Expression of the emotions in the drawing of a man by the child from 5 to 11 years of age]

This study examines the development of children's ability to express emotions in their human figure drawing. Sixty children of 5, 8, and 11 years were asked to draw "a man," and then a "sad", "happy," "angry" and "surprised" man. Expressivity of the drawings was assessed by means of two procedures: a limited choice and a free labelling procedure. Emotionally expressive drawings were then evaluated in terms of the number and the type of graphic cues that were used to express emotion. It was found that children are able to depict happiness and sadness at 8, anger and surprise at 11. With age, children use increasingly numerous and complex graphic cues for each emotion (i.e., facial expression, body position, and contextual cues). Graphic cues for facial expression (e.g., concave mouth, curved eyebrows, wide opened eyes) share strong similarities with specific "action units" described by Ekman and Friesen (1978) in their Facial Action Coding System. Children's ability to depict emotion in their human figure drawing is discussed in relation to perceptual, conceptual, and graphic abilities.     

The Roles of Emotional Comprehension and Representational Drawing Skill in Children's Expressive Drawing

The purpose of the present study was to investigate the roles of emotional comprehension and representational drawing skill in children's expressive drawing. Fifty 7‐ to 10‐year‐olds were asked to produce two (happy and sad) expressive drawings, two representational drawings (drawing of a man running and drawing of a house) and to answer the Test of Emotion Comprehension (Pons & Harris, 2000). The expressive drawings were assessed on the number of expressive subject matter themes (‘content expression’) and the overall quality of expression on a 5‐point scale. Each of the representational drawings was measured on a scale assessing detail and visual realism criteria, and contributed to a single representational drawing skill score. In line with our predictions, we found that both emotional comprehension and representational drawing skill accounted for a significant variance in children's expressive drawings. We explain that children's developing emotional comprehension may allow them to consider more detailed and poignant expressive ideas for their drawings and that their developing representational drawing skill facilitates the graphic execution of these emotional ideas. Copyright © 2014 John Wiley & Sons, Ltd.     

Emotion in social reflection and comparison situations: intuitive, systematic, and exploratory approaches

We asked 26 subjects to recall and describe social situations in which either a close or a distant other performed better or worse than the self at an activity that was either high or low in relevance to the self. Subjects then rated the extent to which they experienced each of 18 different emotions in each situation. They also rated each situation on a series of dimensions that Smith and Ellsworth (1985) found to be consequential for differentiating emotions. In a series of analyses guided by intuitive hypotheses, the Smith and Ellsworth theoretical approach, and a relatively unconstrained, open-ended exploration of the data, the situations were found to vary with respect to the emotions of pride, jealousy or envy, pride in the other, boredom, and happiness. We discuss the results in terms of their relevance to emotion theories and to the self-evaluation maintenance model of social behavior.     

The Recognition of Emotions in Music and Landscapes: Extending Contour Theory

While inanimate objects can neither experience nor express emotions, in principle they can be expressive of emotions. In particular, music is a paradigmatic example of something expressive of emotions that surely cannot feel anything at all. The Contour theory accounts for music expressiveness in terms of those resemblances that hold between its external and perceivable properties (i.e., its contour) and the typical contour of human emotional behavior. Provided that some critical aspects are emended – notably, the stress on the perception of similarity instead of the more plausible hypothesis that the listener perceives manifestations that are similar – we are inclined to endorse contour theory. In particular, we share its basic idea that expressive properties are perceived. Although other kinds of processes – high-level conceptual inferences, imagination – sometimes characterize our encounters with music, still perception constitutes the standard process underlying the detection of expressiveness. Moreover, we propose to extend contour theory to visual arts. Taking into consideration, as a case study, depicted landscapes, we observe that they frequently cannot but express emotions such as joy, sadness, liveliness or melancholy. The fact that pictures, unlike music, lack any temporal dimension is a prima facie reason for doubting the extendibility of contour theory’s conceptual arsenal to them. Nevertheless, while being obviously unable to behave somehow, we claim that depicted landscapes can perfectly convey dynamic information. If this is the case, the extension of the notion of contour to visuals art via the stress on the notion of dynamism would represent a second interesting revision of contour theory.     

Expressive drawing ability in children with autism

The autistic impairments in emotional and social competence, imagination and generating ideas predict qualitative differences in expressive drawings by children with autism beyond that accounted by any general learning difficulties. In a sample of 60 5–19‐year‐olds, happy and sad drawings were requested from 15 participants with non‐savant autism and compared with those drawn by three control groups matched on either degree of learning difficulty (MLD), mental age (MA) or chronological age (CA). All drawings were rated by two artists on a 7‐point quality of expression scale. Contrary to our predictions, the drawings from the autistic group were rated similar to those of the MA and MLD groups. Analysis of the people and social content of the drawings revealed that although children with autism did not draw fewer people, they did draw more immature forms than mental age controls. Furthermore, there was tentative evidence that fewer social scenes were produced by the autism sample. We conclude that the overall merit of expressive drawing in autism is commensurate with their general learning difficulties, but the social/emotional impairment in autism affects their drawings of people and social scenes.     

Fitness- and appearance-related self-conscious emotions and sport experiences: A prospective longitudinal investigation among adolescent girls

Despite well-documented benefits of sport participation for adolescents, girls are less likely to initiate participation and more likely to disengage from sport, compared to boys. Due to the highly evaluative and social nature of the sport context, girls’ emotional experiences around their body’s abilities, function, and fitness are important – yet understudied – predictors of sport participation. The objectives of this longitudinal study were to describe changes in fitness-related and appearance-related self-conscious emotions (i.e., guilt, shame, authentic pride, hubristic pride) and sport experiences (i.e., sport commitment, enjoyment, anxiety) over time, and examine whether between- and within-person differences in these emotions predict sport experiences during adolescence. A sample of 518 girls involved in organized sport completed questionnaires once a year over a three-year period. Results from multilevel models reveal detrimental changes in emotions, sport commitment and enjoyment over time. Further, fitness-related emotions remain significant predictors of sport experiences above and beyond appearance-related emotions thus highlighting the importance of fitness-related emotions in predicting sport experiences. Examining both between and within-person effects is novel in elucidating the predictive capacity of fitness-related emotions as they explain differences between girls – as well as variations in girls’ sport experiences over time.     

The development of children's expressive drawing

Two studies are presented on expressive happy and sad drawings made by British 4‐ to 12‐year‐olds (n = 80 and 160, respectively) in which the drawings were assessed individually for the quantity and quality of expressive devices. Quantity was measured in the number of appropriate expressive content themes and formal properties evident in each drawing. Quality was rated on a Likert scale on the extent to which the drawing expressed the intended mood. Both the quantity and quality of expressive happy and sad drawings of predetermined and free topics increased with age. Improvements in content expression, but much less so with expressive formal properties, accounted for the development of quantity. A slower period of development between 6 and 9 years for both measures was consistently found, with a significant improvement often shown among the 12‐year‐olds. The finding that happy drawings were scored higher than sad drawings is explained in respect of adult and child expectations of pictures. Correlations between expressive scores and performance on a visual realism drawing task tentatively indicated that expressive and realism skills in drawing are only weakly related. The development of expressive drawing is considered in the context of the delivery of art education in schools.     

Are Envy,Anger, and Resentment Moral Emotions?

Abstract

The moral status of emotions has recently become the focus of various philosophical investigations. Certain emotions that have traditionally been considered as negative, such as envy, jealousy, pleasure-in-others'-misfortune, and pride, have been defended. Some traditionally “negative” emotions have even been declared to be moral emotions.

In this brief paper, I suggest two basic criteria according to which an emotion might be considered moral, and I then examine whether envy, anger, and resentment are moral emotions.     

Social Concepts and Judgments: A Semantic Differential Analysis of the Concepts Feminist, Man, and Woman

Male and female participants  ( N = 274)  made judgments about the social concepts of feminist , man , and woman on 63 semantic differential items. Factor analysis identified three basic dimensions termed evaluative, potency, and activity as well as two secondary factors called expressiveness and sexuality. Results for the evaluative dimension showed that the concept feminist was rated negatively with male participants rating feminist more negatively than female participants. In terms of potency, feminist was judged higher than man whereas the concept woman was rated low on this dimension. Participants also judged the concept feminist as low in expressiveness and rated woman as the most expressive. Feminist received low ratings on the erotic-sexual dimension (sexuality) by female participants and negative sexuality ratings by men. These results are discussed in terms of social role theory, gender stereotypes, and the changes in women's roles and behavior.     

Children's developing ability to depict emotions in their drawings

55 children aged 5 to 9 years were asked to draw pictures depicting happiness, sadness, anger, surprise, and fear as well as pictures that did not express any emotion. These pictures were then scored by nonexpert adults for their overall emotional expressiveness, that is, how well they depicted the intended emotion. The results showed that drawings were generally regarded by adults as emotionally expressive. Happiness was the emotion most easily recognized in children's drawings, closely followed by sadness. The results also showed a linear increase in ratings of emotional expressiveness with age.     

Children's Recognition of Emotional Facial Expressions Through Photographs and Drawings

The author's purpose was to examine children's recognition of emotional facial expressions, by comparing two types of stimulus: photographs and drawings. The author aimed to investigate whether drawings could be considered as a more evocative material than photographs, as a function of age and emotion. Five- and 7-year-old children were presented with photographs and drawings displaying facial expressions of 4 basic emotions (i.e., happiness, sadness, anger, and fear) and were asked to perform a matching task by pointing to the face corresponding to the target emotion labeled by the experimenter. The photographs we used were selected from the Radboud Faces Database and the drawings were designed on the basis of both the facial components involved in the expression of these emotions and the graphic cues children tend to use when asked to depict these emotions in their own drawings. Our results show that drawings are better recognized than photographs, for sadness, anger, and fear (with no difference for happiness, due to a ceiling effect). And that the difference between the 2 types of stimuli tends to be more important for 5-year-olds compared to 7-year-olds. These results are discussed in view of their implications, both for future research and for practical application.     

The automaticity of emotion recognition

Evolutionary accounts of emotion typically assume that humans evolved to quickly and efficiently recognize emotion expressions because these expressions convey fitness-enhancing messages. The present research tested this assumption in 2 studies. Specifically, the authors examined (a) how quickly perceivers could recognize expressions of anger, contempt, disgust, embarrassment, fear, happiness, pride, sadness, shame, and surprise; (b) whether accuracy is improved when perceivers deliberate about each expression's meaning (vs. respond as quickly as possible); and (c) whether accurate recognition can occur under cognitive load. Across both studies, perceivers quickly and efficiently (i.e., under cognitive load) recognized most emotion expressions, including the self-conscious emotions of pride, embarrassment, and shame. Deliberation improved accuracy in some cases, but these improvements were relatively small. Discussion focuses on the implications of these findings for the cognitive processes underlying emotion recognition.     

Impression formation: the role of expressive behavior

This research examined the effects of personality/social skills and individual differences in expressive style on impression formation. Particular attention was given to the role of nonverbal behaviors in the formation of initial impressions. Sixty-two subjects were measured on self-report personality and communication skill scales, on posed emotional sending ability, and on physical attractiveness. Subjects were then videotaped while giving a spontaneous "explanation." Trained coders measured five separate nonverbal cue factors displayed by the subjects in the videotapes. Groups of untrained judges viewed the tapes and rated their impressions of the subjects on scales of likability, speaking effectiveness, and expressivity-confidence. Male subjects who were nonverbally skilled and extraverted tended to display more outwardly focused and fluid expressive behaviors, and made more favorable impressions on judges, than did males who scored low on the measures of nonverbal skills and extraversion. Females who were nonverbally skilled displayed more facial expressiveness, which led to more favorable initial impressions. Sex differences may reflect basic differences in the acquisition and use of expressive nonverbal cues by males and females.     

A study of the relationship between individual differences in nonverbal expressiveness and factors of personality and social interaction

Some theoretical and applied implications of individual differences in nonverbal expressiveness were investigated in a medical setting. In Study I, the abilities of 21 physicians to express different emotions through voice tone were assessed and related to physician personality and to actual patient ratings of the physician. Study II replicated Study I using visual as well as vocal cues (i.e., videotapes) of a new sample of physicians, and added a study of physician greetings. It was found that: (1) Aspects of expressive ability were reliably correlated with a cluster of personality traits, thus supporting the notion that nonverbal affective style may be a window to inner dispositions; and (2) expressive ability was related to patient satisfaction with the interpersonal manner of their physicians and to the judged likeability of the physician's greeting, thus providing evidence for the importance of this ability for social interaction.     

Nonverbal emotion displays, communication modality, and the judgment of personality

The goal of this research was to investigate the impact of nonverbal expressive cues on the attribution of the Big Five personality traits. Expressive cues of fear, disgust, happiness, and sadness were elicited in a sample of 22 encoders while watching films, narrating, and posing. Encoders’ personalities were rated by themselves and unacquainted raters who watched the encoders, and blind judges rated the traits of a typical student. Expressive cues influenced the raters’ attribution of personality, but this influence was weakest when the encoders expressed happiness (vs. negative emotions) and when they were narrating an emotional experience (when the cues were least potent). Negative and strong expressive cues interfered with the application of a normative, and more accurate, judgment strategy.     

THE GENDER STEREOTYPING OF EMOTIONS

Three studies documented the gender stereotypes of emotions and the relationship between gender stereotypes and the interpretation of emotionally expressive behavior. Participants believed women experienced and expressed the majority of the 19 emotions studied (e.g., sadness, fear, sympathy) more often than men. Exceptions included anger and pride, which were thought to be experienced and expressed more often by men. In Study 2, participants interpreted photographs of adults'ambiguous anger/sadness facial expressions in a stereotype-consistent manner, such that women were rated as sadder and less angry than men. Even unambiguous anger poses by women were rated as a mixture of anger and sadness. Study 3 revealed that when expectant parents interpreted an infant's ambiguous anger/sadness expression presented on videotape only high-stereotyped men interpreted the expression in a stereotype-consistent manner. Discussion focuses on the role of gender stereotypes in adults'interpretations of emotional expressions and the implications for social relations and the socialization of emotion.     

Tracking the trajectory of shame, guilt, and pride across the life span

The authors examined age differences in shame, guilt, and 2 forms of pride (authentic and hubristic) from age 13 years to age 89 years, using cross-sectional data from 2,611 individuals. Shame decreased from adolescence into middle adulthood, reaching a nadir around age 50 years, and then increased in old age. Guilt increased from adolescence into old age, reaching a plateau at about age 70 years. Authentic pride increased from adolescence into old age, whereas hubristic pride decreased from adolescence into middle adulthood, reaching a minimum around age 65 years, and then increased in old age. On average, women reported experiencing more shame and guilt; Blacks reported experiencing less shame and Asians more hubristic pride than other ethnicities. Across the life span, shame and hubristic pride tended to be negatively related to psychological well-being, and shame-free guilt and authentic pride showed positive relations with well-being. Overall, the findings support the maturity principle of personality development and suggest that as people age they become more prone to experiencing psychologically adaptive self-conscious emotions, such as guilt and authentic pride, and less prone to experiencing psychologically maladaptive ones, such as shame and hubristic pride.