It has long been clear that the way in which people interpret the world affects our emotional reactions. What has been less clear is exactly how such different interpretations lead to different emotions. This is the central question addressed by The Cognitive Structure of Emotions. Taking a cognitive science perspective, a systematic account is presented of the cognitive structures that underlie a wide range of different emotions. Detailed proposals about the factors that affect intensity are also offered. The authors propose three broad classes of emotions, each corresponding to a different attentional focus. One class consists of reactions to events, one of reactions to the actions of agents, and one of reactions to objects. By basing their analysis of the antecedents of emotions on an analysis of the perceived situational conditions that elicit them, the authors offer the prospect of accounting for variations in the emotions of different individuals, different cultures, and perhaps even different species.

It has long been clear that the way in which people interpret the world affects our emotional reactions. What has been less clear is exactly how such different interpretations lead to different emotions. This is the central question addressed by The Cognitive Structure of Emotions. Taking a cognitive science perspective, a systematic account is presented of the cognitive structures that underlie a wide range of different emotions. Detailed proposals about the factors that affect intensity are also offered. The authors propose three broad classes of emotions, each corresponding to a different attentional focus. One class consists of reactions to events, one of reactions to the actions of agents, and one of reactions to objects. By basing their analysis of the antecedents of emotions on an analysis of the perceived situational conditions that elicit them, the authors offer the prospect of accounting for variations in the emotions of different individuals, different cultures, and perhaps even different species.

The Structure of Emotions argues that emotion concepts should have a much more important role in the social and behavioural sciences than they now enjoy, and shows that certain influential psychological theories of emotions overlook the explanatory power of our emotion concepts. Professor Gordon also outlines a new account of the nature of commonsense (or 'folk') psychology in general.

This book examines linguistic expressions of emotion in intensional contexts and offers a formally elegant account of the relationship between language and emotion. The author presents a compelling case for the view that there exist, contrary to popular belief, logical universals at the intersection of language and emotive content. This book shows that emotive structures in the mind that are widely assumed to be not only subjectively or socio-culturally variable but also irrelevant to a general theory of cognition offer an unusually suitable ground for a formal theory of emotive representations, allowing for surprising logical and cognitive consequences for a theory of cognition. Challenging mainstream assumptions in cognitive science and in linguistics, this book will appeal to linguists, philosophers of the mind, linguistic anthropologists, psychologists and cognitive scientists of all persuasions.

A study that goes beyond the debate over functional specialization to describe the ways that emotion and cognition interact and are integrated in the brain. The idea that a specific brain circuit constitutes the emotional brain (and its corollary, that cognition resides elsewhere) shaped thinking about emotion and the brain for many years. Recent behavioral, neuropsychological, neuroanatomy, and neuroimaging research, however, suggests that emotion interacts with cognition in the brain. In this book, Luiz Pessoa moves beyond the debate over functional specialization, describing the many ways that emotion and cognition interact and are integrated in the brain. The amygdala is often viewed as the quintessential emotional region of the brain, but Pessoa reviews findings revealing that many of its functions contribute to attention and decision making, critical components of cognitive functions. He counters the idea of a subcortical pathway to the amygdala for affective visual stimuli with an alternate framework, the multiple waves model. Citing research on reward and motivation, Pessoa also proposes the dual competition model, which explains emotional and motivational processing in terms of their influence on competition processes at both perceptual and executive function levels. He considers the broader issue of structure-function mappings, and examines anatomical features of several regions often associated with emotional processing, highlighting their connectivity properties. As new theoretical frameworks of distributed processing evolve, Pessoa concludes, a truly dynamic network view of the brain will emerge, in which "emotion" and "cognition" may be used as labels in the context of certain behaviors, but will not map cleanly into compartmentalized pieces of the brain.

This book, a member of the Series in Affective Science, is a unique interdisciplinary sequence of articles on the cognitive neuroscience of emotion by some of the most well-known researchers in the area. It explores what is known about cognitive processes in emotion at the same time it reviews the processes and anatomical structures involved in emotion, determining whether there is something about emotion and its neural substrates that requires they be studied as a separate domain. Divided into four major focal points and presenting research that has been performed in the last decade, this book covers the process of emotion generation, the functions of amygdala, the conscious experience of emotion, and emotion regulation and dysregulation. Collectively, the chapters constitute a broad but selective survey of current knowledge about emotion and the brain, and they all address the close association between cognitive and emotional processes. By bringing together diverse strands of investigation with the aim of documenting current understanding of how emotion is instantiated in the brain, this book will be of use to scientists, researchers, and advanced students of psychology and neuroscience.

This book has been written by several of the world's leading experts in the field of research on emotions. The emphasis throughout is on practical psychophysiological approaches and concrete results. The authors present an original approach which enables practitioners to differentiate, in an objective psychophysiological manner, positive emotions from negative ones. In this framework emotions are analyzed in the context of response systems.

A multidisciplinary collaboration exploring the role of cultural knowledge in everyday language and understanding.

Emotions are complex and multifaceted phenomena. Although they have been examined from a variety of perspectives, the study of the interaction between cognition and emotion has always occupied a unique position within emotion research. Many philosophers and psychologists have been fascinated by the relationship between thinking and feeling. During the past 30 years, research on the relationship between cognition and emotion has boomed and so many studies on this topic have been published that it is difficult to keep track of the evidence. This book fulfils the need for a review of the existing evidence on particular aspects of the interplay between cognition and emotion. The book assembles a collection of state-of-the-art reviews of the most important topics in cognition and emotion research: emotion theories, feeling and thinking, the perception of emotion, the expression of emotion, emotion regulation, emotion and memory, and emotion and attention. By bringing these reviews together, this book presents a unique overview of the knowledge that has been generated in the past decades about the many and complex ways in which cognition and emotion interact. As such, it provides a useful tool for both students and researchers alike, in the fields of social, clinical and cognitive psychology.

Introduced one hundred years ago, film has since become part of our lives. For the past century, however, the experience offered by fiction films has remained a mystery. Questions such as why adult viewers cry and shiver, and why they care at all about fictional characters -- while aware that they contemplate an entirely staged scene -- are still unresolved. In addition, it is unknown why spectators find some film experiences entertaining that have a clearly aversive nature outside the cinema. These and other questions make the psychological status of emotions allegedly induced by the fiction film highly problematic. Earlier attempts to answer these questions have been limited to a few genre studies. In recent years, film criticism and the theory of film structure have made use of psychoanalytic concepts which have proven insufficient in accounting for the diversity of film induced affect. In contrast, academic psychology -- during the century of its existence -- has made extensive study of emotional responses provoked by viewing fiction film, but has taken the role of film as a natural stimulus completely for granted. The present volume bridges the gap between critical theories of film on the one hand, and recent psychological theory and research of human emotion on the other, in an attempt to explain the emotions provoked by fiction film. This book integrates insights on the narrative structure of fiction film including its themes, plot structure, and characters with recent knowledge on the cognitive processing of natural events, and narrative and person information. It develops a theoretical framework for systematically describing emotion in the film viewer. The question whether or not film produces genuine emotion is answered by comparing affect in the viewer with emotion in the real world experienced by persons witnessing events that have personal significance to them. Current understanding of the psychology of emotions provides the basis for identifying critical features of the fiction film that trigger the general emotion system. Individual emotions are classified according to their position in the affect structure of a film -- a larger system of emotions produced by one particular film as a whole. Along the way, a series of problematic issues is dealt with, notably the reality of the emotional stimulus in film, the identification of the viewer with protagonists on screen, and the necessity of the viewer's cooperation in arriving at a genuine emotion. Finally, it is argued that film-produced emotions are genuine emotions in response to an artificial stimulus. Film can be regarded as a fine-tuned machine for a continuous stream of emotions that are entertaining after all. The work paves the way for understanding and, in principle, predicting emotions in the film viewer using existing psychological instruments of investigation. Dealing with the problems of film-induced affect and rendering them accessible to formal modeling and experimental method serves a wider interest of understanding aesthetic emotion -- the feelings that man-made products, and especially works of art, can evoke in the beholder.