Mediating interpersonal expectancies via vocal cues: Differential speech intensity as a means of social influence

Differential vocal emphasis in the tape-recorded instruction reading for a standard person perception task was manipulated by mechanically raising or lowering the volume of the key words describing the success or failure response alternatives on the rating scale. In a series of three experiments, Ss exposed to success emphasis in the instructions rated the stimulus persons as more successful than did Ss exposed to failure emphasis. This trend was reversed for Ss who listened twice to the instructions. None of the Ss reported awareness of the influence attempt.     

Lost Luggage: A Field Study of Emotion–Antecedent Appraisal

One hundred twelve airline passengers reporting their luggage lost to the baggage retrieval service in a major international airport were interviewed after their interaction with an airline agent. Participants were asked to rate their emotional state before and after the interaction with the agent and to provide information on how they had appraised the situation. The data are interpreted with respect to (1) type and intensity of the emotions felt in this situation, (2) appraisal theory predictions of emotion elicitation and differentiation, and (3) emotional change in the course of the interaction following reappraisal of the situation.     

Emotion expression in body action and posture

Emotion communication research strongly focuses on the face and voice as expressive modalities, leaving the rest of the body relatively understudied. Contrary to the early assumption that body movement only indicates emotional intensity, recent studies have shown that body movement and posture also conveys emotion specific information. However, a deeper understanding of the underlying mechanisms is hampered by a lack of production studies informed by a theoretical framework. In this research we adopted the Body Action and Posture (BAP) coding system to examine the types and patterns of body movement that are employed by 10 professional actors to portray a set of 12 emotions. We investigated to what extent these expression patterns support explicit or implicit predictions from basic emotion theory, bidimensional theory, and componential appraisal theory. The overall results showed partial support for the different theoretical approaches. They revealed that several patterns of body movement systematically occur in portrayals of specific emotions, allowing emotion differentiation. Although a few emotions were prototypically expressed by one particular pattern, most emotions were variably expressed by multiple patterns, many of which can be explained as reflecting functional components of emotion such as modes of appraisal and action readiness. It is concluded that further work in this largely underdeveloped area should be guided by an appropriate theoretical framework to allow a more systematic design of experiments and clear hypothesis testing. (PsycINFO Database Record (c) 2012 APA, all rights reserved).