Expressions Of Joy Research Articles

The expression of primary affects in portraits drawn by schizophrenics.

In a psychiatric hospital setting, 15 patients under treatment for schizophrenia and 15 healthy persons were asked to draw (1) a human face, (2) another face that expressed their own feelings at that moment, and (3) afterward the facial expressions of rage, fear, disgust, joy, sadness and shame within a standardized egg-shaped face matrix. Both groups were matched for age, sex and education, and all drawings were coded independently. The schizophrenics drew fewer facial action units, and their facial drawings were more stereotyped than the control group's. Neutral faces without any affective expression were twice as frequent within the experimental group. According to Ekman and Friesen's table of emotion prediction, the accuracy was the same for both groups with the exception of sadness. Only 20% of the action units in the schizophrenics' sadness drawings were accurate compared to 51% in the control group. Based on observations during the drawing process, findings are discussed within the theoretical framework of cathexis defense as an attempt to reduce the impact of the affective stimuli the schizophrenics created themselves.

The Development of the Fireworks Display and its Contribution to Dramatic Art in Renaissance Ferrara

In Pirotechnia (1558), Vanuzzo Biringuggio describes several ways of making ‘fuochi lavorati’ or fireworks, and he mentions the great skill of the Florentines and Romans in this special art. Their famous ‘castelli’ and ‘girandole’ were built for special festivities, such as Pentecost in Florence or the election of a new Pope in Rome. The custom of using firework displays as a popular expression of joy or ‘allegrezza’, was shared by several Italian towns during the fifteenth and sixteenth centuries, and Ferrara was no exception. The capital of Este's duchy provides an interesting example of how pyrotechny eventually became independent of popular and Carnival-like displays, and an established feature of court entertainments. Ferrara, one of the liveliest theatrical cities of the Italian Renaissance, provided a fertile ground for the development of firework displays.

Prosodic components of speech in the expression of emotions

For the purpose of a natural and high-quality speech synthesis, the role of prosody in speech perception has been studied. Prosodic components, which contribute to the expression of emotions and their intensity, were clarified by analyzing emotional speech and by performing listening tests on synthetic speech. It has been confirmed that prosodic components, which are composed of pitch structure, temporal structure, and amplitude structure, contribute to the expression of emotions more than the spectral structure of speech. Listening test results also showed that the temporal structure was the most important for the expression of anger, while both amplitude structure and pitch structure were much more important for the intensity of anger. Pitch structure also played a significant role in the expression of joy and its intensity. These results suggest the possibility of converting a neutral utterance (i.e., one with no particular emotion) into utterances expressing various kinds of emotions. These results can also be applied to controlling the emotional characteristics of speech in synthesis by rule.

The Semantics of Happiness in Descartes's Discourse

THE SEMANTICS OF HAPPINESS IN DESCARTES'S DISCOURSE by Louis A. Mackenzie,Jr. The discourse on method is a work in which most readers can take delight. Its attractiveness resides perhaps less in the philosophical argumentations—the Meditations and Principles do a more thoroughjob of that—than in what might be called its humanness. The reader need not be a philosopher to appreciate the image of Descartes warming himself or his thoughts on a winter's day, or to sympathize with his anxiety over publishing a risky piece of writing. These are moments when, to appropriate Pascal's thought, the reader finds himself "astonished and overjoyed to find a man there where he might have expected an author." And one of the most agreeable traits of the man who reveals himself in the Discourse is his clear capacity to experience joy and to express it. Indeed, happiness is not only one of the important "themes" of the Discourse specifically, it is also a persistent point of focus in Descartes 's writing generally.1 Here, however, I will be looking at the single element of Descartes's expression ofjoy in the Discourse. While my examination may lead me to several other texts, I do not intend to engage the sweeping subject of Cartesian happiness. I choose, rather, to stake out a small corner of the subject by focusing mainly on the semantic patina given the expression of happiness in the Discourse. In so doing, it should be possible to geta better sense notonly ofthe man, the method, and the philosophy, but also if I be permitted to pirouette on Pascal's thought, of an author fully conscious of the terms he uses and of their nuances. In the first part of the Discourse, Descartes looks back to his schooldays Louis A. Mackenzie, Jr.89 at La Flèche, "one of the most famous schools in Europe."2 He sees himself disillusioned and stymied. He recalls being "nourished" in the humanities, a diet which his Jesuit mentors had promised would bring clear and certain knowledge of everything it was useful to know. This promise, one he recalls as much for himself as for his readers, has to be understood as a promise for happiness, especially since Descartes talks about it in terms of his own "extreme desire" to learn all those things prescribed by the regimen. The adjective with which Descartes modifies the noun "desire"—and it is important to remember that, for all its accessibility, the language of the Discourse is not the unmediated expression ofspontaneous memory, but the carefully chosen expression ofsomeone preoccupied with clarity, precision, and publication—should not be taken as a simple synonym for "great" or "keen." It should be allowed to retain its strongest, most literal resonances. In short, it means vital, critical, and crucial.3 Descartes wants it understood that his desire teems with urgency, so that, when at the end of his course of studies he finds himself compelled to "change his mind completely," the sense of his disappointment can be fully appreciated by the reader. This need to change his opinion completely is to admit to the sad fact that extreme orurgentdesire has gone unfulfilled. More importantly, it has generated its opposite: extreme frustration. Once again, the term Descartes uses to express this frustration, "embarrass é," is important. To be embarrassé is not simply to be upset. It is to be blocked off, weighed down, encumbered, disoriented and confused . This unhappy condition forces Descartes to admit that faithfulness to his course ofstudy has brought no fruit other than an ignorance only vaguely consonant with Socratic wisdom. It should be noted parenthetically that while his disappointment with regard to the curriculum at La Flèche is authentic and weighty, his critique does not represent a broadside against his mentors and their pedagogy. Indeed, in a letter to an acquaintance who had asked advice on schooling for his son, Descartes goes so far as to recommend in the most glowing terms the program of his former instructors, particularly insofar as the teaching of philosophy is concerned.4 This recommendation does not, however, contradict what was clearly an unpleasant sensation for the young Descartes . In his disillusionment...

Infants' responses to their mothers' expressions of joy and sadness.

Infants' responses to their mothers' expressions of joy and sadness.

Infants' responses to their mothers' expressions of joy and sadness.

Infants' responses to their mothers' expressions of joy and sadness.

Patterns of brain electrical activity during facial signs of emotion in 10-month-old infants.

This study examined electroencephalogram (EEG) asymmetries during the presence of discrete facial signs of emotion. Thirty-five 10-month-old infants were tested in a standard stranger- and mother-approach paradigm that included a brief separation from their mother. Infant facial expression was videotaped, and brain electrical activity from left and right frontal and parietal regions was recorded. The videotapes were coded with two different discrete facial coding systems. Artifact-free periods of EEG were extracted that were coincident with the expression ofthe emotions of joy, anger, and sadness. The data revealed different patterns of EEG asymmetry depending on the type of facial expression and vocal expression of affect that was observed. Expressions of joy that involved facial actions of both zygomatic and orbicularis oculi were seen more often in response to mother approach, whereas smiles that did not involve the action of orbiculaxis oculi were seen more often in response to approach of the stranger. The former type of smile was associated with relative left frontal activation, whereas the latter type was associated with right frontal activation. Facial expressions of anger and sadness exhibited in the absence of crying were associated with left frontal activation, whereas these same facial expressions during crying were associated with right frontal activation. These data underscore the usefulness of EEG measures of hemispheric activation in differentiating among emotional states associated with differences in facial and vocalic expressivity. Recent evidence from the adult neuropsychological literature indicates that the cerebral hemispheres are differentially lateralized for the expression of certain positive and negative emotions (Bear & Fedio, 1977; Davidson, Schwartz, Saron, Bennett, & Goleman, 1979; Gainotti, 1969, 1972; Sackeim, Weiman, Gur, Greenberg, Hungerbuhler, & Geshwind, 1982; reviews by Davidson, 1984; Leventhal & Tomarken, 1986; Silberman & Weingartner, 1986). Evidence both from normal (e.g., Davidson et al., 1979; Tucker, Stenslie, Roth, & Shearer, 1981) and from brain-damaged subjects (Bear & Fedio, 1977; Kolb & Milnet, 1981; Robinson & Benson, 1981) indicates that it is specifically the frontal region that shows this differential lateralization, with lett-sided activation observed during certain positive emotions and right-sided activation associated with certain negative emotions. In a series of studies, we have demonstrated the presence of this differential hemispheric asymmetry in newborn and 10month-old infants (Davidson & Fox, 1982; Fox & Davidson, 1986; Fox & Davidson, 1987). These studies examined electro

Discrimination of Facial Expressions by Preschool Children

This study investigated preschool children's ability to discriminate and categorize facial expressions. Children were shown drawings of persons with expressions of joy, sadness, surprise, and anger and asked to choose from an array of drawings the face that felt "the same" as the standard. The choice array varied on 1 or more features of the standard's expression or had identical key facial elements. In some cases the match had identical facial features and in others the match was a generalized version with no identical features. Children were given various prompts to select the accurate match for the standard. Both with and without prompts children made fewer errors matching happy expressions and matched generalized happy expressions as accurately as identical expressions. Surprised and angry faces were less accurately matched. Providing verbal labels for the faces facilitated matching, particularly for happy and generalized expressions, suggesting that labeling or explicitly providing a conceptual category may aid comparison and/or memory of the expressions. A levels-of-processing effect is suggested to be operating in young children's discrimination and categorization of facial expressions.

Generation of emotionally expressive sounds from the dynamic forms of expressive finger pressure: How is expressive touch transformed to expressive sound?

Transduced finger pressure expressions of Anger, Hate, Grief, Love, Sex, Joy, and Reverence (Ann. N.Y. Acad. Sci. 220(3) (1973)] were used as frequency and amplitude modulation envelopes (beginning and ending in silence) of a sinusoidal sound. Experiments were designed to determine what transformation the dynamic forms (essentic forms) produced by finger pressure require, to express like emotional qualities sonically. Sign and depth modulation were found to be specific for each emotion. The dynamic form itself required no modification for frequency modulation, only modulation depth scaling. Optimal ratio of frequency to amplitude modulation varied for different emotions, being least for love and greatest for joy. Both original and sonic forms were correctly recognized by a large majority of 200 subjects. Males and females did equally well. Thus, emotional expression using finger pressure produces a similar emotional expression in sound when its frequency and amplitude modulates a sinusoidal carrier tone in the manner determined, arguing for a common origin in brain function of both touch and sound expressive forms.

Herbert, Vaughan, and Public Concerns in Private Modes

Herbert, Vaughan, and PubRc Concerne In Private Modes by Claude J. Summers and Ted-Larry Pebworth Neither the George Herbert of The Temple nor his selfavowed disciple, the Henry Vaughan of Silex Scintillons, is a public poet in the ordinary sense of the term. The collection of each is subtitled "Sacred Poemsand Private Ejaculations,"and both concentrate on abiding themes: the manifestations of God and His will in the lives and actions of human beings and the quest for personal salvation. In total, neither collection is polemical. But the idemtifcation of God's will and its accomplishment on earth were very much public, even political issues in seventeenth-century England, and neither poet chose to retire from the world or to evade the particulars of the religious and political climate of his time. Scattered throughout both The Temple and the two parts of Sllex Scintillons are several poems that address public issues, notableamongthem works that directly treat the visible church. The modes of these poems are private — lyrical expressions of personal joy, alarm, sorrow, reflection, and prayer — but theyare set within Biblical and historical contexts that transcend the private convictions and personal desires of their authors. Herbert and Vaughan are distinctive poets;and inaddition to many personal differences between them, the differing external conditions under which they lived were crucial in shaping their public poetry. Although not altogether satisfied with the church of his day, George Herbert discovered in the Established Church the immanence of God. He creates public poetry by recognizing and lamenting the dangers that threaten the visible church, both from within and from without, and by placing the temporal and localized institution within a broad context of Judeo-Christian history that prophesied the apocalyptic destruction of God's enemies and the establishment of a New Jerusalem. Writing some two decades later, Vaughan reacted to the immediate issues posed by the Parliamentarian transformation of the Established Church — the unseating of her bishops, the proscription of her prayerbook, the desanctification of her buildings, the Summers and Pebworth abolishment of her forms — concerning himself with how to survive emotionally and spiritually in a time when "our beautiful gates are shut up, and the Comforter that should relieve our souls is gone far from us." ' In discovering the displaced Christ in the temple of nature —the enclosed garden of the allegorized Song of Songs — Vaughan translates his private quest for Christ and His spouse the Church into public poetry. The popular image of Herbert, based on Walton's biography of him and on the sweet tempered surfaces of his mature poems, might suggest that he was too tolerant to have engaged in sectarian controversy. Indeed, in A Priest to the Temple, he advises the parson to be "voyd of all contentiousnesse " while using "all possible diligence" in reducing those in his congregation who hold "strange Doctrins" to "the common Faith." 2 Nevertheless, Herbert was deeply concerned about doctrinal questions and about the effect of doctrinal division on the Established Church, 3 one of whose offices was to interpret "the obscurity in some points" of doctrine (Hutchinson, p. 263). The sweet reasonableness and calm assurance of such poems as "Divinitie" and "The British Church" — and the painful lamentation of "Church-rents and schismes" — have concealed the degree to which these poems participate in the religious controversies they decry. "Divinitie," for instance, seems at first glance a witty confutation of obscurantist speculators, an assertion of the superiority of faith to reason. Yet the poem goes beyond merely ridiculing the absurdity of theological quibbling to suggest that "the edge of wit" (I. 7) threatens to tear Christ's "seamlessecoat" (1. 1 1 ). the symbol "of loveand hence of unity in the Church." * In contrast to the "curious questions and divisions" (1. 12) raised by theological disputants, Christ's doctrine is "cleare as heav'n, from whence it came" (1. 14): "Loire God, end love your neighbour. Watch end pray. / Do as ye would be dono unto" (II. 17-18). The apparent simplicity of Christ's conflation of the whole message of the law and the prophets (Matt. 22:34-40; cf. Matt. 7:1 2) stands in opposition to the elaborate complexities and fine...

The Sound of a Poet Singing Loudly: A Look at Elegy for Young Lovers

The Sound of a Poet Singing Loudly: A Look at Elegy for Young Lovers Marc A. Roth When W. H. Auden wrote to Igor Stravinsky to accept the offer to write the libretto for The Rake's Progress, he closed his letter with an unusually unguarded expression of joy: “I need hardly add that the chance of working with you is the greatest honour of my life.”l Auden’s remark, besides praising Stravin­ sky, reveals the reverence which characterized his view of operatic collaboration. Auden saw opera as the remaining verbal art form which employed the “High Style,” and could offer a modem poet the chance to sing loudly.2 His fondness for musical theatre grew as he answered requests for new libretti and trans­ lations. One could say that opera became a serious business for Auden, since he boasted that the commissions given to him and his collaborator Chester Kallman paid quite well. During his later years opera came to occupy a significant place in his criti­ cism and public lectures. In the series entitled Secondary Worlds given as the T. S. Eliot Memorial Lectures in 1967, Auden devoted his most comprehensive talk to the world of opera. The following year, Auden was invited to deliver the prestigious open­ ing address at the Salzburg Festival. His speech, entitled “Worten und Noten,” dealt with the relationships between language and music, and standing before the Salzburg audience Auden said that “opera is now to me the most fascinating of art-forms.”3 The critical neglect of the bulk of Auden’s operatic colla­ borations is curious, especially given the poet’s own devotion to the genre. With the exception of a few scholars (e.g., Monroe Spears, John Blair, and Ulrich Weisstein), the majority of Auden’s critics have avoided giving serious consideration to his works written in collaboration for the musical theatre. More­ over, the absence of an edition of Auden’s collected libretti 99 100 Comparative Drama further testifies to the lack of attention given to this aspect of his poetic canon. Through the efforts of Stravinsky’s assistant, Robert Craft, the exchange of letters between composer and poet over The Rake’s Progress was documented and appeared in Stravinsky’s Memories and Commentaries (1960). The opera itself has received extensive commentary in musical circles, and has been described by Joseph Kerman as one of the major operas of the twentieth century which “show most triumphantly the continuing life of dramma per musica in our time.”4 Auden’s next ventures as a librettist were with the German composer Hans Werner Henze. Auden and Kallman wrote the texts for Elegy for Young Lovers which was produced in 1961, and The Bassairds, an operatic adaptation of The Bacchae commissioned for the 1966 Salzburg Festival. These works have received their appropriate notoriety in the musical world, but have suffered from an unexplainable and systematic neglect by Auden’s liter­ ary critics. For example, in the tribute to Auden compiled after his death by his literary executors and Stephen Spender, there was no article by or about Henze, nor was there any commen­ tary about Elegy for Young Lovers or The Bassairds. Robert Craft, however, did contribute an entertaining update of Auden’s relationship with Stravinsky during and after the writing of The Rake’s Progress.5 Especially in the case of Elegy for Young Lovers, the critics have avoided commenting upon a unique international collaboration which in the last two decades has become a highly significant work in the contemporary musical theatre. Elegy for Young Lovers was first performed in a German translation of the English libretto at the Schwetzingen Festival on May 20, 1961. It was the third in a series of new operas commissioned for this festival by the South German Radio (Suddeutsche Rundfunk). The opera received subsequent per­ formances in German at Zurich before being heard in its orig­ inal English version at the Glyndeboume Festival on July 19, 1961. Successful productions of the German version took place at the Munich Festival of 1961, the Berlin Festival of 1962, and the Holland Festival of 1967. All of the above-mentioned German performances were staged by the composer...

A New Engraving Technique by Means of Explosives

I am an artist interested in portraiture, and, like others, I have wondered how can one really depict a human being. In making a portrait, one must capture more than what one can observe of a subject in a relatively short time. The 'inner' and 'outer' life of a person combine to continually change a person's appearance. An ordinary photograph can provide only a momentary glimpse of a complex personality. With patience and toil in the spirit of devotion, a portraitist, whose hand responds to eye and brain, can do better. Momentary expressions of joy or unhappiness must be taken into account. I have been told that it would be easier to paint flowers, which do not present one with fleeting moods, but I seek ways to portray beauty in humans and in the human spirit. I shall describe below my art technique that I call explosive engraving. I have found it a sensitive and effective way to meet my objectives as a portraitist. It is appropriate to mention initially some earlier experiences that are pertinent to the technique I devised. I can go all the way back to the age of six when I used to travel on the limestone shuttle train from the quarry near our farm in Kullsberg, Rattvik, Dalarna, Sweden. It was then that I saw occasionally imprints of leaves on the broken rock. Of course I did not realize until much later the significance of what I saw.

Four- and Six-Month-Old Infants' Visual Responses to Joy, Anger, and Neutral Expressions

24 infants, 12 4-month-olds and 12 6-month-olds, were repeatedly shown slides of 3 facial expressions. The expressions were previously judged by obervers to be indicators of joy, anger, and no emotion, respectively. The duration of the first visual fixation to each presentation of the slides was monitored for each subject. The data indicated that the infants looked at the joy expression significantly more than at either the anger or neutral expressions. The results suggest that infants are capable of discriminating emotion expressions earlier in their development than previous studies have implied.

Heinrich von Veldeke's Song Cycle of `Hohe Minne'

Theodor Frings and Gabriele Schieb contend that seven mediaeval lyrics of Heinrich von V eldeke constitute a cycle showing a development they call the education of a knight by a lady in the ways of love. Their schematization presupposes that the man and woman in the first two songs (56,1 and 57,10), which reveal how the knight angered his lady by asking for an embrace, are the same as those in the others, particularly 59,23, which is an expression of joy by a man who has found fulfilment in love. The attempt to account for the lady's change of heart by the theory of the ennobling power of love is unsuccessful, however, since an analysis of the texts discloses no evidence of the lady's edifying role or of any change in the man making him worthy of what he did not deserve before. Instead of connecting the poems as Frings and Schieb did, it is possible to avoid the difficulties involved by not expecting the lady in 59,23 to be the same person as the woman in the first songs and by viewing the situations as variations on the theme of the possible relationships between a knight and a lady.

Aggressor's response to the victim's facial expression of emotion

Male college students ( N = 96) were met by an experimental confederate who either agreed or disagreed with their opinion. The subjects were then given an opportunity to deliver electric shock to the confederate (victim), who responded to the shock with a facial expression of anger, fear, joy, or neutrality. The opinion condition had no effect, but the victim's facial expressions were clearly perceived by the subjects and two of them significantly influenced the amount of shock delivered to the victim by the subjects. The expression of enjoyment (smile) increased aggression while that of anger decreased aggression. The effects of the fear and neutral expressions did not differ from each other, and neither had a consistent significant effect on the amount of shock administered by the subjects.

Imprisonment in Camus’ “Modern Tragedies”: Les Justes, Requiem pour une nonne, Le Malentendu

tragedie est un ou bute, ou se heurte. Au theâtre, il faut qu'elle naisse et meure dans l'espace restreint de scene.l Camus made this observation in 1939, but the expression monde clos appears throughout the Carnets, in Le Mythe de Sisyphe, in the essay Kafka and in L'Homme Revolte. Furthermore, monde clos is only one example of a whole category of images which permeate Camus' work. Abstract metaphors such as l'univers ferme, la voie sans issue, and la prison de l'histoire play an important part in Le Mythe de Sisyphe and in L'Homme Revolte. The figures which Camus uses in his essays are in a sense complemented by the numerous settings of closed worlds in his novels and plays: the prison cells in L'Etranger, Les Justes and Requiem pour une nonne, the inn of Le Malentendu, rooms in Femme Adultere, L'Hote, and Jonas, and the cities of Oran and Amsterdam in La Veste and La Chute. Il y a cent cinquante ans, declares the protagonist of the latter novel, on s'attendrissait sur les lacs et les forets. Aujourd'hui, nous avons le lyrisme cellulaire. The dualism of Camus' temperament balances this confinement imagery with expressions of joy in nature sea, sun and earth. One could roughly translate Camus' confinement imagery as diverse manifestations of the absurd and his nature imagery as representations of freedom or happiness. Yet the best images of both types are not only more complex (like all successful images); they are often paradoxical. Liberty is at times inseparable from confinement; seas and prisons some-

The Tin Drum.

The air of credible unreality that surrounds Roskolnikov and Hans Castorp completely envelops Oskar Bronski-Matzerath as the genius of Gunter Grass somehow transforms a premise beyond logic and plot beyond probability into a thoroughly believable picaresque novel. Even the casual reader will be aware that Oskar not only lives, but that he is certainly drumming up some new entanglement just down the block. At least I hope he has a drum, for without one Oskar is emotionally mute. Who would not attach great importance to a drum if scarcely past navigating the birth canal he heard his mother's expressions of joy and her first promise—to buy him a drum for his third birthday? In some circles, indeed, this might be called psychic imprinting. By the time Oskar receives the gift, he has had plenty of time to consider the proper place of drums in the world and to analyze his

FOOT HYGIENE AS BASED ON ANATOMY AND PHYSIOLOGY

HE plan and materials offered here are for students of the senior high school and junior college level. Time.-Four hours is arranged in three periods to include student preparation, lecture and discussion, and laboratory work. One hour of student preparation before the laboratory period in order to become familiar with the anatomy and physiology involved; two hours of instruction and discussion of the visual education material; one hour for summary and quiz. Purpose.-To keep the feet so comfortable that they will do the work required of them with the minimum of conscious effort, thus freeing the personality for the business and pleasure of living. Aims and objectives.-These are to keep the feet normal and lessen foot defects; to encourage the buying of better types of shoes which fit the feet both as to size and style; to encourage the manufacturers to make shoes that are comfortable, good looking, and within the average income; to improve posture by the proper use of the feet; to encourage walking as a recreation; to arouse an appreciation for the alertness and vigor of a well-shod, wellpoised person which is an expression of life, joy, and health. To arouse interest in this unit of work, the visual education material should be interesting, well colored, labeled, large in size and such as to yield the instruction wished for with the minimum of time, effort and attention. Wherever possible there should be a list of questions at each exhibit for the students to answer, emphasizing the general structure and functions of the foot. The technical names of bones, muscles, nerves, et cetera, may or may not be required of the students as this depends upon the type of class and its future needs. The amount of time given to this unit depends upon the number of hou s available for the correlation of anatomy, physiology, and hygiene. Students should begin their work as soon as they enter the laboratory.