道德情绪判断、错误信念与行为问题的关系——损人情境中幼儿反应的一项研究

运用投射性情境故事和Rutter量表(教师问卷)研究了204名幼儿对损人情境的道德情绪判断、错误信念水平、行为问题及其关系。结果表明:(1)男性幼儿的违纪行为显著高于女性,神经症行为得分在不同年龄之间差异达到显著性水平。(2)随年龄增长,对成功损人者之情绪判断为积极的人数会减少、而判断为消极的人数会增加,对失败损人者之情绪判断为消极的居多、而对成功损人者情绪判断为积极的为主。(3)幼儿已经基本能完成道德情境中的错误信念任务,当接受别人的"错误"表扬时会产生积极情绪。(4)未完成错误信念任务儿童的神经症得分显著高于完成者,对成功损人者之情绪判断为积极的儿童的神经症得分显著高于判断为消极者。     

情绪、情绪调节策略与情绪材料记忆的关系

研究采用实验法,以288名中小学生为被试,考察了不同情绪状态、不同情绪调节策略与不同类型情绪材料记忆的关系。结果表明:(1)快乐情绪的再认反应时短于悲伤情绪,快乐情绪的再认正确率高于悲伤情绪。(2)表达抑制策略下,词汇与图片的再认反应时无显著差异;认知重评策略下,词汇的再认反应时短于图片;对词汇和图片的再认反应时,认知重评组短于表达抑制组;认知重评组的再认正确率高于表达抑制组。(3)快乐材料再认反应时短于悲伤材料;快乐情绪下快乐材料的再认正确率高于悲伤材料,悲伤情绪下悲伤材料的再认正确率高于快乐材料。     

受欺负对抑郁情绪的影响:悲伤、愤怒反刍的中介作用及性别差异

为探究受欺负对于个体抑郁情绪的影响,以及反刍这一认知因素在其中的作用与性别差异,采用受欺负问卷、儿童应对方式问卷中的悲伤反刍分量表、愤怒反刍问卷、儿童抑郁量表对2582名初中二年级学生（男生1328人,女生1254人;平均年龄13.95岁,SD=0.60）进行问卷调查。结果发现：（1）受欺负与悲伤反刍、愤怒反刍、抑郁情绪均呈显著正相关;（2）受欺负、悲伤反刍、愤怒反刍均可显著正向预测个体的抑郁情绪,且悲伤反刍和愤怒反刍在受欺负和抑郁情绪的关系中发挥部分中介作用;（3）该模型存在性别差异。女生悲伤反刍对抑郁情绪的预测作用显著大于男生。研究从悲伤反刍和愤怒反刍的角度揭示了受欺负对青少年抑郁情绪的作用机制,为从认知水平上干预青少年心理健康问题提供了参考。     

羞怯儿童对模糊情绪面孔的知觉偏差

采用类别知觉情绪识别范式,考察高、低羞怯儿童对快乐-愤怒和快乐-悲伤模糊情绪面孔的知觉偏差和知觉敏感性。结果发现：（1）相对于低羞怯儿童,高羞怯儿童倾向于将快乐-愤怒模糊情绪面孔知觉为愤怒,将快乐-悲伤模糊情绪面孔知觉为悲伤;（2）两组儿童在快乐-愤怒、快乐-悲伤模糊情绪面孔类别界线处的斜率差异均不显著。研究表明高羞怯儿童具有敌意归因偏向和更高的悲伤共情反应,而对快乐-愤怒和快乐-悲伤表情的类别转变不敏感。     

羞怯儿童对模糊情绪面孔的知觉偏差

采用类别知觉情绪识别范式,考察高、低羞怯儿童对快乐-愤怒和快乐-悲伤模糊情绪面孔的知觉偏差和知觉敏感性。结果发现：（1）相对于低羞怯儿童,高羞怯儿童倾向于将快乐-愤怒模糊情绪面孔知觉为愤怒,将快乐-悲伤模糊情绪面孔知觉为悲伤;（2）两组儿童在快乐-愤怒、快乐-悲伤模糊情绪面孔类别界线处的斜率差异均不显著。研究表明高羞怯儿童具有敌意归因偏向和更高的悲伤共情反应,而对快乐-愤怒和快乐-悲伤表情的类别转变不敏感。     

6~10岁儿童对损人情境下行为者的道德情绪判断与归因

采用故事情境法探讨6~10岁儿童对损人情境下损人者和旁观者的道德情绪判断与归因的发展。结果发现：（1）在损人情境下,6岁儿童能理解损人行为是不对的,但直到8岁儿童才能理解旁观行为是不对的;（2）随着年龄增长,儿童判断损人者的愉悦程度逐渐降低,情绪归因从结果定向过渡到道德定向;儿童判断旁观者的愉悦程度逐渐降低,情绪归因从无法有效归因过渡到道德定向;（3）儿童对不同行为者的道德情绪判断同时受年龄和性别的影响,6岁男孩判断损人者愉悦程度显著高于女孩,6岁男孩判断旁观者愉悦程度显著低于女孩;8岁和10岁儿童对两类行为者的道德情绪判断未发现显著的性别差异。     

贵州少数民族儿童青少年SNARC效应的发展

采用奇偶判断任务,考察二年级至大学阶段贵州民族儿童青少年SNARC效应的发展状况。结果显示：三年级开始出现SNARC效应（包括正确率SNARC效应）;各阶段SNARC效应无显著差异;高、低年级正确率存在显著差异,六年级以后各阶段正确率无显著差异。结论：民族儿童三年级开始形成数字的空间表征。SNARC效应的大小不因年龄而发生变化;被试对奇偶知识的掌握存在发展过程,三年级可能基本理解奇偶信息,六年级后熟练掌握奇偶信息。     

眼睛注视方向对自闭症谱系障碍儿童面孔情绪识别的影响

为探究自闭症谱系障碍(ASD)儿童在不同眼睛注视方向下对面孔情绪的识别能力及视线加工特征,研究选取ASD儿童和普通儿童各17名为被试。结果发现,ASD儿童识别面孔情绪的正确率显著低于普通儿童,而对高兴情绪识别的正确率最高;ASD儿童识别面孔情绪的反应时不受眼睛注视方向影响,而普通儿童表现出对正视面孔情绪更快的识别速度。研究认为,ASD儿童的情绪识别能力偏低,受情绪类型影响显著,且在面孔情绪识别过程中,可能存在一定的视线加工障碍或缺少对眼部线索的关注。     

老年人日常人际问题解决中的悲伤情绪体验和情绪调节策略: 年龄和人格特质的作用

考察了日常人际问题解决中老年人的悲伤情绪体验和情绪调节策略与青年人的差异,以及年龄和人格特质的作用。共45名老年人和59名青年人接受半结构化访谈和人格特质测量。结果表明：（1）以教育水平为协变量的方差分析表明,老年人和青年人的悲伤情绪体验没有显著差异。老年人的被动情绪调节策略的使用和青年人存在显著差异;（2）老年人的被动情绪调节策略不但与年龄有关,而且与悲伤情绪体验有关。悲伤情绪体验可以显著预测其被动情绪调节策略使用;（3）老年人的悲伤情绪体验与人格特质神经质维度存在显著正相关;（4）老年人与年轻人的被动情绪调节策略都与悲伤情绪有关,但老年人的被动情绪调节策略不能由人格特质显著预测,而青年人的被动调节策略还可以由人格特质内外向维度显著预测。人格特质的内外向维度对老年人和青年人的前摄性情绪调节策略的预测效应是一致的。最后针对老年人的悲伤情绪体验和情绪调节策略的意义进行了讨论。     

社会性发展迟滞大学生的情绪韵律识别特点

情绪韵律识别指个体通过对他人话语中除语义以外的声学线索进行分析,推断他人情绪状态的过程。本研究通过2个实验对社会性发展迟滞大学生的情绪韵律识别特点进行探索。结果发现：（1）社会性发展迟滞组厌恶和恐惧韵律的识别正确率显著低于对照组,两组在其他情绪韵律识别正确率上无显著差异;且两组被试情绪韵律识别趋势一致：高兴、愤怒、悲伤、恐惧和厌恶韵律识别正确率依次递减;（2）当语义与韵律矛盾时,迟滞组比对照组更易受语义干扰。     

Empathy as a buffer: How empathy moderates the emotional effects on Preschoolers’ sharing

This study experimentally investigated how empathy moderated the influence of external emotional stimuli on preschoolers’ subsequent sharing behaviour. Children aged 4–6 (N = 218) were randomly presented with one of the video clips that elicited sad, happy, or neutral emotion, and were then asked to play a dictator game with puppet partners. Results revealed that compared to the neutral condition, children with higher empathy increased sharing after induced happiness but did not change sharing after induced sadness; by contrast, children with lower empathy decreased sharing after induced sadness. It appears that empathy may enhance the positive effect of happiness while reducing the negative effect of sadness on sharing behaviour. These findings provide experimental evidence in early childhood to support approaches that emphasize the role of immediate emotions in moral decision-making; critically, such emotional effects vary with individual differences in dispositional empathy.     

Similar patterns of age-related differences in emotion recognition from speech and music

Young and old adults’ ability to recognize emotions from vocal expressions and music performances was compared. The stimuli consisted of (a) acted speech (anger, disgust, fear, happiness, and sadness; each posed with both weak and strong emotion intensity), (b) synthesized speech (anger, fear, happiness, and sadness), and (c) short melodies played on the electric guitar (anger, fear, happiness, and sadness; each played with both weak and strong emotion intensity). The listeners’ recognition of discrete emotions and emotion intensity was assessed and the recognition rates were controlled for various response biases. Results showed emotion-specific age-related differences in recognition accuracy. Old adults consistently received significantly lower recognition rates for negative, but not for positive, emotions for both speech and music stimuli. Some age-related differences were also evident in the listeners’ ratings of emotion intensity. The results show the importance of considering individual emotions in studies on age-related differences in emotion recognition.     

Emotion suppression in multiple social contexts and its effects on psychosocial functioning: An investigation with Chinese samples

The present study examines the psychosocial consequences of emotion suppression and the moderating effect of social context in the link between emotion suppression and psychosocial functioning with two samples of Chinese undergraduate students. Suppression of happiness and sadness in five social contexts (with family members, close friends, classmates, teachers and strangers) and psychosocial functioning were investigated. The results indicate that the general level of happiness suppression negatively predicted individuals' psychosocial functioning, while sadness suppression was positively associated with psychosocial functioning. The moderating effect of social context was significant in the association between happiness suppression and psychosocial functioning, while its moderating effect was not significant for sadness. Moreover, the context differentiation (CD) of happiness suppression positively predicted psychosocial functioning, while the effect of CD of sadness suppression was not significant. The results of the present study extend the existing literature by suggesting the importance of taking social context and the specific type of emotion into account when examining the psychosocial adaptation of emotion suppression. New findings were also added to understand the effects of emotion suppression on psychosocial functioning for Chinese people. In the Chinese cultural context, which emphasizes regulating one's behaviours based on situational requirements, low levels of happiness suppression and high levels of sadness suppression appeared to be a psychosocially adaptive emotional display pattern.     

Liking and identifying emotionally expressive music: age and gender differences

Adults and children 5, 8, and 11 years of age listened to short excerpts of unfamiliar music that sounded happy, scary, peaceful, or sad. Listeners initially rated how much they liked each excerpt. They subsequently made a forced-choice judgment about the emotion that each excerpt conveyed. Identification accuracy was higher for young girls than for young boys, but both genders reached adult-like levels by age 11. High-arousal emotions (happiness and fear) were better identified than low-arousal emotions (peacefulness and sadness), and this advantage was exaggerated among younger children. Whereas children of all ages preferred excerpts depicting high-arousal emotions, adults favored excerpts depicting positive emotions (happiness and peacefulness). A preference for positive emotions over negative emotions was also evident among females of all ages. As identification accuracy improved, liking for positively valenced music increased among 5- and 8-year-olds but decreased among 11-year-olds.     

Happy,sad, scary and peaceful musical excerpts for research on emotions

Three experiments were conducted in order to validate 56 musical excerpts that conveyed four intended emotions (happiness, sadness, threat and peacefulness). In Experiment 1, the musical clips were rated in terms of how clearly the intended emotion was portrayed, and for valence and arousal. In Experiment 2, a gating paradigm was used to evaluate the course for emotion recognition. In Experiment 3, a dissimilarity judgement task and multidimensional scaling analysis were used to probe emotional content with no emotional labels. The results showed that emotions are easily recognised and discriminated on the basis of valence and arousal and with relative immediacy. Happy and sad excerpts were identified after the presentation of fewer than three musical events. With no labelling, emotion discrimination remained highly accurate and could be mapped on energetic and tense dimensions. The present study provides suitable musical material for research on emotions.Keywords.     

Can an anger face also be scared? Malleability of facial expressions

Do people always interpret a facial expression as communicating a single emotion (e.g., the anger face as only angry) or is that interpretation malleable? The current study investigated preschoolers' (N = 60; 3-4 years) and adults' (N = 20) categorization of facial expressions. On each of five trials, participants selected from an array of 10 facial expressions (an open-mouthed, high arousal expression and a closed-mouthed, low arousal expression each for happiness, sadness, anger, fear, and disgust) all those that displayed the target emotion. Children's interpretation of facial expressions was malleable: 48% of children who selected the fear, anger, sadness, and disgust faces for the "correct" category also selected these same faces for another emotion category; 47% of adults did so for the sadness and disgust faces. The emotion children and adults attribute to facial expressions is influenced by the emotion category for which they are looking. (PsycINFO Database Record (c) 2012 APA, all rights reserved).     

Remembering children's emotions: sources of concordant and discordant accounts between parents and children.

Parents were asked to recall recent events that had evoked happiness, sadness, anger, and fear in their children. Children (N = 77, 2.3-6.6 years) indicated whether they remembered each event, and if so, they described the event and how it had made them feel. Agreement between parent and child concerning how the child felt varied as a function of emotion. Children agreed with their parents' emotion attributions most often for events that parents recalled as having evoked happiness and sadness, less often for fear, and least often for anger. Children disagreed with parents' attributions of happiness and sadness most often when parents and children differed concerning the attribution of children's goals. Discordant reports about children's anger were most frequent when parents and children reported conflicting goals. Discordant reports about fear were most frequent when parents and children focused on different parts of the temporal sequence surrounding the event.     

Effet de l'intensité sur la catégorisation des prototypes émotionnels faciaux chez l'enfant et l'adulte

This study examines whether the intensity of facial emotional prototypes influences the process of their categorization in children and young adults. Two facial prototypes, one of happiness and one of disgust, including action units of three different intensities, were shown to 30 children and 30 adults who were submitted to a categorization task. As predicted, categorization accuracy was found to increase, in general, as a function of the intensity of action units. Adults were better than children but only for the categorization of disgust when the action unit intensity was weak. The happiness prototype was better categorized than the disgust prototype, and two types of errors were clearly more frequent than the others in the categorization of the disgust prototype: disgust/anger and disgust/sadness. The results are discussed in relation to the regulative processes involved in the socialization of emotion.     

The Matching of Facial Expressions by Deaf and Hearing Children and Their Production and Comprehension of Emotion Labels

This paper reports the results of three tasks comparing the development of the understanding of facial expressions of emotion in deaf and hearing children. Two groups of hearing and deaf children of elementary school age were tested for their ability to match photographs of facial expressions of emotion, and to produce and comprehend emotion labels for the expressions of happiness, sadness, anger, fear, disgust, and surprise. Accuracy data showed comparable levels of performance for deaf and hearing children of the same age. Happiness and sadness were the most accurately matched expressions and the most accurately produced and comprehended labels. Anger was the least accurately matched expression and the most poorly comprehended emotion label. Disgust was the least accurately labeled expression; however, deaf children were more accurate at labeling this expression, and also at labeling fear, than hearing children. Error data revealed that children confused anger with disgust, and fear with surprise. However, the younger groups of deaf and hearing children also showed a tendency to confuse the negative expressions of anger, disgust, and fear with sadness. The results suggest that, despite possible differences in the early socialisation of emotion, deaf and hearing children share a common understanding of the emotions conveyed by distinctive facial expressions.     

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.