Emotions are viewed as having evolved through their adaptive value in dealing with fundamental life-tasks. Each emotion has unique features: signal, physiology, and antecedent events. Each emotion also has characteristics in common with other emotions: rapid onset, short duration, unbidden occurrence, automatic appraisal, and coherence among responses. These shared and unique characteristics are the product of our evolution, and distinguish emotions from other affective phenomena.

We used multiple methods to examine two questions about emotion and culture: (1) Which facial expressions are recognised cross-culturally; and (2) does the “forced-choice” method lead to spurious findings of universality? Forty participants in the US and 40 in India were shown 14 facial expressions and asked to say what had happened to cause the person to make the face. Analyses of the social situations given and of the affect words spontaneously used showed high levels of recognition for most of (...) the expressions. A subsequent forced-choice task using the same faces confirmed these findings. Analysis of the pattern of magnitude, discreteness, and similarity of responses across cultures and expressions led to the conclusion that there is no neat distinction between cross-culturally recognisable and nonrecognisable expressions. Results are better described as a gradient of recognition. (shrink)

As an alternative to using the concepts of emotion, fear, anger, and the like as scientific tools, this article advocates an approach based on the concepts of core affect and psychological construction, expanding the domain of inquiry beyond “emotion”. Core affect is a neurophysiological state that underlies simply feeling good or bad, drowsy or energised. Psychological construction is not one process but an umbrella term for the various processes that produce: (a) a particular emotional episode's “components” (such as facial movement, (...) vocal tone, peripheral nervous system change, appraisal, attribution, behaviour, subjective experience, and emotion regulation); (b) associations among the components; and (c) the categorisation of the pattern of components as a specific emotion. (shrink)

Mitchell S. Green presents a systematic philosophical study of self-expression - a pervasive phenomenon of the everyday life of humans and other species, which has received scant attention in its own right. He explores the ways in which self-expression reveals our states of thought, feeling, and experience, and he defends striking new theses concerning a wide range of fascinating topics: our ability to perceive emotion in others, artistic expression, empathy, expressive language, meaning, facial expression, and speech acts. He draws on (...) insights from evolutionary game theory, ethology, the philosophy of language, social psychology, pragmatics, aesthetics, and neuroscience to present a stimulating and accessible interdisciplinary work. (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)

In this book, I make use of an idea from economics to suggest how noble human tendencies might not only have survived the ruthless pressures of the material world, but actually have been nurtured by them.

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.