Emotion Talk across Cultures

Heelas, Paul

doi:10.4135/9781446221952.n12

Cited by 54 publications

(42 citation statements)

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“…The cultural psychology literature clearly shows that, whilst there might be some 'emotional universals', there are also remarkable differences across different cultures in how emotions are identified, defined, classified and evaluated, and even more so in the meanings they have and the social context in which they are expressed (Heelas, 1996). As Goldie (2000, p. 85) explains .…”

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confidence: 99%

Determinants of Impact: Towards a Better Understanding of Encounters with the Arts

Belfiore¹,

Беннетт²

2007

Cultural Trends

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The paper argues that current methods for assessing the impact of the arts are largely based on a fragmented and incomplete understanding of the cognitive, psychological and socio-cultural dynamics that govern the aesthetic experience. It postulates that a better grasp of the interaction between the individual and the work of art is the necessary foundation for a genuine understanding of how the arts can affect people. Through a critique of philosophical and empirical attempts to capture the main features of the aesthetic encounter, the paper draws attention to the gaps in our current understanding of the responses to art. It proposes a classification and exploration of the factors -social, cultural and psychological -that contribute to shaping the aesthetic experience, thus determining the possibility of impact. The 'determinants of impact' identified are distinguished into three groups: those that are inherent to the individual who interacts with the artwork; those that are inherent to the artwork; and 'environmental factors', which are extrinsic to both the individual and the artwork. The paper concludes that any meaningful attempt to assess the impact of the arts would need to take these 'determinants of impact' into account, in order to capture the multidimensional and subjective nature of the aesthetic experience. Keywords:Arts impacts assessment; aesthetic experience; transformative powers of the arts; reception; audience research.1 The authors would like to acknowledge the Arts and Humanities Research Council and Arts Council England for their support of this research and thank three anonymous referees for their useful suggestions and insightful comments on an earlier draft of the paper. 2 IntroductionThere are many things that policy makers expect the subsidised arts to achieve. These have to do with, amongst other things, local and national economic development; job creation; the enhancement of self-esteem, personal health and well-being; an individual's competitiveness in the job market; and the reduction of criminal re-offending. As we have put it in an earlier paper (Bennett, 2002), "[i]t really is difficult to think of any other area of public policy which attracts quite such an extraordinary combination of expectations". This paper concerns itself in particular with the belief, central to contemporary articulations of the aims and rationales for public support of the arts, that the artistic experience can have transformative effects on both the individual and society. The following passage from manifesto Ambition for the Arts, clearly shows the central place that the language of transformation has gained in the official rhetoric that accompanies arts funding in England:We will argue that being involved with the arts can have a lasting and transforming effect on many aspects of people's lives. This is true not just for individuals, but also for neighbourhoods, communities, regions and entire generations, whose sense of identity and purpose can be One thing that our extensive analysis of sources, ...

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confidence: 99%

Determinants of Impact: Towards a Better Understanding of Encounters with the Arts

Belfiore¹,

Беннетт²

2007

Cultural Trends

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“…Comme le note White (1993), le fait de se concentrer sur ces systèmes fait que l'on cesse de regarder les émotions comme privées, intérieures et individuelles pour les voir plutôt comme publiques, extérieures et sociales. Voir Heelas (1986) et Lutz (1986 pour des exemples d'émotions dans des cultures non occidentales. devoirs spirituels ainsi que des sentiments de misère ou de chagrin (et non pas de culpabilité et de honte).…”

Section: Constructionnisme Socialunclassified

“…Certaines cultures placent le lieu des émotions dans le foie ; d'autres, comme les anciens Grecs, le plaçaient dans le comportement (Heelas, 1986). Ces théories ne modifient pas le phénomène.…”

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Émotions fortes et constructionnisme faible

Faucher¹

2002

philoso

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RÉSUMÉ De l'avis de plusieurs, il existe une tension entre le modèle « naturaliste » des émotions qui inspire les psychologues évolutionnistes et le modèle des constructionnistes sociaux. D'un côté, il semble que les émotions sont innées, rigides et panculturelles ; de l'autre, elles sont conçues comme des artefacts culturels, changeant au gré des arrière-plans culturels. Nous examinons chacune des deux approches et montrons que l'approche naturaliste n'est pas incompatible avec une forme de constructionnisme faible, en ce que la première peut tenir compte d'un certain degré de plasticité. Nous soutenons qu'en fait les deux courants devraient être vus comme offrant des points de vue différents, mais complémentaires, sur les mêmes phénomènes. Cependant, une part du domaine des émotions étudiée par les constructionnistes échappe aux efforts d'intégration. Une façon de remédier à la situation est de proposer un réaménagement conceptuel du domaine. Par exemple, Griffiths (1990, 1997) propose que la solution passe par l'élimination du concept d’« émotion ». Quoique notre investigation des différentes formes d'émotions suggère un certain scepticisme concernant l'utilité théorique du concept d’« émotion », nous croyons qu'il est trop tôt pour en annoncer la mort.

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“…In some cultures, one is expected to feel ambition and pride in accomplishments, while in others not. Speci"c emotions such as indignation, envy (as distinct from jealousy), resentment, admiration, boredom, interest, respect, guilt, and depression may not be universal (Heelas, 1996). Now, to say that an emotion or any other behavior is culturally learned and may be absent in an individual whose social learning mechanism does not function su$ciently is not to imply that emotion or behavior is completely arbitrary and not consonant with the physical human condition, internal and external.…”

Section: Emotionmentioning

confidence: 99%

Social learning and the etiology of autism

Bushwick

2001

New Ideas in Psychology

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Emotion Talk across Cultures

Cited by 54 publications

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Determinants of Impact: Towards a Better Understanding of Encounters with the Arts

Determinants of Impact: Towards a Better Understanding of Encounters with the Arts

Émotions fortes et constructionnisme faible

Social learning and the etiology of autism

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