Appraisal theories of emotion have two fundamental assumptions: (a) that there are regularities to be discovered between situations and components of emotional episodes, and (b) that the influence of these situations on these components is causally mediated by a mental process called appraisal. Appraisal theories come in different flavors, proposing different to-be-explained phenomena and different underlying mechanisms for the influence of appraisal on the other components.
What are the essential elements of your theory of emotion? Which elements are shared by different theories? What element(s) distinguish(es) your theory from the others?Appraisal theories of emotion (e.g., Ellsworth, 2013;Frijda, 2007;Lazarus, 1991;Roseman, 2013;Scherer, 2009) come in two broad flavors. Each has its own proposal about what the to-be-explained phenomena are and how to causally explain them.
The to-be-explained phenomenaTo arrive at a prescriptive or technical definition of emotion, appraisal theorists start from the descriptive or folk definition and trim it down so that the resulting set of instances is homogeneous according to the following criteria: A first criterion is that emotions are episodes that are triggered by a stimulus and that consist of several of the following components: changes in appraisal, action tendencies, somatic responses, expressive behavior, and experience or feelings. Additional criteria are that emotional episodes (a) contain an appraisal that the stimulus is relevant for a central goal or concern (cf. Moors, 2007Moors, , 2013Oatley & Johnson-Laird, 1987), (b) contain an action tendency with control precedence (i.e., one that takes priority over other goals, Frijda, 2007) and/or (c) have strongly synchronizing components (Scherer, 2009). It may be noted that these criteria are all gradual in nature (episodes are more or less relevant to more or less central concerns; action tendencies take precedence with more or less force; and components can synchronize to a more or less extent), thus allowing for relative conclusions only (e.g., one episode is more/less emotional than another). Sharp distinctions between emotional vs. nonemotional episodes are only possible when some treshold is chosen (e.g., an episode could be called emotional when an episode exceeds a certain degree of goal relevance, control precedence, and/or synchronization). Despite believing in the heuristic value of their criteria, several appraisal theorists realize that any criterion or treshold contains an element of choice not open to empirical test, and that there is a great lack of consensus.Appraisal theories not only propose ways to demarcate the set of emotional episodes, but also ways to organize the variety within this set. A first flavor of appraisal theories (e.g., Lazarus, 1991;Roseman, 2013) splits the set into a limited number of subsets, corresponding to the specific emotions figuring in natural language (e.g., anger, fear, sadness). Proponents of the first flavor take these specific emotions as the phenomena to ...