componential appraisal theories. We describe the fundamental assumptions and predictions of this approach regarding the patterning of facial expressions for (...) different emotions. We also review recent evidence for the assumption that specific facial muscle movements may be reliable symptoms of certain appraisal outcomes and that facial expressions unfold over time on the basis of a sequence of appraisal check results. (shrink)

This study examines the micro-level consequences of perceived corporate social responsibility and hypothesizes that perceived CSR affects the perception-emotion-attitude-behavior sequence. We hypothesized that perceived CSR affects organizational pride, affects affective commitment, and enhances the employees’ creative behaviors by using the lens of appraisal theory of emotion. This study also hypothesizes that the association of perceived CSR and employee creative behaviors is serially mediated by OP and AC. The time-lagged data were collected from employees of only those (...) companies participating in CSR activities to analyze the sequential mediation effect. We have tested the hypotheses of this study through Hayes approach. Results showed that perceived CSR kindles the employees’ creative behaviors. Furthermore, “organizational pride” and “affective commitment” serially mediate the association of perceived CSR and ECB. Hence, the hypothesized perception-emotion-attitude-behavior model received a significant support and demonstrated that micro-level positive consequences of CSR could be created through emotional, attitude, and behavioral mechanisms. The organization should promote their CSR activities using documentaries and contents to improve their perception of environmental and social issues, and it enhances employees’ pride and creativity. (shrink)

The notion that emotional expressions regulate social life by providing information is gaining popularity. Prior research on the effects of emotional expressions on observers’ inferential processes has focused mostly on inferences regarding the personality traits of the expresser, such as dominance and affiliation. We extend this line of research by exploring the possibility that emotional expressions shape observers’ construal of social situations. Across three vignette studies, an interaction partner's expressions of anger, compared to expressions of happiness or disappointment, led observers (...) to construe hypothetical situations as less cooperative, both in dyads and groups. These effects occurred even when factual information regarding the cooperativeness or competitiveness of the situation was provided, attesting to the power of emotional expressions in shaping the construal of social situations. Results are discussed in relation to appraisal theory, reverse appraisals, emotions as social information theory, and the emergence of cooperation in groups and cultures. (shrink)

The question of how people represent emotions is eminently important for a number of different domains of psychological research. The present study tested the assumption that emotion concepts are represented similar to theories in that they are comprised of a set of causally interrelated features. Using emotional scenarios and investigating the emotion concepts of anger, anxiety, and sadness it was found that people's representations of emotion concepts essentially involved the representation of the causal relation of emotion (...) features and that the causal status of a feature determined the feature's centrality in the concept. Moreover, people's representations of emotion concepts corresponded to basic assumptions of cognitive emotion theories, namely that cognitive appraisals cause other surface features of emotion, like expression and behaviour. By providing evidence for a theory-based representation, the present results show that the classical and the prototype approach are insufficient to model the representation of emotion concepts. (shrink)

Magda Arnold is recognised as one of the pioneers of modern cognitive approaches to the study of emotion. Indeed, her definition of appraisal is still employed more or less unchanged by many researchers. Somewhat less well known is Arnold's broader theory of emotion, personality, and human development that formed the context for her ideas about appraisal. In this paper, I examine the influence of the psychology of Thomas Aquinas on Arnold's thinking about appraisal, (...) class='Hi'>emotion, the self and self-actualisation. I then critique current conceptions of appraisal in the light of her ideas about emotion and the person. I end with a plea to broaden our conception of what constitutes a moral emotion. (shrink)

This paper is concerned with some limitations of the vignette methodology used in contemporary appraisal research and their implications for appraisal theory. We focus on two recent studies in which emotional manipulations were achieved using textual materials, and criticise the investigators' apparent implicit assumption that participation in everyday social reality is somehow comparable to reading a story. We take issue with three related aspects of this cognitive analogy between life and its narrative representation, by arguing that emotional (...) reactions in real life are not necessarily mediated by symbolic processes, that people are involved participants of real life rather than neutral observers, and that in real life people's evaluations and emotions are typically part of an ongoing dialogue rather than the expression of a soliloquy. Results from these studies of emotional vignettes therefore tend to overestimate the importance of constructive, abstract, and individualistic processes in the everyday causation of social emotions. In real life, people do not necessarily have to calculate, transform, or internally represent the meaning of the dynamic situation in order to make emotional sense of what is happening to them in the social world. (shrink)

Classical Confucian thought is full of discussion of human emotions, reflecting a preoccupation with the inner life-how one ought to feel 'on the inside', as it were. Yet alongside these passages are others that seem, by contrast, to be concerned with matters external to one's emotions and psychology: how one ought to dress, speak, walk, and talk. Yet passages such as these, which draw attention to details of individual expression and comportment, are not at all tangential when it comes (...) to understanding the Confucian perspective on emotions. On the contrary, I argue that they reveal a sophisticated view of emotional life, one that illuminates how our outer appearance and comportment profoundly shape both how we feel and how others around us feel. Looking at emotions in this fashion-both inside and out-gives us not only a deeper appreciation of early Confucian thought but also can serve as a resource for us to reevaluate the way we understand emotions today. {Translated into Korean by Yonghwan Chung}. (shrink)

It is unreasonable to assume that our pre-scientific emotion vocabulary embodies all and only those distinctions required for a scientific psychology of emotion. The psychoevolutionary approach to emotion yields an alternative classification of certain emotion phenomena. The new categories are based on a set of evolved adaptive responses, or affect-programs, which are found in all cultures. The triggering of these responses involves a modular system of stimulus appraisal, whose evoluations may conflict with those of higher-level (...) cognitive processes. Whilst the structure of the adaptive responses is innate, the contents of the system which triggers them are largely learnt. The circuits subserving the adaptive responses are probably located in the limbic system. This theory of emotion is directly applicable only to a small sub-domain of the traditional realm of emotion. It can be used, however, to explain the grouping of various other phenomena under the heading of emotion, and to explain various characteristic failings of the pre-scientific conception of emotion. (shrink)

Magda B. Arnold's theory of emotion is examined from three historical viewpoints. First, I look backward from Arnold to precursors of her theory of emotion in 19th century introspectionist psychology and in classical evolutionary psychology. I try to show that Arnold can be regarded as belonging intellectually to the cognitive tradition of emotion theorising that originated in Brentano and his students, and that she was also significantly influenced by McDougall's evolutionary view of emotion. Second, (...) I look forward from Arnold to the influence she had on Richard S. Lazarus, the theorist who deserves the most credit for popularising the appraisal approach to emotion. Here, I try to document that Lazarus’ theory of the stress emotions preserved most assumptions of Arnold's theory. Finally, I look back at Arnold from today's perspective and address points of success of the appraisal paradigm in emotion psychology, as well as some remaining problems. (shrink)

ABSTRACTThe recognition of emotional facial expressions is often subject to contextual influence, particularly when the face and the context convey similar emotions. We investigated whether spontaneous, incidental affective theory of mind inferences made while reading vignettes describing social situations would produce context effects on the identification of same-valenced emotions as well as differently-valenced emotions conveyed by subsequently presented faces. Crucially, we found an effect of context on reaction times in both experiments while, in line with previous work, we found (...) evidence for a context effect on accuracy only in Experiment 1. This demonstrates that affective theory of mind inferences made at the pragmatic level of a text can automatically, contextually influence the perceptual processing of emotional facial expressions in a separate task even when those emotions are of a distinctive valence. Thus, our novel findings suggest that language acts as a contex... (shrink)

Research on cognition and emotion during the past 30 years has made reasonable progress in theory, methods and empirical research. New theories of the cognition–emotion relation have been proposed, emotion research has become more interdisciplinary, and improved methods of emotion measurement have been developed. On the empirical side, the main achievement of the past 30 years is seen to consist in the reduction of the set of serious contenders for a theory of emotions. Still, (...) several important issues are not fully resolved, including the computational implementation of appraisal processes, the nature of emotions, and the link between emotions and actions. Also, quantitative theories of the cognition–emotion relation need to be refined and tested, and improved theories of the link between emotions and bodily and facial expressions need to be developed. To counter the dangers of theoretical fragmentation and knowledge loss, more efforts should be devoted to the analysis, reconstruction, comparison and integration of important theories and hypotheses in the field of emotion, as well as to the systematization of arguments in favor and against these theories and hypotheses. (shrink)

ABSTRACTAppraisal theories of emotion, and particularly the Component Process Model, claim that the different components of the emotion process are essentially driven by the results of cognitive appraisals and that the feeling component constitutes a central integration and representation of these processes. Given the complexity of the proposed architecture, comprehensive experimental tests of these predictions are difficult to perform and to date are lacking. Encouraged by the “lexical sedimentation” hypothesis, here we propose an indirect examination of the compatibility (...) of the theoretical assumptions with the semantic structure of a set of major emotion words as measured in a cross-language and cross-cultural study. Specifically, we performed a secondary analysis of the large-scale data set with ratings of affective features covering all components of the emotion process for 24 emotion words in 27 countries, constituting... (shrink)

ABSTRACT. This chapter presents a reconstruction of Wilhelm Wundt's (1896) three-dimensional theory of emotion from the perspective of the structuralist approach to scientific theories. Wundt's theory, a quantitative theory of the structure of emotional experience, is reconstructed as a small theory-net consisting of the basic theory-element TE(WUNDT) and specializations of this element. The main substantive axiom of TE(WUNDT) postulates that human emotions result from the fusion of a characteristic 'mixture' of six basic forms of (...) feeling: Pleasure, displeasure, excitement, inhibition (tranquillization), tension, and relaxation. A second axiom holds that the basic feeling types are organized into three bipolar dimensions, and the third axiom claims that the basic feelings experienced toward complex objects are a fusion of the corresponding basic feelings directed at the components of the complex objects. Specializations of the theory result from different possible specifications of the central fusion axiom. It appears that only one concept of the theory is T-theoretical, namely the function q which assigns characteristic proportions of basic feelings to the nonbasic emotions. The intended applications of the theory are discussed, and the reconstruction is appraised. (shrink)

This article analyzes the role of emotions in social interaction and their effects on social structuration and the emergence of micro-social order. It argues that facial expressions of emotion are key in generating robust patterns of social interaction. First, the article shows that actors' encoding of facial expressions combines hardwired physiological principles on the one hand and socially learned aspects on the other hand, leading to fine-grained and socially differentiated dialects of expression. Second, it is argued that decoding (...) facial expression is contingent upon this combination so that reciprocal attributions of emotional states, situational interpretations, and action tendencies are more effective within rather than across social units. Third, this conjunction affects the conditions for emotional contagion, which is argued to be more effective within social units exhibiting similar encoding and decoding characteristics, and thus aligns emotions and action tendencies in a coherent, yet socially differentiated way. (shrink)

Appraisal theory has become one of the most active aproaches in the domain of emotion psychology. The appraisal process consists of the subjective evaluation that occurs during the individual's encounter with significant events in the environment, determining the nature of the emotional reaction and experience. The organism's interpretation of events and situations elicits and differentiates its emotional responses, although the exact processes involved and the limits of the theory are still a matter of debate and (...) are currently the object of active research. This volume is intended to become the primary source of information on appraisal for all those interested in emotion, from beginning graduate students to accomplished researchers in emotion psychology. (shrink)

Consider a typical fear episode. You are strolling down a lonely mountain lane when suddenly a huge wolf leaps towards you. A number of different interconnected elements are involved in the fear you experience. First, there is the visual and auditory perception of the wild animal and its movements. In addition, it is likely that given what you see, you may implicitly and inarticulately appraise the situation as acutely threatening. Then, there are a number of physiological changes, involving a variety (...) of systems controlled by the autonomic nervous system. Your heart races, your breathing becomes strained and your start trembling. These changes are accompanied by an expression of fear on your face: your mouth opens and your eyes widen while you stare at the wolf. There is also a kind of experience that you undergo. You are likely to feel a sort of pang, something that might consist in the perception of the physiological changes you are going through. Moreover, a number of thoughts are likely to cross your mind. You might think that the wild beast is about to tear you into pieces and that you’ll never escape from this. In addition to this, your attention focuses on the wolf and its movement, as well as, possibly, ways of escaping or defending yourself. Last, but not least, your fear is likely to come with a motivation, such as an urge to run away or to strike back. Whatever the details of the story, it is clear that a typical emotion episode involves a number of different components. Roughly, these components are a) a sensory perception or more generally an informational component, b) a kind of appraisal, d) physiological changes, c) conscious feelings, d) cognitive and attentional processes, and e) an actiontendency or more generally a motivational component. One central question in the theory of emotion is which, if any, of these components, constitute the emotion.. (shrink)

The subject of this article is to compare and analyze the meanings of the sentiments in Spinoza’s Ethica and sheng yi sim’s The change of humans. The problem of emotion in modern society is an important social problem. In this atmosphere, Spinoza is attracting attention. Modern society emphasizes desire and emotion rather than reason. Emotions should now be viewed from a positive perspective, not a negative view. The study of emotion in the 20th century was largely dominated (...) by cultural theory. Emotions, like languages, are culturally transmitted and learned. According to modern language philosophical insights, language constitutes experience, not reflection. If this language philosophical insight is correct, then the role of language is crucial in understanding and experiencing emotions. Language has a temporal and spatial context. Language has historicity and sociality. In order to understand the emotional aspects of what is happening in our society, we must understand the historical and social context of the emotional expressions in our language. The emotional expression in our language has our own East Asian history. In this regard, it is necessary to study our language, which is different from Western studies, in historical context. In order to understand our emotions in the historical and social context of a language other than the West, we are paying attention to sheng yi sim’s The change of human, the literature of the period of the 17th-18th century Joseon Dynasty, similar to that of Spinoza. (shrink)

A common view in affective neuroscience considers emotions as a multifaceted phenomenon constituted by independent affective and motor components. Such dualistic connotation, obtained by rephrasing the classic Darwin and James’s theories of emotion, leads to the assumption that emotional expression is controlled by motor centers in the anterior cingulate, frontal operculum, and supplementary motor area, whereas emotional experience depends on interoceptive centers in the insula. Recent stimulation studies provide a different perspective. I will outline two sets of findings. (...) First, affective experiences can be elicited also following the stimulation of motor centers. Second, emotional expressions can be elicited by stimulating interoceptive regions. Echoing the original pragmatist theories of emotion, I will make a case for the notion that emotional experience emerges from the integration of sensory and motor signals, encoded in the same functional network. (shrink)

It is unreasonable to assume that our pre-scientific emotion vocabulary embodies all and only those distinctions required for a scientific psychology of emotion. The psychoevolutionary approach to emotion yields an alternative classification of certain emotion phenomena. The new categories are based on a set of evolved adaptive responses, or affect-programs, which are found in all cultures. The triggering of these responses involves a modular system of stimulus appraisal, whose evoluations may conflict with those of higher-level (...) cognitive processes. Whilst the structure of the adaptive responses is innate, the contents of the system which triggers them are largely learnt. The circuits subserving the adaptive responses are probably located in the limbic system. This theory of emotion is directly applicable only to a small sub-domain of the traditional realm of emotion. It can be used, however, to explain the grouping of various other phenomena under the heading of emotion, and to explain various characteristic failings of the pre-scientific conception of emotion. (shrink)

In this article we investigate how speakers contribute to the interactive rise and fall of emotion in problematic interactions in a data set of in-bound telephone conversations collected from call centres in the Philippines. These interactions are between the Filipino Customer Service Representatives and American clients who initiate the calls to seek information, clarification, or resolution to a problem. The study draws on Appraisal theory to analyse the contribution of the caller and the CSR to initiating, maintaining (...) and adjusting the interpersonal intensity of the interaction. Findings point to a limited reliance on explicit attitude on the part of both speakers, with attitude more often implied rather than expressed explicitly. Of note, too, is the interdependence of the attitudinal choices on the part of each speaker, and the role that concessive contractors such as just, already, once, yet and actually, as well as moments of silence can play in the management of the emotive intensity. While we intend the outcomes to make a contribution to professional training in the industry, we also look beyond that context to contribute in theoretical and methodological terms to the analysis of interactions in other contexts where problems need to be resolved through talk. (shrink)

This paper approaches the topic of visual art in medical education from a philosophical perspective, drawing on arguments from epistemology, philosophy of science, aesthetics, and contemporary ethical theory. Several medical ethicists have noted that the traditional clinical paradigm may increase the epistemic and emotional distance between patient and physician in part by focusing on the physical body and medical technology. Some of these same writers recommend a new approach to patients based on empathy and increased attention to suffering. After (...) reviewing these arguments, supporting examples, and recommendations, I explain how visual art that expresses or symbolizes the emotional response to illness could be used to introduce an additional paradigm into medical education. This would be a paradigm based on empathetic attention to patients' emotional experiences in illness. My own argument is that this additional way of perceiving and relating to patients may reduce the distance between patient and physician and may allow physicians to better meet the ideal of treating the patient as a person. (shrink)

This paper examines the causal basis of our ability to attribute emotions to music, developing and synthesizing the existing arousal, resemblance and persona theories of musical expressivity to do so. The principal claim is that music hijacks the simulation mechanism of the brain, a mechanism which has evolved to detect one's own and other people's emotions.

According to psychological emotion theories referred to as appraisal theory, emotions are caused by appraisals (evaluative judgments). Borrowing a term from Jan Smedslund, it is the contention of this article that psychological appraisal theory is “pseudoempirical” (i.e., misleadingly or incorrectly empirical). In the article I outline what makes some scientific psychology “pseudoempirical,” distinguish my view on this from Jan Smedslund’s, and then go on to show why paying heed to the ordinary meanings of emotion (...) terms is relevant to psychology, and how appraisal theory is methodologically off the mark by employing experiments, questionnaires, and the like, to investigate what follows from the ordinary meanings of words. The overarching argument of the article is that the scientific research program of appraisal theory is fundamentally misguided and that a more philosophical approach is needed to address the kinds of questions it seeks to answer. (shrink)

This paper offers a Nietzschean theory of emotion as expressed by following thesis: paradigmatic emotional experiences exhibit a distinctive kind of affective intentionality, specified in terms of felt valenced attitudes towards the (apparent) evaluative properties of their objects. Emotional experiences, on this Nietzschean view, are therefore fundamentally feelings towards value. This interpretation explains how Nietzschean affects can have evaluative intentional content without being constituted by cognitive states, as these feelings towards value are neither reducible to, nor to be (...) thought along the lines of, judgements, perceptions, or other mental states. (shrink)

This paper presents an analytical framework for analyzing how multimodal resources of emotion expression are semiotically materialized in discursive interactions specific to political discourse. Interested in how political personae are emotionally constructed through multimodal meaning-making practices, our analysis model assumes an interdisciplinary perspective, which integrates facial expression analysis – using FaceReader™ software –, the theory of emotional arcs and bodily actions (hand gestures) analysis that express emotions, in the analytical framework of multimodality. The results show how (...) the multimodal choices that political actors make during discursive interactions allow them to build their political brand and make connections with the audience on an emotional level. (shrink)

William James’s theory of emotion has been controversial since its inception, and a basic analysis of Cannon’s critique is provided. Research on the impact of facial expressions, expressive behaviors, and visceral responses on emotional feelings are each reviewed. A good deal of evidence supports James’s theory that these types of bodily feedback, along with perceptions of situational cues, are each important parts of emotional feelings. Extensions to James’s theory are also reviewed, including evidence of individual differences (...) in the effect of bodily responses on emotional experience. (shrink)

The Expression of Emotion collects cutting-edge essays on emotional expression written by leading philosophers, psychologists, and legal theorists. It highlights areas of interdisciplinary research interest, including facial expression, expressive action, and the role of both normativity and context in emotion perception. Whilst philosophical discussion of emotional expression has addressed the nature of expression and its relation to action theory, psychological work on the topic has focused on the specific mechanisms underpinning different facial (...) expressions and their recognition. Further, work in both legal and political theory has had much to say about the normative role of emotional expressions, but would benefit from greater engagement with both psychological and philosophical research. In combining philosophical, psychological, and legal work on emotional expression, the present volume brings these distinct approaches into a productive conversation. (shrink)

Müller proposes a position-taking theory to account for the manifest image of emotional feelings as “feelings towards”. He reduces the process of position-taking to goal-based construal, which is akin to the stimulus-goal comparison process central in appraisal theories. Although this reduction can account for the heat of emotional feelings and the intuition that non-linguistic organisms can also have feelings, it may fail to keep the position-taking aspect on board. Moreover, the image of emotional feelings as active position-takings may (...) itself be questioned and replaced with a passive image. I end by acknowledging that a passive image is still compatible with an active underlying mechanism as is the case in appraisal theories but even more so in the goal-directed theory. (shrink)

I describe my current thinking on two old questions—the causal role of appraisals and the relationship of appraisal theories to basic emotions theories and constructivist theories, and three (sort of) new questions—the completeness of appraisals, the role of language, and the development of automaticity in emotional responses.

In this article, we introduce a theory on the dynamic development of affective processes, affect regulation, and the relationship between emotions and sport performance. The theory focusses on how affective processes emerge and develop during competitive sport involvement. Based on Scherer’s component process model, we postulate six components of emotion that interact with each other in a circular fashion: triggering processes, physiological reactions, action tendencies, expressive behaviors, subjective experience, and higher cognitive processes. The theory stresses the (...) dynamics of affective processes and describes the consequences for performance in competitive sports. It assumes that the peculiarities of different sports must be taken into account in order to understand the affective processes, and offers starting points on which strategies can be used to effectively regulate affective states. Consequences for research and practice are derived and discussed. To study the development of affective processes, future research should test the assumptions in ecologically valid contexts, such as real competitions or competition-like situations, using multi-component measures of emotions. (shrink)

Individual differences related to emotions are typically represented as emotion traits. Although important, these descriptive models often do not address the psychological dynamics that underlie the trait. Appraisal theories of emotion assume that individual differences in emotions can be traced to differences in patterns of appraisal, but this hypothesis has largely gone untested. The present research explored whether individual differences in the emotion of interest, known as trait curiosity, consist of patterns of appraisal. After (...) completing several measures of trait curiosity, participants read complex poems (Experiment 1) or viewed simple and complex pictures (Experiment 2) and then gave ratings of interest and interest's appraisal components. The effect of trait curiosity on interest was fully mediated by appraisals. Multilevel analyses suggested that curious people differ in the amount of appraisal rather than in the kinds of appraisals relevant to interest. Appraisal theories can offer a process-oriented explanation of emotion traits that bridges state and trait emotional experience. (shrink)

Mixed emotions are conceptualized as involving the co-occurrence of states opposite in valence. One might expect that combinations of opposites would show diminished overall emotion intensity. But is this always the case? If not, when will mixed emotions be characterized by high intensity, and when by low intensity? In this article, theories of emotion-eliciting appraisal and emotion intensity are employed to understand mixed emotions and phenomena of passion. It is proposed that intense emotions are produced by (...) transformative events: perceived motive-relevant changes that are important, large, and rapid. Transformative events that can move a person between greatly motive-inconsistent and greatly motive-consistent outcomes constitute one potent path to passion. Illustrative phenomena of passion, mixed emotions, and related research are discussed. (shrink)

In his book The Principles of Art Robin George Collingwood presents a theory of art as the expression of emotion. The connection between his view and the theories of the Italian neo-idealists Benedetto Croce and Giovanni Gentile is both well known and well documented. What seems to be less known, however, is the intellectual link R. G. Collingwood’s father, William Gershom Collingwood, formed between his son and John Ruskin, the great Victorian essayist, critic and reformer. There are (...) some references in the literature to the fact that W. G. Collingwood was Ruskin’s friend, pupil, assistant and private secretary, later on his intellectual interpreter and biographer. It has also been argued that since R. G. Collingwood was until the age of thirteen exclusively educated by his father, there must have been an educational link between Ruskin and the younger Collingwood. But when it has come to pointing out theoretical similarities between the aesthetic theories of Ruskin and Collingwood, philosophers of art have, by and large, kept a remarkably low profile. (shrink)

According to socio-relational theory, men and women encountered different ecologies in their evolutionary past, and, as a result of different ancestral selection pressures, they developed different patterns of emotional expressivity that have persisted across cultures and large human evolutionary time scales. We question these assumptions, and propose that social-cognitive models of individual differences more parsimoniously account for sex differences in emotional expressivity.