Emotion: an example of the need for reorientation in psychology.

Duffy, Elizabeth

doi:10.1037/h0074603

Cited by 144 publications

(84 citation statements)

References 7 publications

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“…Emotion psychology emerged, in part, from the recognition that emotions are not merely states of high arousal (e.g., Duffy, 1934). Instead, emotions are evolved, pancultural psychological mechanisms for dealing with -fundamental life tasks‖ (Ekman, 1992).…”

Section: Cognitive Appraisals and Emotional Experiencementioning

confidence: 99%

Emotional Responses to Art: From Collation and Arousal to Cognition and Emotion

Silvia

2005

Review of General Psychology

306

263

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The study of emotional responses to art has remained curiously detached from the psychology of emotions. Historically, the leading tradition has been Daniel Berlyne's psychobiological model, embodied by the "new experimental aesthetics" movement of the 1970s. That theory explained hedonic qualities of art by referring to arousalmodifying "collative properties" of art, such as complexity, novelty, uncertainty, and conflict. Berlyne's influence on the experimental study of aesthetics has been enormous, largely for the better but also for the worse. Berlyne's suspicion of cognitive psychology led to an unproductive perseveration on arousal as the mechanism of "aesthetic responses." This article describes how appraisal theories of emotion inform the study of aesthetics. Appraisal theories make new predictions about emotional responses to art, expand the domain of aesthetic emotions beyond positive emotions such as interest and enjoyment, inform other theories (e.g., prototypicality models), and reinterpret past findings.

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Section: Cognitive Appraisals and Emotional Experiencementioning

confidence: 99%

Emotional Responses to Art: From Collation and Arousal to Cognition and Emotion

Silvia

2005

Review of General Psychology

306

263

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“…Such emotions are often described as existing on two dimensions: emotional valence (how pleasant or unpleasant the emotion) and emotional arousal (the intensity associated with this emotion; (Duffy, 1934, 1941; Dunlap, 1932; Russell, 1980). Recent research has examined how these differences in valence and arousal may differentially influence the retrieved autobiographical memory narrative.…”

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confidence: 99%

Differential effects of arousal in positive and negative autobiographical memories

Ford

Addis

Giovanello

2012

Memory

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Autobiographical memories are characterized by a range of emotions and emotional reactions. Recent research has demonstrated that differences in emotional valence (positive v. negative emotion) and arousal (the degree of emotional intensity) differentially influence the retrieved memory narrative. Although the mnemonic effects of valence and arousal have both been heavily studied, it is currently unclear whether the effects of emotional arousal are equivalent for positive and negative autobiographical events. In the current study, multilevel models were used to examine differential effects emotional valence and arousal on the richness of autobiographical memory retrieval both between and within subjects. Thirty-four young adults were asked to retrieve personal autobiographical memories associated with popular musical cues and to rate the valence, arousal, and richness of these events. The multilevel analyses identified independent influences of valence and intensity upon retrieval characteristics at the within and between subject levels. In addition, the within subject interactions between valence and arousal highlighted differential effects of arousal for positive and negative memories. These findings have important implications for future studies of emotion and memory, highlighting the importance of considering both valence and arousal when examining the role emotion plays in the richness of memory representation.

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“…one prominent conception of emotion is the dimensional view in which all emotions are characterized by two, or sometimes three, dimensions (Duffy, 1934; Osgood, 1966). Over much theoretical and empirical work, the dimensions include some measure of valence or pleasantness and some measure of intensity or arousal (Watson & Tellegen, 1985).…”

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confidence: 99%

A comparison of dimensional models of emotion: Evidence from emotions, prototypical events, autobiographical memories, and words

Rubin

Talarico

2009

Memory

126

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The intensity and valence of 30 emotion terms, 30 events typical of those emotions, and 30 autobiographical memories cued by those emotions were each rated by different groups of 40 undergraduates. A vector model gave a consistently better account of the data than a circumplex model, both overall and in the absence of high intensity, neutral valence stimuli. The Positive Activation -Negative Activation (PANA) model could be tested at high levels of activation, where it is identical to the vector model. The results replicated when ratings of arousal were used instead of ratings of intensity for the events and autobiographical memories. A reanalysis of word norms gave further support for the vector and PANA models by demonstrating that neutral valence, high arousal ratings resulted from the averaging of individual positive and negative valence ratings. Thus, compared to a circumplex model, vector and PANA models provided overall better fits. one prominent conception of emotion is the dimensional view in which all emotions are characterized by two, or sometimes three, dimensions (Duffy, 1934; Osgood, 1966). Over much theoretical and empirical work, the dimensions include some measure of valence or pleasantness and some measure of intensity or arousal (Watson & Tellegen, 1985). Within the dimensional view, the dominant models are the circumplex model (Russell, 1980; Feldman Barrett & Russell, 1998), the "consensual" Positive Activation -Negative Activation (PANA) model (Watson & Tellegen, 1985; Watson, Weise, Vaidya, & Tellegen, 1999), and the vector model (Bradley Greenwald, Petry, & Lang, 1992). The circumplex model holds that emotions are distributed in space with dimensions of arousal and valence in a circular, or donut, pattern centered on medium arousal and neutral valence. The vector model holds that there is an underlying dimension of arousal and a binary choice of valence that determines direction. This results in two vectors that both start at zero arousal and neutral valence and proceed as straight lines, one in a positive, and one in a negative valence direction. Figure 1 shows one instantiation of these models assuming intensity is rated from 1 to 7 and valence from -3 to +3.One main difference between the circumplex and vector model lies in the possibility of emotions, or emotional stimuli, that have high arousal and neutral valence; that is, are there emotions such as aroused, astonished, and excited, or other emotional stimuli, that are emotionally intense yet neither very positive or negative. Such points are needed to complete the circumplex, but the vector model holds that at high arousal, positive and negative valences are distinct from one another and that true neutrality cannot be intensely felt. Our design deliberately selects emotions that are meant to fill this void and includes three distinct stimulus

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Emotion: an example of the need for reorientation in psychology.

Cited by 144 publications

References 7 publications

Emotional Responses to Art: From Collation and Arousal to Cognition and Emotion

Emotional Responses to Art: From Collation and Arousal to Cognition and Emotion

Differential effects of arousal in positive and negative autobiographical memories

A comparison of dimensional models of emotion: Evidence from emotions, prototypical events, autobiographical memories, and words

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