Emotions are traditionally considered to be brief states that last for seconds or a few minutes at most. However, due to pioneering theoretical work of Frijda and recent empirical studies, it has become clear that the duration of emotions is actually highly variable with durations ranging from a few seconds to several hours, or even longer. We review research on determinants of emotion duration. Three classes of determinants are identified: features related to the emotion-eliciting event, emotion itself, and emotion-experiencing person. (...) Initial evidence on the psychological and neural mechanisms that underlie their effects is discussed. (shrink)

Over the last century, emotion research has been beset by the problem of major disagreements with respect to the definition of the phenomenon and an abundance of different theories. Arguably, these divergences have had adverse effects on theory development, on the theoretical foundations of empirical research, and on knowledge accumulation in the study of emotion. Similar problems have been encountered in other areas of behavioural science. Increasingly, there have been calls to work towards some form of theory integration. In contrast, (...) here an effort is made to show that a reasonable degree of theory convergence in the area of emotion science can be attained by adopting a design feature-based working definition of emotion and highlighting the basic agreement on the components of the dynamic emotion process. The aim is to invite constructive discussion on communalities and divergences between different theories and foster the development of more complementary theoretical frameworks to guide future empirical research. (shrink)

The comments by Brosch and Sander, de Sousa, Frijda, Kuppens, and Parkinson admirably complement the four main articles, adding layers of complexity, but perhaps at the expense of theoretical parsimony and stringency. Their suggestions are inspiring and heuristic, but we must not forget that science is about testing concrete predictions.

Commitment has been perceived as a strategic topic in organizations due to its positive effect on retaining talent, increasing performance, or boosting employees’ innovative behavior. However there are many focis of commitment in the workplace, which has represented a challenge to human resources management, who need implement measures to improve the employee’s commitment. Recent research has suggested a need to conduct studies about commitment, namely antecedents and the relationship between different focis, to understand the dynamic and directionality between them. Hence, (...) the purpose of this work is to analyze how employees’ emotional awareness relates with two focis of commitment, also assessing the mediating role of affective commitment to the leader. The study uses structural equation modeling and Lisrel to test the hypotheses considering the multidimensionality of organizational commitment, employees emotional awareness, and the affective commitment to the leader, under the scope of Social Exchange Theory. The Mackinon’s Z Test was used to assess the mediation role of affective commitment to the leader. The sample is composed for 403 employees from two multinational companies. The results provide empirical evidence about the mediating role of affective commitment to the leader in the relationship between employees’ emotional awareness and organizational commitment, and the employees’ emotional awareness as an antecedent of commitment. The implications for theory and practice are discussed. (shrink)

This article suggests that methodological and conceptual advancements in affective sciences militate in favor of adopting an appraisal-driven componential approach to further investigate the emotional brain. Here we propose to operationalize this approach by distinguishing five functional networks of the emotional brain: the elicitation network, the expression network, the autonomic reaction network, the action tendency network, and the feeling network, and discuss these networks in the context of the affective neuroscience literature. We also propose that further investigating the “appraising brain” (...) is the royal road to better understand the elicitation network, and may be key to revealing the neural causal mechanisms underlying the emotion process as a whole. (shrink)

The special section commentators take us to the frontiers of appraisal theory. Following their lead, I discuss cross-cultural commonalities, domain-specific appraisals, individual differences, nonappraisal determinants, and a blueprint for the appraising brain.

In reply to the commentaries of Clay-Warner, Gendolla, Nesse, Shweder, and Zachar, I repeat the essential features of appraisal theories of the second flavor: They take emotional components as the phenomenon to be explained, and they strive for a multilevel mechanistic explanation that leaves room for complex and dynamical processes or mechanisms. Every mechanistic explanation starts with an accurate description of regularities between inputs and outputs. Regularities do not preclude context-dependent variety, because there is no limit to the number of (...) input factors that can influence the output, and back. (shrink)

This paper discusses contemporary advancements in the affective sciences that can inform the music-emotion literature. Key concepts in these theories are outlined, highlighting their points of agreement and disagreement. This summary shows the importance of appraisal within the emotion process, provides a greater emphasis upon goal-directed accounts of behavior, and a need to move away from discrete emotion “folk” concepts and toward the study of an emotional episode and its components. Consequently, three contemporary music emotion theories are examined through a (...) skeptical lens. This critique highlights the over-reliance upon categorization and a lack of acknowledgment of appraisal processes, specifically goal-directed appraisal, in examining how individual experiences of music emerge in different contexts. Based on this critique of current music-emotion models, we present our skeptically informed CODA model - Constructivistly-Organised Dimensional-Appraisal model. This model addresses skeptical limitations of existing theories, reinstates the role of goal-directed appraisal as central to what makes music relevant and meaningful to an individual in different contexts and brings together different theoretical frameworks into a single model. From the development of the CODA model, several hypotheses are proposed and applied to musical contexts. These hypotheses address theoretical issues such as acknowledging individual and contextual differences in emotional intensity and valence, as well as differentiating between induced and perceived emotions, and utilitarian and aesthetic emotions. We conclude with a sections of recommendations for future research. Altogether, this theoretical critique and proposed model points toward a positive future direction for music-emotion science. One where researchers can take forward testable predictions about what makes music relevant and meaningful to an individual. (shrink)

Functional theories posit that emotions are elicited by particular goal-related situations that represented adaptive problems and that emotions are evolved features of coordinated responses to those situations. Yet little theory or research has addressed the evolutionary aspects of these theories. We apply five criteria that can be used to judge whether features are adaptations. There is evidence that sadness, anger, and anxiety relate to unique changes in physiology, cognition, and behavior, those changes are correlated, situations that give rise to emotions (...) are consistent, and emotions are complex. To date, there is little experimental evidence regarding whether discrete emotions resolve adaptive problems and do so relatively efficiently. Evidence supporting all criteria is required to claim that discrete emotions are evolved features. (shrink)

The initial cause of Cotard delusion is pervasive dyshomeostasis (dysregulation of basic bodily function).This explanation draws on interoceptive active inference account of self‐representation. In this framework, the self is an hierarchical predictive model made by the brain to facilitate homeostatic regulation. The account I provide is an alternative to two factor accounts of the Cotard delusion that treat depersonalisation experience as the first factor in genesis of the Cotard delusion. I argue that depersonalisation experience and the Cotard delusion are produced (...) by different breakdowns in the process of self‐modelling. (shrink)

Appraisal and constructivist theories of emotion both emphasize that emotions are not modular phenomena, but are constructed from more basic psychological parts. In the scientific debate, differences between the two approaches are sometimes overplayed, by classifying appraisal theories as “natural kinds” models, and sometimes underplayed, by basically merging them into constructivist accounts. The aim of this contribution is to illustrate some similarities and some differences between contemporary appraisal and constructivist approaches, and to highlight the fact that appraisal theory has indeed (...) already confronted the idea of construction in the elicitation of emotion. In doing so, I want to argue that, while there is a distinction between appraisal and constructivist camps, it is not as stark as one might think, even though the names of the “ingredients” of emotions may differ. (shrink)

In this essay I examine the conceptual relation between emotions and their corresponding evaluations, desires, behavior and goals. Such conceptual relation is of the utmost importance in order to account for the unity or oneness of emotion, for if the different aspects of emotion are linked conceptually, then to have one such aspect would imply having all the others. After I discuss how emotions are related to their corresponding evaluations, desires and behavior, I show how each aspect of emotion is (...) related to the others. Next, I argue that indeed there is such conceptual or quasi-conceptual relation between emotions, evaluations and conative or desiderative states. However, while intentional behavior in terms of actions is conceptually related to some emotions, other times the emotion-specific desires are either non-forward-looking, and thus do not give rise to intentional actions, or they may be overridden, and the resultant behavioral manifestations are not conceptually related to emotion. Next, I argue that emotions are eudaimonistic, in the sense that they are essentially concerned with important goals, concerns and attachments that comprise our conception of the good life and well-being. Finally, I examine the conceptual relation between emotions and their respective goals, and argue that while emotions logically presuppose such goals, the reverse is not the case. (shrink)

Las soluciones a la paradoja de la ficción propuestas por Kendall Walton y Gregory Currie, a pesar de diferir en puntos de detalle importantes, suponen dos movimientos conceptuales comunes para entender la situación de quien está inmerso en una obra de ficción, a través del recurso a la noción de “cuasi-emociones” y de la idea de construcción de escenarios imaginarios. Aquí propondré que sus propuestas fallan en sus dos puntos centrales, a partir de problemas que son, sin embargo, independientes. Por (...) un lado, sus ideas sobre las emociones que sentimos al estar atrapados por una obra de ficción fallan al suponer una versión inaceptable de la tesis cognitivista acerca de las emociones. Por otro, sus ideas sobre la construcción de mundos imaginarios por parte de los “consumidores de ficción” fallan al suponer una dicotomía entre mundos de ficción y realidad. Finalmente, discutiré brevemente el modo en que ambos tipos de problemas repercuten sobre la viabilidad del planteo de la paradoja misma. (shrink)