Darwin discusses why different muscles are brought into action under different emotions and how particular animals have adapted for association with man.

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)

Expressions of emotion pose a serious challenge to the view that we perceive other people’s emotions directly. If we must perceive expressions in order to perceive emotions, then it is only ever the expressions that we are directly aware of, not emotions themselves. This paper develops a new response to this challenge by drawing an analogy between expressions of emotion and perceptual media. It is through illumination and sound, the paradigmatic examples of perceptual media, that we can (...) see and hear objects around us. Instead of screening these objects from view, however, they enable our perception while being transparent to us. With reference to perceptual constancy and transparency, I show how expressions show up in our experience of emotions in a surprisingly similar way. Given this, we can understand expressions as the media _through_ which we perceive emotions and overcome the above challenge to an otherwise attractive view. (shrink)

The question is how to explain expressions of emotion. It is argued that not all expressions of emotion are open to the same sort of explanation. Those expressions which are actions can be explained, like other sorts of action, by reference to a belief and a desire; however, no genuine expression of emotion is done as a means to some further end. Certain expressions of emotion which are actions can also be given a deeper explanation as being expressive of (...) a wish. Expressions of emotion which are not actions cannot be given a belief-desire explanation: no belief is involved, and a desire is involved only in an honorific sense of 'desire'. The distinction amongst expressions of emotion between those which are actions and those which are not is not a precise one, and the paper concludes with some speculative remarks about borderline cases such as jumping for joy. (shrink)

Philosophy Compass, Volume 16, Issue 9, September 2021.

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)

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)

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)

In honoring Carroll Izard’s contributions to emotion research, we discuss infant facial activity and emotion expression. We consider the debated issue of whether infants are biologically prepared to express specific emotions. We offer a perspective that potentially integrates differing viewpoints on infant facial expression of emotion. Specifically, we suggest that evolution has prepared infants with innate action readiness patterns, which are crucial for early infant–caregiver social interaction, and in the course of social interaction specific facial configurations acquire (...) functional significance, becoming associated with specific emotions. Research has not confirmed the presence of innate neurophysiological action patterns that map onto discrete emotions but evidence indicates that the possibility has not been ruled out. (shrink)

One of science's greatest intellects examines how people and animals display fear, anger, and pleasure. Darwin based this 1872 study on his personal observations, which anticipated later findings in neuroscience. Abounding in anecdotes and literary quotations, the book is illustrated with 21 figures and seven photographic plates. Its direct approach, accessible to professionals and amateurs alike, continues to inspire and inform modern research in psychology.

The paper begins with an overview of various well-known accounts of the musical expression of emotion that have been proposed in recent years. But rather than proceeding to assess the merits and faults of these accounts the paper examines whether a radically new theory by Christopher Peacocke is superior to all of them. The theory, which certainly has a number of attractive features, is based on the idea of metaphorical-as perception. The notion of metaphorical-as perception needs to be elucidated (...) and the examination of Peacocke’s theory takes place by playing it off against a rival theory that is based on a different kind of perception, imaginative-as perception. The paper argues that, as the basis of an account of the musical expression of emotion, imaginative-as perception has all the advantages and none of the apparent defects of metaphorical-as perception. (shrink)

This paper explores how emotions are expressed in the endangered Gunwinyguan language Kunbarlang and compares these expressions to those in the neighbouring Gunwinyguan language Bininj Kunwok, and neighbouring languages from other language families, Mawng (Iwaidjan) and Ndjébbana (Maningridan). As well as considering body-based emotion expressions and the tropes (metaphors and metonymies) they instantiate, we consider the range of other (non-body-based) expressions and tropes available in each language. These provide an important point of comparison with the body-part expressions, which are (...) limited to expressions based on noun incorporation in the Gunwinyguan languages and, correspondingly, a more limited range of tropes. By outlining and comparing the linguistic tropes used to express emotions in these four languages in the highly multilingual yet socioculturally unified context of western Arnhem Land, we aim to shed further light on the relationships between linguistic figurative features and conceptual representations of emotions. (shrink)

With a few yet increasing number of exceptions, the cognitive sciences enthusiastically endorsed the idea that there are basic facial expressions of emotions that are created by specific configurations of facial muscles. We review evidence that suggests an inherent role for context in emotion perception. Context does not merely change emotion perception at the edges; it leads to radical categorical changes. The reviewed findings suggest that configurations of facial muscles are inherently ambiguous, and they call for a different approach (...) towards the understanding of facial expressions of emotions. Prices of sticking with the modal view, and advantages of an expanded view, are succinctly reviewed. (shrink)

We often use the words "emotion" and "feeling" as very nearly convertible ... See The Basis of Criticism in the Arts (Cambridge, Mass.,), p. ...

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)

Previous studies have used various external variables and parameters as well as moderator variables such as emotional intelligence have been to understand emotional labor and its related problems. However, a comprehensive model to study such variables’ correlations with each other and their overall effect on emotional labor has not yet been established. This study used a structural equation model to understand the relationship between employees’ expression of emotional labor and perception of customer feedbacks. The study also looked at how (...) the perception of customer feedback affects emotional exhaustion in order to understand how emotional exhaustion affects job satisfaction and turnover intentions. Further, in order to fully understand the effects of emotion on emotional labor at the service contact points, this study developed and tested a model of emotional labor with 4 factors of emotional intelligence as moderating factors. 579 emotional labor workers in service industries in the U.S. were collected and 577 valid survey results have been analyzed. The result shows that there exists moderating effects of emotional intelligence on how employees’ Deep Acting and Surface Acting recognize customers’ reactions, both positive and negative, that would affect employees’ Emotional Exhaustion and Job Satisfaction, and hence, Turnover Intention. The result suggests that employees with better understanding of their own emotions, although they are more likely to recover from emotional exhaustion, experience a greater negative effect when there is a discrepancy between what they feel and how they should act. (shrink)

The emotional expression of laughter in opera scores and performance was evaluated by converting notation to temporal data and contrasting it with the conversational laughter it emulates. The potency of scored and sung laughter was assayed by its ability to trigger contagion in audiences.

Richard Wollheim claims that speech acts express emotions always in virtue of how they are said and never solely in virtue of what they say. However, it would seem to follow that we cannot express our emotions in writing, since texts preserve what we wish to say without recording how we would wish to say it. I argue that Wollheim’s thesis in fact sheds new light on how authors can and do express their emotions in writing. In (...) short, an author must employ a variety of techniques within appropriate contexts to substitute for the non-verbal behaviours that would express her emotions physically. This substitution constitutes a ‘virtual expression’ just in case it empowers readers to vividly imagine the production of these behaviours. (shrink)

Rembrandt has been characterized as "the master of the passions of the soul". His painting production has always elicited the viewers' strong emotional responses. Τhese responses raise the question regarding why Rembrandt's work has been singled out as the quintessential example of the expression of emotions both during the 17th century, as well as in recent times. I will try to approach the issue through two different yet interconnected routes. First, I will explore the tools and terms through (...) which the question of the expression of emotions in Rembrandt's oeuvre can be approached. Ancient rhetorical topoi, as well as ideas stemming from Dutch theater writers, drama and art theorists, scholars and art connoisseurs on the rendition of the emotions provide useful points of view. Secondly, I will approach the question by addressing certain stylistic and compositional solutions that Rembrandt suggested, which can be tied to current notions about lifelikeness and the beholder's empathy. Foremost among Rembrandt's aesthetic choices was his handling of light and of paint which accounts for a great deal of unfavorable criticism to his work during the 17th century. I would like to suggest that this handling of light and paint serves as Rembrandt's most important emotive vehicle and furthermore that it introduces us to the idea of wonder and the concept of the sublime in terms of which his depiction of emotions may be understood. Accordingly, I will try to establish an intellectual network in the 17th-century Netherlands for the sublime. (shrink)

The aim of this review is to show the fruitfulness of using images of facial expressions as experimental stimuli in order to study how neural systems support biologically relevant learning as it relates to social interactions. Here we consider facial expressions as naturally conditioned stimuli which, when presented in experimental paradigms, evoke activation in amygdala–prefrontal neural circuits that serve to decipher the predictive meaning of the expressions. Facial expressions offer a relatively innocuous strategy with which to investigate these normal variations (...) in affective information processing, as well as the promise of elucidating what role the aberrance of such processing might play in emotional disorders. (shrink)

This contribution examines the use of body terms in expressions of emotion in Kuot, a non-Austronesian language of New Ireland, Papua New Guinea. It is found that expressions involving the word for ¿stomach¿, dalþp, correspond mainly to what we would consider to be psychological states, while expressions making use of neip ¿skin; body¿ are largely concerned with physical states. Some other body parts also form part of emotive expressions.

This contribution examines the use of body terms in expressions of emotion in Kuot, a non-Austronesian language of New Ireland, Papua New Guinea. It is found that expressions involving the word for ‘stomach’, daləp, correspond mainly to what we would consider to be psychological states, while expressions making use of neip ‘skin; body’ are largely concerned with physical states. Some other body parts also form part of emotive expressions.

Deficits in recognition of facial expressions of emotions are considered to be an important factor explaining impairments in social functioning and affective reactions of schizophrenic patients. Many studies confirmed such deficits while controversies remained concerning the emotion valence and modality. The aim of the study was to explore the process of recognizing facial expressions of emotion in the group of schizophrenic patients by analyzing the role of emotion valence, modality and gender of the model. Results of the group of (...) 35 patients and 35 matched controls indicate that while schizophrenic patients show general impairment in recognizing facial expressions of both positive and the majority of negative emotions, there are differences in deficits for particular emotions. Expressions also appeared to be more ambiguous for the patients while variables connected with gender were found less significant. (shrink)