Aristotle's Poetics has come down to us in a form that is fragmented and incomplete. For example, its famous definition of tragedy begins by stating that it is a summation of what has come before:Let us now discuss Tragedy, resuming its formal definition, as resulting from what has been already said. Tragedy, then, is an imitation of an action that is serious, complete, and of a certain magnitude; in language embellished with each kind of artistic ornament, the several kinds being (...) found in separate parts of the play; in the form of action, not of narrative; through pity and fear effecting the proper purgation of these emotions.1But nothing has been said previously about the purgation of pity and fear.... (shrink)

Jonathan Lear argues that the established purgation, purification, and cognitive stimulation interpretations of Aristotle’s concepts of catharsis and tragic pleasure are off the mark. In response, Lear defends an anti-cognitivist account, arguing that it is the pleasure associated with imaginatively “living life to the full” and yet hazarding nothing of importance that captures Aristotle’s understanding of catharsis and tragic pleasure. This analysis reveals that Aristotle’s account of imagination in conjunction with his understanding of both specific (...) intellectual virtues and rational emotions of an educated citizen not only tells against Lear’s anti-cognitivist construal, but also divulges an alternative cognitive stimulation reading. (shrink)

Plato's views on tragedy depend in large part on his views about the ethical consequences of emotional arousal. In the Republic, Plato treats the desires we feel in everyday life to weep and feel pity as appetites exactly like those for food or sex, whose satisfactions are ‘replenishments’. Physical desire is not reprehensible in itself, but is simply non-rational, not identical with reason but capable of being brought into agreement with it. Some desires, like that for simple and wholesome food, (...) are in fact ‘necessary’ and approved by reason. Other appetites, like lust and gluttony, are ‘unnecessary’ and anti-rational in that they are actively opposed to reason. According to the Republic, the satisfaction of these ‘unnecessary’ desires inevitably strengthens the elements in the soul that oppose reason. The desire to weep at the theatre is treated in this dialogue as just such an anti-rational desire. Even a temporary indulgence in tragic pity and fear has a permanent deleterious effect on the soul, although it does not lead directly to any action. This paper argues that a radically different psychological theory, with important aesthetic implications, appears in the discussion of wine-drinking in Books 1 and 2 of Plato's Laws. Though this long passage has been much scorned and neglected, it is of considerable philosophical importance. While in the Republic Plato condemns drunkenness and other anti-rational states, in the Laws he extols the benefits of a hypothetical ‘fear drug’ that could induce a temporary state of anti-rational terror and of wine to produce other anti-rational emotions and desires. (shrink)

Plato's views on tragedy depend in large part on his views about the ethical consequences of emotional arousal. In theRepublic, Plato treats the desires we feel in everyday life to weep and feel pity as appetites exactly like those for food or sex, whose satisfactions are ‘replenishments’. Physical desire is not reprehensible in itself, but is simplynon-rational, not identical with reason but capable of being brought into agreement with it. Some desires, like that for simple and wholesome food, are in (...) fact ‘necessary’ and approved by reason. Other appetites, like lust and gluttony, are ‘unnecessary’ andanti-rational in that they are actively opposed to reason. According to theRepublic, the satisfaction of these ‘unnecessary’ desires inevitably strengthens the elements in the soul that oppose reason. The desire to weep at the theatre is treated in this dialogue as just such an anti-rational desire. Even a temporary indulgence in tragic pity and fear has a permanent deleterious effect on the soul, although it does not lead directly to any action.This paper argues that a radically different psychological theory, with important aesthetic implications, appears in the discussion of wine-drinking in Books 1 and 2 of Plato'sLaws. Though this long passage has been much scorned and neglected, it is of considerable philosophical importance. While in theRepublicPlato condemns drunkenness and other anti-rational states, in theLawshe extols the benefits of a hypothetical ‘fear drug’ that could induce a temporary state of anti-rational terror and of wine to produce other anti-rational emotions and desires. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Cynthia Willett HEGEL, ANTIGONE, AND THE POSSIBILITY OF ECSTATIC DIALOGUE In his lectures on aesthetics, Hegel argues that drama is the highest form of art. Only drama can resolve, or sublate (auflieben), an opposition between objective and subjective poles ofaesthetic experience.1 This opposition takes its penultimate form in the difference between epic and lyric poetry. Subjective feelings expressed in lyric and the objective representation ofevents in epic are sublated (...) in classical drama as ethical character and action. In this article I will examine both what Hegel does and does not say about the structure and function ofclassical drama in order to determine its role in the education of humanity, or what Hegel calls the "phenomenology of spirit." As it turns out, drama is not only a climactic moment in the development of spirit. The structure ofdrama also traces a paradigm and an historical origin for Hegel's dialectic. The ironic reversals and discoveries that emplot tragic drama also constitute dialectic. An immediate consequence of this parallel is mat, in accordance with Aristode's definition of tragic drama, dialectic demands the catharsis, or purging, of emotion from educated spirit.2 After establishing the analogy between dialectic and cathartic drama, I turn to the exemplary role that is played by Sophocles' Antigone in the Phenomenology ofSpirit. A reinterpretation of the play suggests that Hegel fails to see that emotional engagement, or the unsublated subjective feeling relegated to die lower art of lyric, in fact orients the dramatic action of Antigone. The resemblance between drama and dialectic suggests that desire can no more be purged from dialectic than from classical tragedy. As a consequence, Hegelian dialectic should be reconceived in terms of a notion of tragedy that is not cathartic but ecstatic. Philosophy and Literature, © 1990, 14: 268-283 Cynthia Willett269 In the AesUietks, Hegel places drama after epic and lyric as the third and final moment of the highest stage of art. Drama presents actions that are ethical and thus differs from the lyrical expression of feelings as well as the adventures narrated in epic (A, pp. 1158; 474). Hegel's definition of epic in terms of narration and description suggests that the language of epic functions as representation. Representational language externalizes, or objectifies, spirit's movement in a series ofevents which are related by the epic poet. This narration functions without the mediation ofa subject, which is to say without an "agent's inner will and character" (A, pp. 1160; 476). Lyric poetry, on the other hand, concerns feelings or "the inner life alone" (A, pp. 984; 254). In accordance with its subject matter, the language oflyric is not representational but expressive. Drama presents actions before an audience, such actions occurring primarily in the mode of speech (A, pp. 1159; 475). What we can characterize as the "speech-acts" performed in drama carry out intentions of, or ends soughtby, the main character. Drama advances dialectic because, as Hegel writes, "drama does not fall apart into a lyric inner life and an external sphere as its opposite, but displays an inner life and its external realization" (A, pp. 1 160; 476). First, events which occur episodically in epic attain the unity of a single action that comprises dramatic plot. Secondly, a "cleaned-up" version ofthe "chaotic" feelings expressed in lyric poetry develops into the intention of a character to adher to a universal ethical principle. It is important to emphasize that, according to Hegel, drama should not draw any of its effect from subjective emotions. Drama sublates lyrical feeling into ethical law. Only thus does drama bring together the epic-making events and lyrical subjectivity, notby wayofa mechanical synthesis, but in a metamorphosis enabling elements initially opposed to give rise to an original whole. The proximity ofdrama to dialectical thought appears in the contrast Hegel draws between dramatic action and action which is prosaic, or philosophically insignificant (A, pp. 1159; 475). Dramatic action, Hegel explains, "is notconfined to the simple and undisturbed accomplishment ofa specific aim; on the contrary, it rests entirely on collisions ofcircumstances, passions, and characters... which in turn necessitate a resolution of the conflict and discord" (A, pp. 1159; 475). On the other hand, a prosaic, or ordinary... (shrink)

In Republic X Plato dismisses any possibility for dramatic genres to be useful, not even for a controlled release of passions. Therefore, the Aristotelian approach of catharsis has been comprehended as a response to this refusal. However, in the Laws, Plato reconsiders and suggests a sense in which the tragedy, or put in a better way, the tragic character, has a place in the good life. But at the same time it implies a restructuring of his positions on (...) the nature of the soul and the relationship between its parts. This paper aims to evidence these two Platonic approaches and to show that instead of a contradiction, what underlies to this tension is the recognition of the crucial and paradoxical role of emotion in human life. (shrink)

In the ancient Greek world, the concept of 'miasma,' which becomes permanent and has the potential to grow over time due to evil acts such as murder committed in the city, is a concept frequently referred to in many classical tragedies. To the extent that miasma has a bad connotation due to its nature and is a situation that occurs due to evil actions, it can be considered together with the philosophical problem of evil. In this study, we aim to (...) examine the concept of miasma by focusing on the characters in La Jauría, one of the most prominent films of recent South American cinema, rather than a purely conceptual analysis of the concept. Filmed in the jungles of Colombia and directed by Colombian director Andrés Ramírez Pulido, the 2022 film La Jauría is a psychological drama that focuses on the lives of young people involved in crime. The tragic story of Eliu, the protagonist of the film, which takes place mainly in a prison specially designed to rehabilitate inmates, seems to us to be a very suitable focal point for examining the concepts of miasma, catharsis, and ecstasy, which are frequently referred to in ancient Greek tragedy. To do so, we will first address the various contexts in which miasma has been used historically, considering the flow of events in the movie La Jauría. Then, we will look at the relationship of the concept of miasma with the problem of evil. Finally, we will discuss the possibilities of the concept of purification, which is seen as a kind of antidote to miasma. (shrink)

The aim of this paper is to give a new interpretation of Aristotle's account of the emotions evoked in the course of engaging with tragic narratives that would give rise to a coherent account of catharsis. Very briefly, the proposal is that tragedy triggers vicarious emotions and catharsis is the purgation of such emotions. I argue that this interpretation of “fear and pity” as vicarious emotions is consistent with both Aristotle's account of (...) class='Hi'>emotions and his account of catharsis and also with his choice of examples for tragedies that trigger catharsis. (shrink)

Publication date: 30 November 2016 Source: Author: Mahshid Mirmasoomi King Lear is one of the political tragedies of Shakespeare in which the playwright censures Lear's hamartia wrecking havoc not only upon people's lives but bringing devastation on his own kindred. Shakespeare castigates Lear's wrath, sense of superiority, and misjudgments which lead to catastrophic consequences. In Death of Yazdgerd, an anti-authoritarian play, Bahram Beyzayie, the well-known Persiaian tragedian, also depicts the hamartia of King Yazdgerd III whose pride and unjust treatment of (...) people end in devastation. By demonstrating such defective and reprehensible tragic heroes, both playwrights set at providing audience with an anti-heroic representation of the kings and also shattering the common god-like heroism attributed to hero kings. Bearing in mind the political instability of England after the succession of James I, Shakespeare avails himself of such anti-heroic representation to forewarn those monarchs incapable of maintaining a balance between their judgments and the society's need for a genuine authority. In a similar fashion, Beyzayie narrates the true historical event of a Persian king whose improper exercise of authority, withdrawal from battle, and an ultimate escape leave people helpless against the invasion of Arabs. The article initially aims to discuss the concept of hamartia within the tragedies based on Aristotle's definition of hamartia and golden mean; by defining the nature of the kings' unforgivable errors and their extremely imbalanced temperament, the paper demonstrates how such ignoble failure relegates the hero kings to anti-heroes whose punishment equals their mistakes. Contrary to Aristotle’s idea, the article also elucidates how Shakespeare and Beyzaie have caused the audiences’ catharsis of emotion not through fear and pity but through the creation of a sense of justice by portraying characters who deserve their ultimate downfall. (shrink)

This article proposes an analysis of Plato’s Sophist that underlines the bond between the logical and the emotional components of the Socratic elenchus, with the aim of depicting the social valence of this philosophical practice. The use of emotions characterizing the ‘elenctic’ method described by Plato is crucial in influencing the audience and is introduced at the very moment in which the interlocutor attempts to protect his social image by concealing his shame at being refuted. The audience, thanks to (...) Plato’s literary strategy, realizes the failures of the interlocutor even as he refuses to accept them. As a result, his social image becomes tarnished. Purification through shame reveals how the medium is strictly related to the endorsement of specific ethical and political goals, making the Platonic dialogs the tools for the constitution of a new paideia. (shrink)

De nombreuses recherches ont mis en évidence le fait que les épicuriens n’étaient pas complètement hostiles à la poésie en général mais qu’ils refusaient probablement les compositions ou procédures poétiques qui ne conduisent pas à la fin naturelle du plaisir « catastématique », c’est-à-dire le bonheur. Dans cet article, nous nous demanderons donc si les épicuriens ont inventé une poésie cathartique de type positif ou s’ils ont simplement rejeté toutes les formes de catharsis poétique en les décrivant comme des (...) expériences négatives. Nous constaterons dans ce travail de recherche, divisé en trois parties, que la première hypothèse est plus probable que la seconde. Dans un premier temps, nous démontrerons que les épicuriens ont effectivement reconnu l’existence d’une catharsis positive, transmise par la raison et l’enseignement de la philosophie, ayant la capacité de faire disparaître les émotions négatives qui entravent l’accès au bonheur (l’amour, la peur du divin, le désir excessif, etc.). L’idée développée, dans un second temps, établit qu’Épicure et ses disciples pourraient s’être opposés à la catharsis tragique décrite dans la Poétique d’Aristote, parce qu’elle implique de passer par des passions négatives telles que la pitié et la terreur. Cette expérience esthétique entrerait alors en contradiction avec l’idéal épicurien du plaisir comme absence de trouble et d’inquiétude psychique. Enfin, dans un troisième temps, nous exposerons l’idée selon laquelle les épicuriens pourraient avoir accepté une seule forme de catharsis poétique : celle facilitant le processus de purification effectué par la raison et l’enseignement de la philosophie. Un exemple possible de cette pratique est le poème De rerum natura de Lucrèce dans lequel la poésie n’est pas considérée comme cathartique en soi, mais si et seulement si elle assiste la philosophie épicurienne dans sa conquête du bonheur. (shrink)

The aim of our experiment was to analyse the effect of the emotional valence (positive, negative, or neutral) on true and false recognition, matching the arousal, frequency, concreteness, and associative strength of the study and recognition words. Fifty younger adults and 46 healthy older adults performed three study tasks (with words of different valence: positive, negative, neutral) and their corresponding recognition tests. Two weeks later, they performed the three recognition tests again. The results show that words with a negative valence (...) produced less true recognition and less false recognition than words with a positive or neutral valence, in both younger and older adults, on the immediate recognition test. This pattern of results was also found in the younger adults on the delayed recognition test, whereas in the older participants, these differences disappeared. Thus, when arousal is controlled, both younger and older adults tend to recognise negative information worse than positive or neutral information, but they also commit fewer errors. Results would suggest that the greater arousal commonly associated with negative stimuli, rather than their own valence, could explain some of the contradictory results found in the literature. (shrink)

In this paper I focus on features of Aristotle's work (discussed in the Poetics) that can enhance our appreciation of Classical Greek tragedies and some of Shakespeare's works. Most important of these features is the production of the tragic effect, which consists of two parts: (1) the arousal of pity and fear to their maximum and (2) the katharsis or purgation of these emotions. The concept of katharsis has been interpreted in many ways and I will seek the (...) most appropriate interpretation. I argue that the maximisation of fear and pity that leads to the katharsis of these emotions can only be achieved by the unfolding of a well structured tragic plot and the revelation of character qualities in the tragic play. The successful tragedies from Classical Greece and the Shakespearean era possess the plots that were structured in a manner so as to produce the tragic effect to its maximum. I pay particular attention to Oedipus Rex of Sophocles and King Lear of Shakespeare to illustrate my point. (shrink)

This article aims at analysing Aristotle’s poetic conception of catharsis to assess whether it may be of help in enlightening the particular didactic challenges involved when training medical students to cope morally with complex or tragic situations of medical decision-making. A further aim of this investigation is to show that Aristotle’s criteria for distinguishing between history and tragedy may be employed to reshape authentic stories of sickness into tragic stories of sickness. Furthermore, the didactic potentials of (...) class='Hi'>tragic stories of sickness will be tried out. The ultimate aim is to investigate whether the possibilities of developing a therapeutic conception of medical ethics researched in a previous article on catharsis and moral therapy in Plato may be strengthened through the hermeneutics of the Aristotelian conception of tragic catharsis. (shrink)

Catharsis and tragic pleasure according to Aristotle. According to Aristotle, tragedies induce three different kinds of pleasures. First, there is the cognitive pleasure of imitation, since it is pleasurable to recognize in the imitation an object one already knows. Second, there is the aesthetic pleasure linked to the material parameters of the tragedy, that is the language, the show, and the performance. Third, there is the “specific” pleasure of tragedy. This specific pleasure is linked to the affects of (...) pity and fear through the process of catharsis. Although pity and fear are two opposite affects depending on the position of the subject relatively to an event, the spectator of the tragedy is bound to experience both of them simultaneously because of the ethical similarity the playwright must keep between him and the tragic hero. But pity and fear are also two opposite affects on the physiological level : pity is a warm affect, fear a cold one. Catharsis is then a physiological balancing of pity by fear, of warmth by cold, and reciprocally, and this continuous suppression of excesses of temperature through the tragic imitation, while bringing a feeling of relief and pleasure, rids the spectator of all excessive affects. Catharsis provides a healthy and hygienic pleasure, and so can Aristotle effectively reply to Plato’s criticism of tragedy. (shrink)

In this study, we examined the effects of emotional experience, a relatively new dimension of emotional knowledge that gauges the ease with which words evoke emotional experience, on abstract word processing in the Stroop task. In order to test the context-dependency of these effects, we accentuated the saliency of this dimension in Experiment 1A by blocking the stimuli such that one block consisted of the stimuli with the highest emotional experience ratings and the other block consisted of the stimuli with (...) the lowest emotional experience ratings. We attenuated the saliency of this dimension in Experiment 1B by intermixing the stimuli. We observed slower color naming performance for words with higher emotional experience ratings only in Experiment 1A, suggesting that the dimension of emotional experience is an aspect of semantic representation for abstract words but that its influence can be modulated by context. We interpret these results more generally using Vigliocco, Meteyard, Andrews, and Kousta's framework of semantic representation, and more specifically using Cohen, Dunbar, and McClelland's model of Stroop task performance. (shrink)

The main milestones, means, methods and consequences of the practice of «cleansing rituals» faithful Uniate diocese of Chelm during the 1830's - mid 1870's. As an important part of government measures to its incorporation into the Russian Orthodox Church.

ABSTRACTEmotional events tend to be remembered better than neutral events, but emotional states and stimuli may also interfere with cognitive processes that underlie memory performance. The current study investigated the effects of emotional content on working memory capacity, which involves both short term storage and executive attention control. We tested competing hypotheses in a preregistered experiment. The emotional enhancement hypothesis predicts that emotional stimuli attract attention and additional processing resources relative to neutral stimuli, thereby making it easier to encode and (...) store emotional information in WMC. The emotional impairment hypothesis, by contrast, predicts that emotional stimuli interfere with attention control and the active maintenance of information in working memory. Participants completed a common measure of WMC (the operation span task; Turner, M. L., & Engle, R. W. [1989]. Is working memory capacity task dependent? Journal of Memory and Language, 28,... (shrink)

Machine generated contents note: Introduction; Part I. Theoretical Views about Pity and Fear as Aesthetic Emotions: 1. Drama and the emotions: an Indo-European connection? 2. Gorgias: a strange trio, the poetic emotions; 3. Plato: from reality to tragedy and back; 4. Aristotle: the first 'theorist' of the aesthetic emotions; Part II. Pity and Fear within Tragedies: 5. An introduction; 6. Aeschylus: Persians; 7. Prometheus Bound; 8. Sophocles: Ajax; 9. Euripides: Orestes; Appendix: catharsis and the (...) class='Hi'>emotions in the definition of tragedy in the Poetics. (shrink)

Résumé — Cet article défend une interprétation de la catharsis qui intègre la psychologie, l’éthique et l’esthétique. Un réexamen attentif de la référence à la catharsis musicopoétique en Politique VIIImontre que, contrairement à l’opinion reçue, la catharsis n’est pas ici séparée de la conception aristotélicienne de l’importance éthique des réactions émotionnelles face aux formes d’art mimétique. Politique VIII donne également une raison de supposer que la catharsis est associée au plaisir, mais pas identifiée à lui. La (...) catharsis tragique se comprend mieux comme un profit retiré de la transformation des émotions pénibles en émotions agréables dans la contemplation de l’art mimétique. Cette lecture permet d’harmoniser catharsis et psychologie morale d’Aristote dans son ensemble : une réactivité émotionnelle intense aux objets esthétiques peut contribuer à l’entraînement approprié de dispositions éthiques. La catharsis n’est pas seulement le résultat final du spectacle de la tragédie ; elle vient couronner une expérience tout entière, à la fois cognitive et morale.— This paper argues for an interpretation of catharsis that integrates psychology, ethics and aesthetics. A careful reexamination of the reference to musico-poetic catharsis in Politics 8 shows that, contrary to received opinion, catharsis is not there divorced from Aristotle’s view of the ethical significance of emotional responses to mimetic art-forms. Politics 8 also supplies reason to suppose that catharsis is closely associated with, but not identical to, pleasure. Tragic catharsis is best understood as the benefit accruing from the transformation of painful into pleasurable emotions within the contemplation of mimetic art. This reading allows catharsis to be harmonised with Aristotle’s moral psychology as a whole : intense emotional responsiveness to « aesthetic » objects can contribute to the appropriate exercise of ethically attuned dispositions. Catharsis is not just the end-result of watching a tragedy ; it supervenes on the entire cognitive-cum-emotional experience. (shrink)

Some of the most successful works of art throughout history have dealt with tragic themes. From Romeo and Juliet to Jack and Rose in the film Titanic, millions of people have sat captivated through stories of death, separation, and loss. John Green’s The Fault in Our Stars has captivated audiences for half a decade, despite it depicting two young teens whose lives are threatened by cancer. Why is it that we actively seek out movies, books, paintings, and music that (...) bring us to tears? What about the agony of these works makes them worth revisiting, especially when we shy away from similar scenarios in our everyday lives? In her essay, “A Strange Kind of Sadness,” Marcia Eaton attempts to explain this phenomenon, arguing that we engage with tragic works because of the control we have over them. In this paper I will argue that her solution is inadequate, instead claiming that our attraction to these works stems from a desire for a safe, detached experience which results in emotional catharsis. I will also argue that these works draw us in because they foster connections in the global community, exposing us to new experiences and ways of life. (shrink)

Our daily lives unfold continuously, yet our memories are organised into distinct events, situated in a specific context of space and time, and chunked when this context changes (at event boundaries). Previous research showed that this process, termed event segmentation, enhances object-context binding but impairs temporal order memory. Physiologically, peaks in pupil dilation index event segmentation, similar to emotion-induced bursts of autonomic arousal. Emotional arousal also modulates object-context binding and temporal order memory. Yet, these two critical factors have not been (...) systematically studied together. To address this gap, we ran a behavioural experiment using a paradigm validated to study event segmentation and extended it with emotion manipulation. During encoding, we sequentially presented greyscale objects embedded in coloured frames (colour changes defining events), with a neutral or aversive sound. During retrieval, we tested participants’ memory of temporal order memory and object-colour binding. We found opposite effects of emotion and event segmentation on episodic memory. While event segmentation enhanced object-context binding, emotion impaired it. On the contrary, event segmentation impaired temporal order memory, but emotion enhanced it. These findings increase our understanding of episodic memory organisation in laboratory settings, and potentially in real life with perceptual changes and emotion fluctuations constantly interacting. (shrink)

Emotion plays a significant role in our reasoning even without awareness, perhaps especially for individuals who have difficulties tolerating strong, negative emotions. Opportunity for reflection may help such individuals decide when emotions should influence reasoning. Two studies attempted to clarify the relationships among reasoning, emotions, and emotion tolerance (measured with the Affect Intolerance Scale). The first examined the effect of affect intolerance on a reasoning task. Participants were asked to determine whether conclusions logically followed from both emotional (...) and neutral if–then statements. Emotion had a small effect on performance on the reasoning task, unmoderated by affect intolerance. The second study examined whether reflection on emotional responses impacts performance on the same reasoning task. Participants asked to reflect on their emotions performed more poorly on the reasoning task than participants asked to reflect on the task’s cognitive aspects. People who endorse greater affect tolerance performed better in the cognitive reflection condition than the emotional reflection condition. People with less tolerance performed the same in both conditions. Overall, these studies support previous findings that emotion can negatively impact performance on reasoning tasks but suggest a more complex relationship for affect intolerance. (shrink)

Though emotion conveys memory benefits, it does not enhance memory equally for all aspects of an experience, nor for all types of emotional events. In this review, I outline the behavioral evidence for arousal's focal enhancements of memory and describe the neural processes that may support those focal enhancements. I also present behavioral evidence to suggest that these focal enhancements occur more often for negative experiences than for positive ones. This result appears to arise because of valence-dependent effects on the (...) neural processes recruited during episodic encoding and retrieval, with negative affect associated with increased engagement of sensory processes, and positive affect leading to enhanced recruitment of conceptual processes. (shrink)

Using P300-based brain–computer interfaces in daily life should take into account the user’s emotional state because various emotional conditions are likely to influence event-related potentials and consequently the performance of P300-based BCIs. This study aimed at investigating whether external emotional stimuli affect the performance of a P300-based BCI, particularly built for controlling home appliances. We presented a set of emotional auditory stimuli to subjects, which had been selected for each subject based on individual valence scores evaluated a priori, while they (...) were controlling an electric light device using a P300-based BCI. There were four conditions regarding the auditory stimuli, including high valence, low valence, noise, and no sound. As a result, subjects controlled the electric light device using the BCI in real time with a mean accuracy of 88.14%. The overall accuracy and P300 features over most EEG channels did not show a significant difference between the four auditory conditions. When we measured emotional states using frontal alpha asymmetry and compared FAA across the auditory conditions, we also found no significant difference. Our results suggest that there is no clear evidence to support a hypothesis that external emotional stimuli influence the P300-based BCI performance or the P300 features while people are controlling devices using the BCI in real time. This study may provide useful information for those who are concerned with the implementation of a P300-based BCI in practice. (shrink)

What Aristotle meant by katharsis has tantalised philosophers, psychologists, and literary critics alike for centuries - from metaphors of purgation, purification and ritual cleansing, to claims that katharsis is not an experience of the audience but a property of the play1, a release of feeling, or a kind of pleasure 2. Some authors, such as Daniels and Scully3, even deny that katharsis is essentially an aspect of the emotional experiences of an audience. This paper will provide an attempt at (...) gaining insight into the “singular phenomenon”4 of tragic katharsis via the lens of the psychoanalyst Hanna Segal. My paper will begin by looking at some of the arguments I find most persuasive regarding the nature of katharsis; I shall then turn my attention to Segal’s discussion of tragedy. The final part of the paper will attempt to show how Segal’s discussion can shed light on the analysis of tragedy that Aristotle provides in his Poetics. (shrink)

There are considerable gaps in our knowledge of how children develop abstract language. In this paper, we tested the Affective Embodiment Account, which proposes that emotional information is more essential for abstract than concrete conceptual development. We tested the recognition memory of 7- and 8-year-old children, as well as a group of adults, for abstract and concrete words which differed categorically in valence. Word valence significantly interacted with concreteness in hit rates of both children and adults, such that effects of (...) valence were only found in memory for abstract words. The pattern of valence effects differed for children and adults: children remembered negative words more accurately than neutral and positive words, whereas adults remembered negative and positive words more accurately than neutral words. In addition, signal detection analysis revealed that children were better able to discriminate negative than positive words, regardless of concreteness. The findings suggest that the memory accuracy of 7- and 8-year-old children is influenced by emotional information, particularly for abstract words. The results are in agreement with the Affective Embodiment Account and with multimodal accounts of children’s lexical development. (shrink)

So far, little is known about the neurocognitive mechanisms associated with emotion effects on prospective memory (PM) performance. Thus, this study aimed at disentangling possible mechanisms for the effects of emotional valence of PM cues on the distinct phases composing PM by investigating event-related potentials (ERPs). Participants were engaged in an ongoing N-back task while being required to perform a PM task. The emotional valence of both the ongoing pictures and the PM cues was manipulated (pleasant, neutral, unpleasant). ERPs were (...) recorded during the PM phases, such as encoding, maintenance, and retrieval of the intention. A recognition task including PM cues and ongoing stimuli was also performed at the end of the sessions. ERP results suggest that emotional PM cues not only trigger an automatic, bottom-up, capture of attention, but also boost a greater allocation of top-down processes. These processes seem to be recruited to hold attention towards the emotional stimuli and to retrieve the intention from memory, likely because of the motivational significance of the emotional stimuli. Moreover, pleasant PM cues seemed to modulate especially the prospective component, as revealed by changes in the amplitude of the ERP correlates of strategic monitoring as a function of the relevance of the valence for the PM task. Unpleasant pictures seemed to modulate especially the retrospective component, as revealed by the largest old/new effect being elicited by unpleasant PM pictures in the recognition task. (shrink)

ABSTRACT This study investigated the influence of different emotions and social consensus on moral decision-making using a mixed 2 × 2 experimental design. The results showed that the main effect of social consensus was significant: the moral decision-making level of participants under the condition of low social consensus was lower than that of participants under the condition of high social consensus, while no main effect of emotion emerged. Second, the results showed that emotion and social consensus have interactive effects (...) on moral decision-making. When social consensus was high, there was no significant difference in moral decision-making between individuals with positive emotions and individuals with negative emotions. When social consensus was low, individuals with negative emotions were more likely to make immoral decisions than individuals with positive emotions. These results reveal that emotion and social consensus work together in affecting moral decision-making. (shrink)

Emotional reactivity has been implicated in the development and maintenance of anxiety. The metacognitive model suggests that maladaptive metacognitive beliefs may inc...

Service providers working for a service organization are asked to express such positive emotions as joy, pleasure, and politeness required at the organizational level rather than their natural emotions they are experiencing at the moment. They cannot express their emotion they are actually going through and accordingly, their level of emotional labor and emotional dissonance influence on their job commitment and trust toward their organization. This study thus set out to investigate the effects of leading variables of emotional (...) labor on the level of emotional labor and the impact of emotional labor on organizational trust and organizational commitment with a subject group of college administrative staffs. Three underlying factors such as job stress, intimacy, and professionalism were identified as the determinants of emotional labor. Conceptual background about job stress, intimacy, emotional labor, and organizational effectiveness as the core variables of the study was investigated. Based on the conceptual background and our research questions, 5 research hypotheses and the proposed research model regarding the effects of emotional labor on organizational commitment and trust were developed. We also tried to include the moderating effects of work environment and gender of service providers on the research model. Unlike many different studies on emotional labor from the traditional perspective of service, this study also offers a practical implication by expanding and applying it to the field of college administrative service, which is an area where service providers are in the different working environment from the traditional company work environment. Finally, the managerial implications and the limitations of the study were also discussed. (shrink)

A conceptual model articulating the nature of customer expectations and satisfaction over services was proposed with emotional factors. Five propositions about consumer emotional service expectations as a primary antecedent toward confirmation, perceived quality, and satisfaction were provided. As moderators, two dimensions of consumer detection of emotional labor (i.e., detecting deep acting and surface acting) were imposed on each of the relationships. Evidence demonstrated the roles of emotional service expectation in service confirmation and satisfaction. The moderating effects of consumer detection of (...) employees’ emotional strategies were limited to the relationship between emotional service expectation and confirmation; its relationship was weakened by detections of surface acting while other relationships were not moderated by detections of deep nor surface acting. Structural equation modeling analyses were conducted using online survey data targeting consumers in the hotel / restaurant industry. (shrink)

Recent events and popularized stereotypes call into question the ethics of salesperson behaviors. Although prior research demonstrates that salespeople’s emotional exhaustion can have negative consequences for several job outcomes, little is known about the factors that can mitigate such relationships—particularly the relationship between emotional exhaustion and ethical behavior. To remedy this knowledge gap, we draw from self-control theory to propose a novel theoretical framework and develop hypotheses. These hypotheses are tested on a unique dataset consisting of survey data collected from (...) 123 matched business-to-business salesperson–manager dyads. The findings reveal that emotional exhaustion is negatively associated with sales performance, emotional exhaustion is negatively associated with ethical behaviors, ethical behaviors are positively associated with sales performance, ethical behaviors mediate emotional exhaustion’s negative effect on sales performance, perceived supervisor support attenuates the negative association between emotional exhaustion and ethical behaviors, and contrary to expectations, grit strengthens the negative association between emotional exhaustion and ethical behaviors. As we show here, perceived supervisor support may attenuate the undesirable effects of emotional exhaustion on ethical behaviors and sales performance. The article’s broader contribution thus lies in its suggestion that managers pay special attention to these factors. Moreover, factors such as grit can have unexpected and undesirable influences; therefore, we draw attention to the importance of scrutinizing these interactions, even when the factors involved are almost universally touted as beneficial. Theoretical and practical implications of the research are discussed. (shrink)

Previous studies consistently showed age-related differences in temporal judgment and temporal memory. Importantly, emotional valence plays a crucial role in older adults’ information processing. In this study, we examined the effects of emotions at the intersection between time and memory, analysing age-related differences in a temporal source memory task. Twenty-five younger adults (age range 18–35), 25 old adults (age range 65–74), and 25 old–old adults (age range 75–84) saw a series of emotional pictures in three sessions separated by a (...) one-day rest period. In the fourth session, participants were asked to indicate in which session (1, 2, or 3) they saw each picture. Results showed that old–old adults tended to collocate negative pictures distant in time, while positive stimuli were remembered as more recent than real, compared to neutral pictures. To a lower extent, people over 65 showed the same pattern of results. In contrast, emotional valence did not affect younger adults’ temporal positioning of stimuli. Current findings fit well with the Socio-Emotional Selectivity Theory’s assumptions and extended the literature on the positivity effect to temporal source memory. (shrink)

BackgroundTrait anxiety is a pervasive tendency to attend to and experience fears and worries to a disproportionate degree, across various situations. Decreased vulnerability to trait anxiety has been linked to having higher working memory capacity and better emotion regulation; however, the relationship between these factors has not been well-established.ObjectiveThis study sought to determine if participants who undergo emotional working memory training will have significantly lower trait anxiety post-training. The study also sought to determine if emotion regulation mediated the relationship between (...) working memory training and trait anxiety.MethodAn experimental group comprising of 49 participants underwent 20 days of computerized emotional working memory training, which involved viewing a continuous stream of emotionally-charged content on a grid, and then remembering the location and color of items presented on the grid. The control group comprised of 51 participants.ResultsParticipants of the experimental group had significantly lower trait anxiety compared to controls, post-training. Subsequent mediation analysis determined that working memory training capacity gains were significantly related to anxiety reduction as measured by form Y2 of the Spielberger State-Trait Anxiety Inventory. Emotion regulation, as measured by the Emotional Regulation Questionnaire, was found not to mediate between working memory capacity gains and trait anxiety reduction.ConclusionWorking memory capacity gains and reductions in levels of trait anxiety were observed following emotional working memory training. The study may therefore be useful in informing interventions targeted at improving working memory capacity, and reducing levels of trait anxiety. Moreover, it proposes for future research to further look into the mediating role of emotion regulation via the development or utilization of more comprehensive measures of emotion regulation. (shrink)

ABSTRACTThe present research tested the notion that emotion expression and context perception are bidirectionally related. Specifically, in two studies focusing on moral violations and positive moral deviations respectively, we presented participants with short vignettes describing behaviours that were either moral, polite or unusual together with a picture of the emotional reaction of a person who supposedly had been a witness to the event. Participants rated both the emotional reactions observed and their own moral appraisal of the situation described. In both (...) studies, we found that situational context influenced how emotional reactions to this context were rated and in turn, the emotional expression shown in reaction to a situation influenced the appraisal of the situation. That is, neither the moral events nor the emotion expressions were judged in an absolute fashion. Rather, the perception of one also depended on the other. (shrink)

During the outbreak of COVID-19, information on the epidemic inundated people’s lives and led to negative emotions in many people. This study aims to explore the effect of various emotions on prosocial tendencies during the COVID-19 outbreak and the moderating effect of the severity of the epidemic. We explore these effects by conducting a text analysis of the content of posts by 387,730 Weibo users. The results show that the severity of the epidemic promotes prosocial tendencies; anger motivates (...) prosocial tendencies significantly; and the severity of the epidemic moderates the effects of three emotions—anger, sadness, and surprise—on prosocial tendencies. These findings provide a reference for exploring the positive significance of major disasters. (shrink)

Work-related satisfaction has critical benefits. To predict work-related satisfaction, we investigated how a counterpart’s expressions of emotional complexity (both positive and negative emotions), positive emotions, and negative emotions influenced a perceiver’s work-related satisfaction during discussions over different work-relevant ideas. We conducted a three-wave coworker survey (N = 529) and an experiment with a confederate as a task partner (N = 378). The results consistently showed significant positive impacts of a counterpart’s emotional complexity and positive emotion expressions on (...) a perceiver’s work-related satisfaction by enhancing the perceiver’s positive emotions and evaluation of the counterpart’s openness. Conversely, a counterpart’s negative emotion expression significantly decreased a perceiver’s work-related satisfaction by reducing perceived counterpart openness. We also did not find a perceiver’s negative emotion as a significant mediator of the associations between the three emotional expressions and work-related satisfaction. Therefore, our investigation highlights similar positive effects of emotional complexity and positive emotion expressions and suggests that an expression of both positive and negative emotions promotes satisfaction by enhancing positive emotions and openness perception. (shrink)

Using emotional film clips is one of the most popular and effective methods of emotion elicitation. The main goal of the present study was to develop and test the effectiveness of a new and comprehensive set of emotional film excerpts. Fifty film experts were asked to remember specific film scenes that elicited fear, anger, sadness, disgust, amusement, tenderness, as well as emotionally neutral scenes. For each emotion, the 10 most frequently mentioned scenes were selected and cut into film clips. Next, (...) 364 participants viewed the film clips in individual laboratory sessions and rated each film on multiple dimensions. Results showed that the film clips were effective with regard to several criteria such as emotional discreteness, arousal, positive and negative affect. Finally, ranking scores were computed for 24 classification criteria: Subjective arousal, positive and negative affect (derived from the PANAS; Watson & Tellegen, 1988), a positive and a negative affect scores derived from the Differential Emotions Scale (DES; Izard et al., 1974), six emotional discreteness scores (for anger, disgust, sadness, fear, amusement and tenderness), and 15 “mixed feelings” scores assessing the effectiveness of each film excerpt to produce blends of specific emotions. In addition, a number of emotionally neutral film clips were also validated. The database and editing instructions to construct the film clips have been made freely available in a website. (shrink)