Emotional Meaning Research Articles

The feeling of beauty in music: Relaxing and not confusing

Although people throughout the world seek opportunities to participate in music, how and why they experience beauty in music is not well understood. To explore this fundamental aesthetic response, we measured numerous emotional responses to diverse musical excerpts to investigate their intercorrelations. We examined the following hypotheses: 1) that liking or the feeling of beauty (hereafter simply “the feeling of beauty”) is positively predicted by other prototypical aesthetic emotions (e.g., awe or the feeling of being moved); 2) that pleasing emotions (e.g., joy) are also positive predictors; and 3) that negative emotions (e.g., boredom or anger) are negatively correlated with the feeling of beauty. We also hypothesized that the epistemic or knowledge emotions (e.g., interest) are not predictors of prototypical aesthetic emotions. Participants listened to 13 brief musical excerpts. Immediately after listening to each excerpt, the participant rated it using the 42-item Aesthetic Emotions Scale (AESTHEMOS). After summing within related pairs of items to find scores for the 21 subscales, we calculated the means across participants for each song. We found that the means for the feeling of beauty have 1) strong positive correlations with the means of other prototypical aesthetic emotions, 2) positive correlations with some pleasing emotions (notably relaxation), 3) negative correlations with most negative emotions (notably confusion; exception: positive correlation with sadness), and 4) low correlations to epistemic emotions except for a strong negative correlation with surprise. These findings indicate a highly nuanced emotional experience of beauty in music that includes positive, negative, and knowledge-related feelings.

«Eyes burn words, words burn eyelids» (Imaginary potential of somatisms in the poetic picture of the world of Mykola Vinhranovskyi)

The article clarifies the peculiarities of the use of somatic units belonging to the general language dictionary; their imaginative potential is revealed in Mykola VinHranovskyi's poetic picture of the world. A wide range of figurative use of somatic lexemes is noted, the semantic specificity of their functioning is substantiated – due to the combination with ethnically marked words-images dream, hope, song, beauty, love, etc.; the introduction of original, unusually modeled tropeic, emotional and evaluative structures. Processes of image formation based on associative convergences of direct and figurative meanings of somatisms, external and internal portraiture of the lyrical "I", actualization of ethnic ideas about female beauty, beauty through the prism of the author's poetic language thinking and aestheticization of semantic plans of somatic lexical units are traced. The range of the figurative potential of somatisms in M. Vinhranovskyi's poetic picture of the world is extremely wide – from lexical-semantic to tropeic and ethnolinguistic paradigms. The key semantic vectors of its objectification are a combination of somatisms with ethnically marked words-images dream, hope, song, beauty, love, etc. The imagery of somatisms is revealed in the composition of originally modeled tropeic, emotive-evaluative, associatively expressed linguistic structures and through the prism of individual authorial aestheticization of the semantic plans of somatic lexical units. The frequency of the use of somatisms enables the characterization of figurative structures centered on "somatism" through chronological-worldview and ethnolinguistic, culturally oriented author's intentions, their objectification and influence on the general expressive plan of the entire expression. The full realization of the imaginative potential of somatisms is provided by contexts in which complex models combining several somatisms are represented. Such figurative models testify to the originality of M. Vinhranovskyi's linguistic thinking, his ability to find unexpected associative connections, revealing an individually modified and rich system of emotional and evaluative meaning plans of somatisms.

Emotional Bonds in the Polish Family during the Social and Political Transformation in Poland according to Empirical Research

Family relationships have been becoming increasingly important in Polish, contemporary society especially after the socio-political transformation in Poland. Before that time, family studies were strongly influenced by the socialist system and propaganda. Currently, family relationships are also diverse in structure and in functions. In reply to the widely debated »family crisis« hypothesis, the author of this article suggests that family relations will be more important in the 21st century, because there is a positive association between the experience of strong emotional bonds in the family and the strength of family relationship. Consequently, supporting emotional family ties means also supporting the growth of healthy relationships in the society. Therefore, the aim of this article is to present the bonds between members of the Polish family at the end of the 20th, and at the beginning of the 21st centuries on the basis of the results of surveys conducted by CBOS (Public Opinion Research Centre in Poland).

ЛИЦО ПОД МАСКОЙ И БЕЗ, ИЛИ ПОЧЕМУ ШУРИН ГЛАЗА ЩУРИТ?

During the pandemic, the mask became a necessary attribute. The article discusses the eye gestures, by which you can guess the smile under the mask. According to student surveys, a smile can be recognized by squinting eyes. However, squinted eyes can be part of the gestures of a smile or a grin, which have different meanings. This uncertainty appears in a Russian proverb that characterizes the typical behavior of relatives towards a son-in-law, in which the gesture of the brother-in-law’s eyes remains incomprehensible: The son-in-law likes to take, the father-in-law loves honor, and the brother-in-law squints his eyes. The mimic gesture of SQUINTING EYES can be considered in its linguistic correlates: shchurit’ glaza, prishchurit’sja, s prishchurom, etc. Lexicographic and corpus analysis of these units makes it possible to identify, in addition to the meaning of physical action, emotional and evaluative meanings not noted in modern dictionaries. Based on this analysis and taking into account folklore materials, an interpretation of the brother-in-law’s behavior in the Russian proverb was proposed. Russian units describing the gesture have different versions of English translations, thus we can suggest their cultural and linguistic specifics, possibly reflecting a gesture characteristic of Russian communicative behavior

О языке и стиле книги А. С. Шадриной «Двадцать два дня из жизни Ф. М. Достоевского (г. Кузнецк, 1856-1857 гг.)»: к вопросу об элитарной языковой личности в краеведческом дискурсе

The book “Twenty-two days in the life of F. M. Dostoevsky (Kuznetsk, 1856-1857)” written by Albina Stepanovna Shadrina, an art historian and local history expert, is related to a local historical dominant of the Southern Kuzbass sociocultural space, embodied in artistic, journalistic, advertising, and scientific texts. The paper provides the results of semantic and stylistic analysis of the book, revealing how an elitist linguistic personality manifests itself in the local history discourse. The image of the author is depicted by examining evaluative and emotionally expressive contexts and means, with the cognitive and discursive basis for their use being the memorial and local history function. A stylistic basis of A. S. Shadrina’s work is the popular science substyle. Emotional and expressive means actualize the characteristics important for the author and the course of the argumentation. S. Shadrina’s argument is characterized by a humanistic message, attention to the writer’s personality, and focus on psychological and ethical issues. Her goal is not only to represent the story of Dostoevsky’s “fearsome feeling” but also to study the life of Kuznetsk of that period, with special attention to the moral aspects. The book highlights axiological ideas connected with the activity of a local historian, with a focus on the novelty and perspectives of the research, the importance of archival work. The methodological approach, explicated in the evaluative contexts, is based on working with reliable sources and the unacceptability of free subjective interpretations of the facts.

Emotion concepts for representing the vicissitudes of fate in Markus Zusak’s “Bridge of Clay”

The problem of studying emotionally expressive information contained in a text is of considerable interest since it interprets reality, expressing value or emotionally significant attitudes toward this reality. The analysis of the emotivity and expressiveness of a literary text focuses primarily on its research from the cognitive (separation of emotiogenic knowledge) and semantic (determining the features of its use to indicate the author’s purposes) perspectives. A literary text is considered as a dual dimension: on the one hand, it is related to emotions, and on the other hand, it is specified by them. The aim of the article is to identify and examine the emotional concepts represented in Markus Zusak’s Bridge of Clay for portraying the vicissitudes of fate. The breath-taking story revolves around the Dunbar family of ‘ramshackle tragedy’ and brims with pathos. To analyse the emotion concepts, the following methods have been employed: the methods of interpretation and systematisation; contextual, stylistic, and distributive analysis as also a method of emotional valence, and the hypothetico-deductive method. The Results of the Study show that emotion concepts in Zusak’s Bridge of Clay are realised at the following levels: phonetics, morphology, and semantics, which shows the universality of functioning emotion concepts in fictional discourse. The emotion concept appears as a single entity that consists of attributes of emotivity, which are anthropocentric and character-creating. The lexical units, chosen by Zusak, convey the author’s intentions, explicitly or implicitly indicating the emotional nature of the text. Since characters belong to the category of essential universals of a literary text, the emotional meanings included in its structure have a special informative significance. The character’s emotions are represented as the special psychological reality, and the set of emotions in the text appears as a kind of dynamic plurality that changes as the story develops.

Disentangling Emotions during the Coronavirus Outbreak in Spain: Inner Emotions, Descriptive Feeling Rules and Socioemotional Conventions.

For constructionism, language is the link among different levels of analysis of emotional events, from individual to interpersonal and macrosocial. The interaction among these emotional levels allows us to construe an emotional episode and label it with an emotion word, coordinate with the emotions perceived in others, and represent events as a society. Across two studies, we found similarities and differences among inner emotions experienced (individual level), emotions perceived in others (descriptive feeling rules, interpersonal level) and emotions shared on the internet (socioemotional conventions, macrosocial level), with all these emotional targets focused on the COVID-19 outbreak. The results indicate a similarity between the emotional meaning of COVID-19 in society and the descriptive feeling rules, whereas the reported inner emotions were clearly distinct: Joy was irrelevant at the interpersonal and macrosocial levels but clearly important at the individual level. A mismatch also appeared for fear and hope. While fear was the most predominant emotion at the interpersonal and macrosocial levels during most of the phases, it was moderately predominant at the individual level. Hope followed the opposite pattern, being the most relevant emotion at the individual level but less relevant at the interpersonal and macrosocial levels. Each level might have different consequences: Mixed emotions at the individual level might promote resilience; fear perceived in other people might motivate protective behaviors; and sadness socially shared during Christmas might generate greater empathy. These results support the complexity of emotional concepts and the suitability of exploring them at different levels of analysis.

Речь современного судебного оратора: от замысла к воплощению

Based on the material of a separate speech of a particular court speaker in the aspect of communicative effectiveness, the preparing for the speech (work on written versions of the text) and the speech itself (oral implementation of the text) are analyzed. The effective and ineffective strategies of the lawyer's speech behavior during the work on the speech (structuring, editing, and pronouncing) are revealed. Basically, the speaker follows the rhetorical canons. He attaches great importance to his speeches, persuasion with the help of facts, preliminary preparation, but limits the involvement of various language resources. At the same time, the oral form of speech is more expressive; it includes many conversational elements, words that contribute to strengthening the logic and coherence of the text, attracting the audience's attention. There are no unnecessary words, abbreviations, colloquialisms, slang. This is due to the current trend of conducting trials, which does not imply the involvement of emotional means, and is determined by a judicial speaker's personal qualities. When making a speech, the speaker found a balance between non-standard - according to typical rhetorical rules - pace and volume of speech. As a result, it can be argued that the speech behavior of a particular person can become a model for such language personalities and even influence the formation of general rhetorical rules. Recommendations for improving the speaker's rhetorical competence are formulated. It is necessary for this speaker and similar professionals to rely on their own individuality, develop strengths (e.g., self-confidence, reliance on logic and facts, pedantry) and compensate, if possible, for weaknesses. For instance, an excessive focus on specific advantages leads to monotony of texts and predictability of perception. Therefore, it is necessary to expand the set of language tools for any speaker, including the analyzed person, because this increases the communicative and professional competence. The general impression from the speech is that the speaker is a confident, calm, reserved, pedantic, delicate person, who speaks competently, counting on the understanding of intelligent adequate people. The image of this modern court speaker is evaluated as harmonious because the idea is implemented consistently and effectively, but there are a number of aspects to master: eliminating speech errors, expanding the set of figurative words and figures of speech, more active use of gestures and facial expressions when making speeches.

The Neural Basis of Tonal Processing in Music: An ALE Meta-Analysis

Music is used as an important medium for communication in human societies, often times to enhance the emotional meaning of narrative scenarios and ritual events. Music has a number of domain-specific tonal devices for doing this, spanning from scale structure to harmonic progressions and beyond. In order to explore the neural basis of tonal processing in music, we carried out an activation likelihood estimation (ALE) meta-analysis of 20 published functional magnetic resonance imaging studies of tonal cognition, with an emphasis on harmony processing. The most concordant areas of activation across these studies occurred at the junction of the inferior frontal gyrus, anterior insula, and orbitofrontal cortex in Brodmann areas 47 and 13 in the right hemisphere. This region is associated not only with emotion in general, but with the conveyance of affective meanings during communication processes, including speech prosody and music.

The morphological and semantic aspects of the suffix, ‘-jaengi’ in the Jeonbuk dialect

This study investiages morphological and semantic features of the suffix -쟁이(jaengi) in the Jeonbuk dialect (North Jeolla). The suffix, -jangi, is one of the most frequently used affixes both in the Standard Korean and the Jeonbuk dialect. Not much attention has been laid on the uses of ‘- jaengi’ in the Jeonbuk dialect. The current study focuses on the morphological and semantic aspects of the ‘-jaengi’ in the Jeonbuk dialect based on the derivational words including ‘-jaengi.’ In the Jeonbuk dialect, the suffix, ‘-jaengi’ is attached to the following word classes–noun, verb, adjective, and adverb, even to the noun phrase and predicate. The ‘-jaengi’ addes the indicative and emotional meanings to its stem. For the indicative meaning, ‘-jaengi’ delivers the meanings of ‘a person who engages in the particular profession,’ ‘a person with a specific nature,’ or ‘a person who takes a repetitive action.’ It follows personal pronouns and body parts as well. These derivational uses attest that ‘-jaengi’ is productively used in the Jeonbuk area and its meanings are not restricted to humans but can be expanded beyond the human categories. In this discussion, in order to reveal the characteristics of the Jeonbuk dialect ‘-jaengi’ derivative, the ‘-jaengi’ derivative was primarily extracted from the Jeonbuk dialect data. And these derivatives were examined in terms of form and meaning In the Jeonbuk dialect, the suffix ‘-jaengi’ is combined with various fishing groups such as nouns, verbs, and adjectives to form derivatives, and due to the high productivity of ‘-jaengi’, it can be seen that ‘-jaengi’ is also combined with the use of noun phrases. In addition, the meaning of the suffix -쟁이 could be largely divided into cases where the meaning of a person is added, the negative emotions of the speaker are added, and other cases. In the case of adding a person s meaning, it was confirmed that it functions as a conjunction with various meanings, such as “person who does such things professionally,” “person who does such things repeatedly,” depending on the nature of the violation. It has already been combined with personal nouns that have human meaning and nouns that mean part of the body or location to add meaning to the subordinate. This seems to have expanded to other areas, not just humans, as the suffix ‘-jaengi’ was actively used in this area.

Модели деминутивного словообразования в бурятском языке и их семантика

The study aims to consider the features peculiar to the formation of diminutive forms of nouns in the Buryat language from the perspective of functional semantics. The paper notes that diminutive forms represent ways of expressing subjective assessment and are one of the means of expressing emotive meaning. Scientific novelty lies in analysing in a comprehensive manner various ways of forming diminutive forms of nouns in the Buryat language. The paper identifies the following models: affixal/synthetic; non-affixal/analytical; mixed. As a result of the study, it has been found that the diminutive category in the Buryat language is less elaborate than in Russian. Diminutives most often realise ameliorative assessment, are used to express respect and reverence.

Креатив рекламної естетики у генеруванні нових художніх текстів

The article under studies deals with the creative possibilities of an advertising text within modern arts. It is generally recognized that the main purpose of advertising is to turn a recipient into a consumer. The advertisers achieve this goal through implementing the four consecutive stages of affecting the receptive consciousness: drawing attention, arousing interest, stimulating desire and encouraging action, which requires a perfect form of presentation. For successful achievement of the above results, the advertisers use rational, emotional, logical, psychological and aesthetic means of persuasion all together. Consequently, advertisement, as a peculiar synthetic type of “aestheticized pragmatics”, does not reject the aesthetic constituent. In the course of perceiving an advertising text, there might occur certain teleological deviations: when the aesthetic component of advertising comes out in the receptive consciousness in the first place, the advertising text can acquire new semantic parameters and be transformed into a qualitatively different text. In this way, most advertising slogans are usually considered. Being separated from the original text, they turn into independent messages (such as proverbs, sayings, phraseologisms) and enter the flow of the contemporary communicative space of speech. Other phenomena, generated by the aesthetics of an advertising text, are numerous anecdotes and comedic sketches, which parody plot structures, themes, images and specifics of the speech of advertising texts, as well as act as autonomous genres. The article under discussion regards the generation of a new text as a free game within aesthetic communication, whereby the author (the advertiser) and the recipient (the consumer) become equally successful partners. In addition, the article contains the analysis of certain samples, in which the aesthetics of an advertising text annihilates its immanent utilitarian form and creates an independent fiction text. Thus, the aesthetic component of an advertising text turns into a particular creative motive, a driving force in generating new literary texts.

Reading Through Emotions: An Affective Narratolological Approach to Alice Munro's Short Stories

The emergence of fields of study like emotionology, affective narratology, and psychonarratology in recent decades evidences a dramatic rise in research done on the meaning and interpretation of emotions. Affective Narratology as one of the recent fields in emotion studies attempts to identify and account for the figuration of emotions in works of literature. Focusing on three basic emotions (shame, jealousy and love) figuring in Alice Munro’s selected short stories this paper probes the significance of emotional registers in the writer's depiction of daily life. Examined is the way the stories' sincere tone and their comprehensible, ordinary language, contribute to the emotional identification of readers with characters. Applying affective narratological theories, the objective is to show how emotions contribute to plot development and characterization in these stories. Central to the analysis is interpreting emotional moments experienced by characters, especially female characters

Exploring a systemic functional semiotics approach to understanding emotional expression in singing performance: Implications for music education

Engagement with songs through performance and analysis is a key component of music curricula worldwide. Music learning has a significant impact on a number of student competencies, including enhancing students’ communicative abilities as they learn to manipulate, express, and share sound in both voice qualities and lyrics. However, common analyses of singing performance rarely focus exclusively on voice quality, and there is no systematic framework which considers how emotional meaning in lyrics interacts with emotional meaning in voice quality. Drawing on systemic functional semiotics, this article proposes a unified theoretical framework for examining how emotional meaning is co-constructed in the voice and lyrics in singing performance. This framework provides a novel approach for discussing and teaching song analysis and performance. The framework will be illustrated through the analysis of the interaction between voice quality and lyrics in the song “Someone Like You” performed by Adele.

Internal limitations of liability and criminal irresponsibility and persons in the state of affect

The explanatory dictionary of the Romanian Language offers the following definition of the notion of affect: emotional reaction with a strong and relatively short development. The notion of affect comes from the Latin affectionus, which has the meaning of emotional emotion, horror. Although the legislator does not indicate the types of affect, at the same time in psychology it is considered that it manifests itself under several types. The most common are anger, hatred, horror, fear (and its most intensified form - nightmare, contempt). The appearance of one or another type of affect is in an interdependence on the physiological mechanisms, on the character of the person, as well as on the complex of other internal and external factors. Thus, for the correct appreciation of the actions committed in a state of affect, it is necessary to establish in detail the type of affect, the reason, its causes, the form of guilt, etc. When differentiating the diagnosis of pathological and physiological affections, it is necessary to keep in mind that these are different conditions, although they have an accumulation of common characteristic traits. The common elements of the physiological and pathological affections are attributed to a short duration; sudden onset; emotional reaction; explosive flow; sudden onset; strong emotional discharge; mental and physical exhaustion; partial amnesia.

Prologue to Tai Kwun: Commercialism or Community? A case study of the urban struggles regarding the revitalisation of the former Central Police Station Compound in Hong Kong

This paper presents a case study of the conservation and revitalisation project of the former Central Police Station Compound (“the Compound”). By documenting the tug of war between economic development and community benefits that took place from 2003 to 2010, it shows how the value of cultural heritage and residents’ lived experience could be affected in the contemporary urban regeneration process. The community’s endeavours to resist the undesirable consequences of the initial revitalisation plan are highlighted to discuss how place identity was threatened, established, defended and reinforced throughout, as well as other factors contributing to the successful regeneration outcome. Examining the evolution and outcome of the two major waves of urban struggles pertaining to the design of the Compound shows that resource mobilisation, social construction and political climate served as vehicles for achieving success, which shape the Tai Kwun we see today as a humanistic focal point for arts and culture. On this basis, this paper aims to shed light on the social, cultural and emotional meanings attached to and evoked by the built environment, which are closely associated with the physical and structural dimensions, in the context of heritage conservation and revitalisation.

How does the emotional meaning associated with money and financial advisor’s characteristics impact investors’ risk-taking?

How does the emotional meaning associated with money and financial advisor’s characteristics impact investors’ risk-taking?

Emotive Sources of Post-truth

The first part of this paper briefly presents the phenomenon of post-truth, which is then confronted with emotivism, a position of 20th-century ethics or metaethics that ascribes an emotive and evocative meaning to ethical judgements, rather than a descriptive one. The second part shows briefly the theories of two main representatives of this view, namely A.J. Ayer and Charles Stevenson. The third part focuses on the objections to emotivism, primarily presented by Alasdair MacIntyre. Finally, the influence of emotivism on post-truth is discussed.

The Influences of Loaded Words in Tragic News Headlines on Readers’ Emotions

In tragic news, the use of loaded words is one prominent device in constructing effective news headlines to draw interests and provoke readers’ emotions (Clark, 2007). Nevertheless, with a dearth of research studies in this phenomenon, the aims of this qualitative study are to investigate 1) what word classes of loaded words are found in tragic news headlines, and 2) how these loaded words provoke emotions and reactions in news readers. First, 180 tragic news headlines were purposively selected from all news headlines on nine websites between July to October 2019 and analyzed. The findings revealed that nouns and verbs were the two most prominent word classes used as loaded words (48.18% and 33.64%, respectively). Moreover, these loaded words were found at both word and phrase levels. Second, to explore news readers’ emotions, the two main instruments were used: 1) online questionnaire with 20 news headlines were uploaded, finally, 52 male and female respondents from 22 countries participated and 2) semi-structured interview with 4 (7.69%) interviewees was conducted with another 20 news headlines to explore more in-depth responses. Their overall reflections revealed that, with the impacts of loaded expressions, four related main factors helped provoke their emotions: 1) strong emotive meanings of loaded words, 2) textual context of a news headline, 3) news readers’ experiences, and 4) news readers’ cultural and social backgrounds. Overall, this seems to suggest that not the use of loaded words alone is a prominent language device in creating enough impacts in writing news headlines, but textual and socio-cultural contexts also play essential roles in provoking their emotions and influencing further reactions. That is, news writers should be aware that integrating these strategies together is very important in writing news headlines.

Эмотивное выражение в тексте и пути его перевода

Research relevance: there are isomorphic features of the investigated interjections in semantics, pragmatic terms and in structure. Research objectives: to reveal the emotional meaning of the Russian interjection Tsyts and the way of its translation into English and Kyrgyz languages. Research materials and methods: the authors use the method of translation and comparison of interjections in The Quiet Don by M. Sholokhov, Farewell to Gyulsary by Ch. Aitmatov and The Adventures of Tom Sawyer by M. Twain literary works. Research results: the isomorphic features of the studied interjections coincide in their pragmatic characteristics, structure, meaning and nominative function. Conclusions: In the languages under consideration, by their syntactic nature, they can act as independent sentences.