Being moved: linguistic representation and conceptual structure

Kuehnast, Milena; Wagner, Valentin; Wassiliwizky, Eugen; Jacobsen, Thomas; Menninghaus, Winfried

doi:10.3389/fpsyg.2014.01242

Cited by 72 publications

(107 citation statements)

References 57 publications

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“…The larger picture is, however, that kama muta is predominantly a positive emotion, elicited by a positive appraisal. Our valence results fit several being-moved models that predict being moved to be a predominantly positive emotion (Cova & Deonna, 2014;Hanich et al, 2014;Kuehnast et al, 2014;Tokaji, 2003), yet are at odds with others that see it as predominantly negative (Neale, 1986). …”

Section: Valencementioning

confidence: 56%

“…Menninghaus and colleagues (2015) proposed that being moved is elicited by significant relationship or critical life events that are especially compatible with prosocial norms or self-ideals. Frijda (1988) characterized sentimentality as evoked by a precise sequence: Attachment concerns are awakened; expectations regarding their nonfulfillment are evoked, and then they are abruptly fulfilled (see also Kuehnast, Wagner, Wassiliwizky, Jacobsen, & Menninghaus, 2014;Tan, 2009). Appraised situations such as these can arouse strong feelings of being moved or touched (Konečni, 2005;Scherer & Zentner, 2001;Sloboda, 1991).…”

Section: Being Moved: Phenomenology Elicitors and Outcomesmentioning

confidence: 99%

“…Research assessing moving or touching experiences has been conducted using U.S. American (Schubert, Zickfeld, Seibt, & Fiske, 2016;Thomson & Siegel, 2013), British (Schnall & Roper, 2012;Schnall et al, 2010), French-speaking Swiss (Cova & Deonna, 2014), German (Kuehnast et al, 2014;Menninghaus et al, 2015;Wassiliwizky, Jacobsen, Heinrich, Schneiderbauer, & Menninghaus, 2017), Japanese (Tokaji, 2003), Dutch (Strick et al, 2015), Norwegian (Seibt, Schubert, Zickfeld, & Fiske, 2017), and Finish (Vuoskoski & Eerola, 2017) participants. Yet each of these studies has used different elicitors and different methods, so, to date no study has systematically compared responses to moving stimuli with the same measures across a range of cultures.…”

Section: Being Moved: Phenomenology Elicitors and Outcomesmentioning

confidence: 99%

See 2 more Smart Citations

Kama Muta: Similar Emotional Responses to Touching Videos Across the United States, Norway, China, Israel, and Portugal

Seibt

Schubert

Zickfeld

et al. 2017

Journal of Cross-Cultural Psychology

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Ethnographies, histories, and popular culture from many regions around the world suggest that marked moments of love, affection, solidarity, or identification everywhere evoke the same emotion. Based on these observations, we developed the kama muta model, in which we conceptualize what people in English often label being moved as a culturally implemented social-relational emotion responding to and regulating communal sharing relations. We hypothesize that experiencing or observing sudden intensification of communal sharing relationships universally tends to elicit this positive emotion, which we call kama muta. When sufficiently intense, kama muta is often accompanied by tears, goosebumps or chills, and feelings of warmth in the center of the chest. We tested this model in seven samples from the United States, Norway, China, Israel, and Portugal. Participants watched short heartwarming videos, and after each video reported the degree, if any, to which they were “moved,” or a translation of this term, its valence, appraisals, sensations, and communal outcome. We confirmed that in each sample, indicators of increased communal sharing predicted kama muta; tears, goosebumps or chills, and warmth in the chest were associated sensations; and the emotion was experienced as predominantly positive, leading to feeling communal with the characters who evoked it.

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Section: Valencementioning

confidence: 56%

Section: Being Moved: Phenomenology Elicitors and Outcomesmentioning

confidence: 99%

Section: Being Moved: Phenomenology Elicitors and Outcomesmentioning

confidence: 99%

See 1 more Smart Citation

Kama Muta: Similar Emotional Responses to Touching Videos Across the United States, Norway, China, Israel, and Portugal

Seibt

Schubert

Zickfeld

et al. 2017

Journal of Cross-Cultural Psychology

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show abstract

“…The cognitive salience index yields comparable results across studies since it does not depend on the length of the individual lists (Sutrop 2001: 267). Numerous researchers have used the Cognitive Salience Index as a successful means of establishing a reliable ranking of items (see, for example, Kuehnast et al 2014;Sandford 2015;Sutrop 2000, 2001, 2002: Uusküla & Sutrop 2007Uusküla 2007Uusküla , 2008.…”

Section: Introductionmentioning

confidence: 99%

Color Entrenchment in Middle-School English Speakers: Cognitive Salience Index Applied to Color Listing

Sandford¹

2016

FEJF

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This study presents results of two questionnaires posed to English speaking middle-school students to verify the level of color term entrenchment and color prototypes at the age of 12. The methods included color listing and informant introspection on a color prototype linguistic construction. Listing techniques have long been used to identify basic categories and prototypically relevant linguistic items. In this case Sutrop's Cognitive Salience Index (2001) served to reveal the facilitation of retrieval of concepts in long-term memory thus allowing us to evince the degree of entrenchment and salience of the given color term. Participant introspection in conjunction with conceptual salience analysis (Talmy 2000(Talmy , 2005 regarding prototypical items (Rosch 1975(Rosch , 1978(Rosch , 1983 was also employed to identify what items are actually associated prototypically with colors at this age. The results are compared to adult color listings and prototypes (for both English and Italian speakers). Divergence is significant both in regard to the Cognitive Salience Index and within group judgment of the color prototypes. Further details about the subordinate color term choices and the agreement on prototypes reveal the conventionalized linguistic color associations made by this specific group of north-west American middle-school students.

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“…But researchers in empirical aesthetics and, more recently, neuroaesthetics are now pursuing these terms, in a manner that is somewhat obstinate from the perspective of some linguistic and philosophical writers. Empirical psychologists are now directly testing terms such as 'beauty' and 'being moved', which should not be measurable (Dickie, 1997), and appropriating them for use in their research as dependent variables (e.g., Hanich, et al, 2014;Hekkert, Snelders, & Wieringen, 2003;Jacobs, et al, 2012;Kuehnast, et al, 2014). With each such additional term added to the scientist's psychometric tool kit we may be building a bigger picture of the nature of the aesthetic experience, but there are many obstacles to avoid in the process which are beyond our scope here (see further Berlyne, 1971Berlyne, , 1972Dickie, 1997;Konečni, 2012;Naukkarinen, 2010).…”

mentioning

confidence: 99%

Aesthetic Experience Explained by the Affect-Space Framework

Schubert¹,

North²,

Hargreaves³

2017

EMR

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A framework for organizing the semantic structure of aesthetic experience is proposed. The new framework is presented in an 'affect-space' and consists of three sets of dichotomous classifications: (1) internal locus (the felt experience) versus external locus (the description of the object), (2) 'affect-valence' -the attraction to (positive valence, e.g. preference, awe) or repulsion from (negative valence, e.g. hatred, disgust) the artwork/object -versus 'emotion-valence' -the character/contemplation of an emotion (happiness-an example of positive valence, sadness-an example of negative valence), and (3) deep versus shallow hedonic tone-e.g. 'awe' is deep, 'preference' is shallow. Deep hedonic tone is proposed as a better index of aesthetic experience (awe, being moved etc.) than shallow hedonic tone (preference, pleasure, enjoyment). Deep, internal locus, affect-valence during the contemplation of an object amenable to an aesthetic judgement (beautiful, ugly etc.) presents the necessary and sufficient conditions for an aesthetic experience. The framework allows future researchers to consider which aspects of an experience come closest to actual aesthetic experience from an empirical aesthetics perspective. It also highlights the limited value in grouping together so many aesthetic experiences under the rubric of emotion, such as aesthetic emotions, preference, basic emotions and so forth. Our framework paves the way for testing and further development of theory on aesthetic experience. Submitted 2016 February 10; accepted 2016 April 3. KEYWORDS: aesthetic experience, aesthetic emotions, affect, hedonic tone, locus THIS paper presents a semantic framework that organizes critical aspects of aesthetic experience for psychological and philosophical research. Recent years have seen a boom in attempts to draw together theories and empirical data on aesthetic experience (Jacobsen, 2006;Leder & Nadal, 2014) . Yet, as some accounts point out, there exist numerous gaps and confusions (e.g., Augustin, Wagemans, & Carbon, 2012;Konečni, 2012;Locher, Overbeeke, & Wensveen, 2010). One of the most critical is the definition of the aesthetic experience itself. An aesthetic experience may be defined through the philosophical concept of disinterested contemplation (Levinson, 1992). It may involve a combination of cognitive and emotional processes (Locher, et al., 2010). It may be defined in terms of the qualities of the object (music, artwork, etc.) or in terms of the affective sensations of the individual as a result of contemplating the object (Beardsley, 1969). The act of creative production (such as a musician playing at a concert, an artist painting in a studio, or a composer at work) and its relationship to the perception and contemplation of art works are involved (Tinio, 2013). The brain activity that corresponds to aesthetic experience is another way of defining the process, although the neuroscientific understanding of aesthetic experience is in its infancy (Brattico, Bogert, & Jacobsen, 2013;Brattico &...

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Being moved: linguistic representation and conceptual structure

Cited by 72 publications

References 57 publications

Kama Muta: Similar Emotional Responses to Touching Videos Across the United States, Norway, China, Israel, and Portugal

Kama Muta: Similar Emotional Responses to Touching Videos Across the United States, Norway, China, Israel, and Portugal

Color Entrenchment in Middle-School English Speakers: Cognitive Salience Index Applied to Color Listing

Aesthetic Experience Explained by the Affect-Space Framework

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