In this paper we integrate claims and findings concerning the social functions of emotions at the individual, dyadic, group, and cultural levels of analysis. Across levels of analysis theorists assume that emotions solve problems important to social relationships in the context of ongoing interactions. Theorists diverge, however, in their assumptions about the origins, defining characteristics, and consequences of emotions, and in their preferred forms of data. We illustrate the differences and compatibilities among these levels of analysis for the specific case (...) of embarrassment. We close by suggesting research strategies that incorporate a social-functional perspective. (shrink)

The current research tested the idea that it is the cultural fit of emotions, rather than certain emotions per se, that predicts psychological well-being. We reasoned that emotional fit in the domains of life that afford the realization of central cultural mandates would be particularly important to psychological well-being. We tested this hypothesis with samples from three cultural contexts that are known to differ with respect to their main cultural mandates: a European American ( N = 30), a Korean ( (...) N = 80), and a Belgian sample ( N = 266). Cultural fit was measured by comparing an individual’s patterns of emotions to the average cultural pattern for the same type of situation on the Emotional Patterns Questionnaire ( De Leersnyder et al., 2011 ). Consistent with our hypothesis, we found evidence for “universality without uniformity”: in each sample, psychological well-being was associated with emotional fit in the domain that was key to the cultural mandate. However, cultures varied with regard to the particular domain involved. Psychological well-being was predicted by emotional fit (a) in autonomy-promoting situations at work in the U.S., (b) in relatedness-promoting situations at home in Korea, and (c) in both autonomy-promoting and relatedness-promoting situations in Belgium. These findings show that the experience of culturally appropriate patterns of emotions contributes to psychological well-being. One interpretation is that experiencing appropriate emotions is itself a realization of the cultural mandates. (shrink)

This chapter describes a perspective on emotion, according to which emotions are: 1. Designed to function in a social context: an emotion is often an act of relationship reconfiguration brought about by delivering a social signal; 2. Forms of skillful engagement with the world which need not be mediated by conceptual thought; 3. Scaffolded by the environment, both synchronically in the unfolding of a particular emotional performance and diachronically, in the acquisition of an emotional repertoire; 4. Dynamically coupled to an (...) environment which both influences and is influenced by the unfolding of the emotion We draw heavily on ‘transactional’ accounts of emotion proposed by some contemporary psychologists. Although these authors do not, to our knowledge, conceive their work as a contribution to the ‘situationist’ literature that is the focus of this volume, we contend that their proposals constitute a fairly exact, affective parallel to situationist ideas about cognition. The primary aim of this chapter is to demonstrate that a situated approach to emotion already exists and is backed by a substantial experimental literature. (shrink)

Little is known about the circumstances that give rise to blushing and there have been no systematic attempts to classify and analyze the types of situations where it occurs. The study reported here analyzes a sample of recollections of occasions and a selection of literary episodes. The two sources of evidence yield somewhat different patterns but prominent themes in both are being the centre of attention, whether this is positive, neutral or negative, and the disclosure, or threat of exposure, of (...) a private or sensitive topic. Inspection of example suggests that a blush is associated with self-consciousness. More specifically, it is elicited when circumstances cause someone to take another's perspective on the self, and this generates awareness of a discrepancy between his or her position and this position as it appears to the other. A blush does not require that the other take an adverse view of the actor's position. The blush shows sensitivity to the opinions of others and it is its capacity to communicate this that makes it effective in deflecting aggressive or rejecting responses from others. (shrink)