We conducted the largest multiple-iteration retelling study to date (12,840 participants and 19,086 retellings) with two different studies that test how emotional appraisals are transmitted across retellings. We use a novel Bayesian model that tracks changes across retellings. Study 1 examines the preservation of appraisals of happy and sad stories and finds that retellings preserve the story’s degree of happiness and sadness even when length shrinks and aspects of story coherence and rationalisation deteriorate. Study 2 compared the transmission of appraisals (...) of happiness and sadness with embarrassment, disgust, and risk. Appraisals of happiness, sadness, and also embarrassment showed high appraisal preservation, while disgust and risk were not well preserved. We conclude that participants in our studies encoded happy and sad stories by encapsulating the events and details into an overall emotional appraisal of the story and that this processing strategy might also apply to stories involving other emotions like embarrassment. The emotional appraisal played a key role in retelling by helping to guide the selection, invention, and ordering of the story elements. Hence, we posit that emotion appraisals can operate as anchors for remembering and retelling stories, thus playing an important role in narrative communication. (shrink)

Emotion is critical for cultural dynamics, that is, for the formation, maintenance, and transformation of culture over time. We outline the component micro- and macro-level processes of cultural dynamics, and argue that emotion not only facilitates the transmission and retention of cultural information, but also is shaped and crafted by cultural dynamics. Central to this argument is our understanding of emotion as a complete information package that signals the adaptive significance of the information that the agent is processing. It captures (...) an agent’s appraisal about the relationship between themself and the object of emotional focus, as well as action orientation and allostasis in context. We discuss implications of this perspective in the context of the changing natural and geopolitical environment, and future cultural dynamics into the 21st century. (shrink)

ABSTRACTThe presence of emotional words and content in stories has been shown to enhance a story’s memorability, and its cultural success. Yet, recent cultural trends run in the opposite direction. Using the Google Books corpus, coupled with two metadata-rich corpora of Anglophone fiction books, we show a decrease in emotionality in English-speaking literature starting plausibly in the nineteenth century. We show that this decrease cannot be explained by changes unrelated to emotionality, and that, in our three corpora, the decrease is (...) driven almost entirely by a decline in the proportion of positive emotion-related words, while the frequency of negative emotion-related words shows little if any decline. Consistently with previous studies, we also find a link between ageing and negative emotionality at the individual level. (shrink)

Cultural variants may spread by being more appealing, more memorable, or less offensive than other cultural variants. Empirical studies suggest that such “emotional selection” is a force to be reckoned with in cultural evolution. We present a research paradigm that is suitable for the study of emotional selection. It guides empirical research by directing attention to the circumstances under which emotions influence the likelihood that an individual will influence another individual to acquire a cultural variant. We present a modeling framework (...) to translate such knowledge into specific and testable predictions of population-level change. A set of already analyzed basic cases can serve as a toolbox. (shrink)

Many scholars have rejected cultural evolutionary theory on the grounds that cultural variation is directed and intentionally created, rather than incremental and blind with respect to function, as is the case for novel genetic variation in genetic evolution. Meanwhile, some cultural evolution researchers insist that cultural variation is blind and undirected, and the only directional force is selection of randomly-generated variants. Here I argue that neither of these positions are tenable. Cultural variation is directed in various ways. While this does (...) not invalidate cultural evolution, more attention should be paid to the different sources of non-randomness in culturally evolving systems. (shrink)