ABSTRACT
Trata-se de uma resenha sobre o poema Autopsicografia de Fernando Pessoa. Traz discussões a respeito da dimensão psicológica do texto, com enfoque na epistemologia de Maturana, no pensamento complexo de Edgar Morin e em estudos sobre as emoções. O eu lírico do texto pode ser comparado a todos os seres humanos, constantemente lidando com uma dor real sempre fingida, uma dificuldade de comunicação inerente à própria habilidade comunicativa e à relação infinitamente paradoxal e intrinsecamente complementar de seu coração e sua razão.(AU)
This is a review of Fernando Pessoa's Autopsychography poem. It brings discussions about the psychological dimension of the text, focusing on Maturana's epistemology, Edgar Morin's complex though and studies on emotions. The lyrical self of the text can be compared to all human beings, constantly dealing with an everfeigned real pain, a difficulty of communication inherent in their own communicative ability, and the infinitely paradoxical and intrinsically complementary relationship of their heart and reason.(AU)
Esta es una revisión del poema Autopsicografía de Fernando Pessoa. Trae discusiones sobre la dimensión psicológica del texto, centrándose en la epistemología de Maturana, el complejo pensamiento de Edgar Morin y estudios sobre las emociones. El yo lírico del texto puede compararse con todos los seres humanos, lidiando constantemente con un dolor real siempre fingido, una dificultad de comunicación inherente a su propia capacidad comunicativa y la relación infinitamente paradójica e intrínsecamente complementaria de su corazón y razón.(AU)
Subject(s)
Poetry as Topic , Emotions , Emotion-Focused TherapyABSTRACT
To prove the hypothesis of facial feedback (FF) for opposite emotional stimuli, 30 participants viewed a happy video, with 15 of the participants posing a sad expression; another 30 participants viewed a sad video, with 15 posing a joyful expression. Levels of joy, sadness, anger and anxiety were recorded before and after the videos. All observers of the happy video showed a decrease in sadness, but those who posed for sadness expressed lesser decrease. For their part, participants who posed joy during the sad video recorded an increase in anger and anxiety, attributed to having to pose for joy. No evidence was found that FF can counteract the effects of an intense emotional stimulus. The evidence related to the controlling of the intensity of an opposite emotion was also limited. The study found that posing for joy while undergoing sadness could provoke other negative emotions. The study questions the practical usefulness of FF.
Con el objetivo de probar la hipótesis del feedback facial (FF) para estímulos emocionales opuestos, 30 participantes vieron un video feliz, 15 posando una expresión triste; y otros 30 participantes vieron un video triste, 15 posando una expresión de alegría. Se registraron los niveles de alegría, tristeza, ira y ansiedad antes y después de ver los videos. Todos los participantes que vieron el video feliz mostraron una disminución en la tristeza, pero aquellos que posaron tristeza durante el mismo, mostraron una disminución menor. Por su parte, los participantes que posaron alegría durante el video triste indicaron un aumento de la ira y la ansiedad, atribuido a tener que posar alegría. No se encontró evidencia de que el FF pueda contrarrestar los efectos de un estímulo emocional intenso. La evidencia relacionada con la regulación de la intensidad de una emoción opuesta, también fue limitada. Se encontró que posar alegría durante la experimentación de tristeza, podría provocar otras emociones negativas. Se cuestiona la utilidad práctica del FF.
Com o objetivo de provar a hipótese do feedback facial (FF) para estímulos emocionais opostos, 30 participantes assistiram a um vídeo feliz, dos quais 15 posaram com uma expressão triste, e outros 30 participantes viram um vídeo triste, dos quais 15 posaram com uma expressão de alegria. Registraram-se os níveis de alegria, tristeza, ira e ansiedade antes e depois de assistir aos vídeos. Todos os observadores do vídeo feliz mostraram uma diminuição na tristeza, mas os que posaram tristeza durante esse vídeo expressaram uma diminuição menor. Por sua vez, os participantes que posaram alegria durante o vídeo triste registraram um aumento de ira e ansiedade, atribuído a ter que demonstrar alegria. Não se constatou evidência de que o FF possa neutralizar os efeitos de um estímulo emocional intenso. A evidência relacionada com a regulação da intensidade de uma emoção oposta também foi limitada. Constatou-se que posar alegria durante uma experiência de tristeza poderia provocar outras emoções negativas. Questiona-se a utilidade da prática do FF.
ABSTRACT
Facial expressions of emotion reveal complex mental states that have physiological correlates and signal internal states such as distress to others and are thus crucial in social interaction. In this preliminary study, we therefore sought to examine the link between current psychiatric symptoms and attachment styles in psychiatry residents and their ability to correctly identify facial expressions of emotions. Specifically, we hypothesized that greater current psychiatric symptoms and insecure attachment would be related to difficulties in deciphering facial expressions of negative emotions. A total of 56 psychiatry residents were included in the study, together with 50 university students pursuing careers unrelated to mental health. In order to evaluate the subjects' psychiatric symptoms, the Checklist (SCL-90) and Attachment Styles Questionnaire (ASQ) were used and in order to examine the ability to recognize facial expressions of emotion, we chose the Pictures of Facial Affect (POFA). All the respondents gave their informed consent in writing. The control group recognized fear significantly less as compared to psychiatry residents. Among psychiatry residents, there was a significantly positive correlation between hostility and fear recognition and anxiety and fear recognition. The same was observed between obsessive-compulsive symptoms and disgust recognition. In the control group, there was a significantly negative correlation between paranoid ideation and phobic anxiety with sadness recognition. In resident psychiatry, happiness recognition was positively related to an attachment-style based on confidence, while sadness recognition and surprise recognition correlated negatively with an attachment style based on considering relationships as being of secondary importance. This is one of the first studies to examine emotion recognition skills in medical professionals, and the association of this ability with psychiatric symptoms and attachment styles. We think it is important to observe longitudinally what the possible relevance of these findings might be for both diagnostic accuracy and therapeutic relationships.
La expresión facial de las emociones revela estados mentales complejos que tienen correlatos fisiológicos y señales de estados internos, como la angustia, y que son esenciales en la interacción social. En el presente estudio preliminar examinamos la asociación entre los síntomas psiquiátricos, los estilos de apego y la habilidad para reconocer correctamente la expresión facial de las emociones básicas, en residentes de psiquiatría de una institución de salud mental de México. La hipótesis es que los síntomas psiquiátricos y el estilo de apego inseguro pueden estar relacionados con una dificultad para descifrar la expresión facial de emociones negativas. Un total de 56 residentes de psiquiatría fueron incluidos en el estudio junto con 50 estudiantes universitarios de la Universidad Nacional Autónoma de México, UNAM, de carreras diferentes a las relacionadas con la salud mental. Se utilizaron los siguientes instrumentos: Los síntomas psiquiátricos se evaluaron con el SCL-90, traducido y validado al español, el Cuestionario de Estilos de Apego (ASQ) traducido y validado al español, y para el reconocimiento de la expresión facial de las emociones se usó el Instrumento de Ekman, denominado Pictures of Facial Affect (POFA). Previamente, todos los participantes dieron su consentimiento informado con la firma de aceptación para participar en el estudio. Los estudiantes del grupo control reconocieron menos el miedo que los residentes de psiquiatría. En los residentes hubo una correlación positiva entre la hostilidad y el reconocimiento del miedo y entre la ansiedad y el reconocimiento del miedo. Lo mismo se observó entre los síntomas obsesivos-compulsivos y el reconocimiento del disgusto. En el grupo control se encontró una correlación negativa entre la ideación paranoide y la ansiedad fóbica con el reconocimiento de la tristeza. En los residentes el reconocimiento de la felicidad se relacionó positivamente con el estilo de apego basado en la confianza, mientras que el reconocimiento del miedo y la sorpresa fueron negativamente relacionados con el estilo de apego basado en considerar las relaciones como secundarias. Este es un primer estudio que examina la habilidad de reconocer las emociones básicas en profesionales de la medicina que están siendo entrenados en la especialidad de psiquiatría, y la relación con síntomas psiquiátricos y estilos de apego. Consideramos importante el estudio de estos factores a lo largo de la formación, por la posible relevancia que estos hallazgos puedan tener para el adecuado diagnóstico y la relación terapéutica.
ABSTRACT
O presente trabalho apresenta uma revisão bibliográfica feita na base de dados Web of Science e Scielo, onde foram encontrados 266 artigos que tratam diretamente sobre estimulação aversiva e cognição no período de 1968 a 2010. Posteriormente, foram utilizados 64 artigos para esta revisão. Fez-se então uma citação das principais categorias e métodos de trabalho, assim como tópicos que direcionam as pesquisas atuais e principais avanços sobre o tema. Considerando os trabalhos encontrados, embora haja um grande avanço, principalmente, nas últimas duas décadas, sobre o assunto, ainda é um campo que necessita de muito estudo, para avaliar a interferência da estimulação aversiva sobre a cognição...
This work presents a bibliographical review of material from Web of Science and Scielo database. 266 publications were found that link directly aversive stimulation and cognition from 1968 to 2010. Based on further analysis, 64 studies were used for this review. It was made a citation of the main categories and methods then, as well as topics that address the current researches and main progresses on the theme. Considering the selected papers, although there is considerable progress, mainly, in the last two decades on this topic, it is still a field that needs a lot of study in order to evaluate the interference of cognition by aversive stimulation...
Este trabajo presenta una revisión bibliográfica sobre la base de datos Web of Science y SciELO, donde se encontraron 266 artículos que tratandirectamente sobre la estimulación aversiva y la cognición en el periodo 1968 a 2010. Posteriormente, 64 artículos se utilizaron para esta revisión. A continuación, citan una de las principales categorías y métodos de trabajo, así como los temas que abordan la investigación actual y avancesimportantes en la materia. Considerando los trabajos encontrados, aunque un gran avance, sobre todo en las dos últimas décadas sobre el tema,sigue siendo un campo que requiere mucho estudio para evaluar el papel de la estimulación aversiva en la cognición...
Subject(s)
Humans , Cognition , Neuropsychology , NeurosciencesABSTRACT
Even though music is usually considered a source of intense, diverse, and specific affective states, at the present time there is not a standardized scientific procedure that reveals with reliable confidence the emotional processes and events evoked by music. The progress in understanding musical emotion crucially depends in the development of reasonable secure methods to record and analyze such a peculiar and universally-sought affective process. In 1936 Kate Hevner published a pioneer study where she used a list of 66 adjectives commonly used to categorize musical compositions arranged in a circle of eight groups of similar emotions. The volunteers selected the terms that seemed appropriate to categorize their emotional experience while they listened to masterpieces by Debussy, Mendelssohn, Paganini, Tchaikovsky, and Wagner. The results were presented in histograms showing a different profile for each piece. Subsequent studies have advanced in the methods and techniques to assess the emotions produced by music but there are many still unresolved difficulties concerning the criteria to choose the musical pieces, the terms of emotion, the design of the experiment, the proper controls, and the relevant statistical tools to analyze the results. The present study was undertaken in order to test and advance an experimental technique designed to evaluate and study the human emotions evoked by music. Specifically, the study intends to prove if different musical excerpts evoke a significant agreement in the selection of previously organized emotion terms within a relatively homogeneous population of human subjects. Since music constitutes a form of acoustic language that has been selected and developed through millennia of human cultural evolution for the expression and communication of emotional states, it is supposed that there will be a significant agreement in the attribution of terms of emotion to musical segments among human evaluators belonging to a relatively homogeneous population. The attribution system allowed both to obtain objective responses derived from introspection and to analyze the data by means of an appropriate statistical processing of data obtained in groups of subjects submitted to carefully selected musical stimuli. Volunteer subjects were 108 college-level students of both sexes with a mean age of 22 years from schools and universities located in the central Mexico. The audition and attribution sessions lasted for 90 min and were conducted in a specially adapted classroom located in each institution. Four criteria were established for the selection of the musical excerpts: instrumental music, homogeneous melody and musical theme, clear and distinct affective tone, and samples of different cultures. The ten selected pieces were: 1. Mozart's piano concerto no. 1 7, K 453, third movement; 2. A sound of the magnetic spectra of an aurora borealis, a natural event; 3. Mussorgsky's Gnome, from Pictures at an Exhibition orchestrated by Ravel; 4. Andean folk music; 5. Tchaikovsky's Fifth Symphony, second movement; 6. << Through the Never>>, heavy metal music by Metallica; 7. Japanese Usagi folk music played with koto and shyakuhachi; 8. Mahler's Fifth Symphony, second movement; 9. Taqsim Sigah, Arab folk music played with kamandja, and 1 0. Bach's Inventions in three parts for piano, BMW 797. The selected fragments and their replicas were divided in two to five musically homogeneous segments (mean segment duration: 24 seconds) and were played in different order in each occasion. The segments were played twice during the test. During the first audition, the complete piece was played in order for the subjects to become familiar with the composition and freely express their reaction in writing. During the second hearing, the same piece was played in the separate selected segments and the volunteers were asked to choose those emotion-referring terms that more accurately identified their music-evoked feelings from an adjunct chart obtained and arranged from an original list of 328 Spanish words designing particular emotions. The terms had been previously arranged in 28 sets of semantically related terms located in 14 bipolar axes of opposing affective polarity in a circumflex model of the affective system. The recorded attributions from all the subjects were captured and transformed into ranks. The non-parametric Friedman test of rank bifactorial variance for k related samples was selected for the statistical analysis of agreement. All the data were gathered in the 28 categories or sets of emotion obtained in the previous taxonomy of emotion terms and the difference among the musical segments was tested. The difference was significant for 24 of the 28 emotional categories for α=0.05 and 33 degrees of freedom (Fr ≥43.88). In order to establish in which segments were the main significant differences, the extension of the Friedman test for comparison of groups to a control was undertaken. Thus, after applying the appropriate formula, a critical value of the difference - R1 - Ru - was established at ≥18.59. In this way it was possible to plot the significance level of all 28 emotion categories for each music segment and thereby to obtain the emotion profile of each selected music fragment. The differences obtained for the musical pieces were established both for the significant response of individual emotion, groups of emotions, and the global profile of the response. In all the pieces used, one or more terms showed significance. Sometimes as many as seven terms appear predominant (Mahler, Mozart). In contrast other segments produce only one or two responses (aurora borealis, Arab music). In most musical segments there were null responses implying that there was an agreement concerning not only the emotions that were present, but also those that did not occur. Concerning the global response, there were several profiles recognizable among different pieces. The histogram is slanted to the left when positive and vigorous emotions are reported (Tchaikovsky, Bach). The predominance of emotions in the center-right sector corresponds to negative and quiet emotions (Arab music) or in the fourth sector of negative and agitated emotions (Mahler). Sometimes a <> shaped profile was obtained when vigorous emotions predominated (Mahler, Metallica). A bell-shaped response was obtained when calm emotions were reported, both pleasant and unpleasant (Japanese music). There is also music that globally stimulates one of the four quadrants defined in the affective circle, such as pleasant (Mozart), unpleasant (Mussorgsky), exciting (Metallica) or relaxing emotions (Japanese music). The only segment that produced scattered responses in the four sectors of emotions was the aurora borealis. Very similar profiles were obtained with very different pieces, such as the identical responses to Mozart and Andean music. It is necessary to analyze the individual emotion terms to distinguish them. Several common characteristics can be detected in these two pieces, such as fast speed in tempo allegro, binary rhythm, counterpoint figures, and ascending melody, well known features in music composition. In contrast other segments evoked unpleasant responses (Mussorgsky), where fear, tension, doubt or pain was reported. The listener probably concedes a high value to a piece that evokes emotions that normally avoids in the context of a controlled artistic experience.
A pesar de que la música se considera habitualmente una fuente de estados afectivos variados diferentes e intensos, no existe una técnica en la ciencia que revele con suficiente fidelidad experimental los procesos y estados emocionales evocados por ella. Es así que el progreso en el entendimiento de la emoción musical depende críticamente del desarrollo de métodos razonablemente seguros para registrar y analizar este peculiar proceso afectivo. El presente estudio se realizó para desarrollar y probar una técnica diseñada para el estudio de las emociones humanas provocadas por la música. En particular se estudia si diferentes piezas musicales evocan un acuerdo significativo en la selección de términos de la emoción previamente sistematizados entre una población comparable de sujetos humanos. Dado que la música constituye un tipo de lenguaje acústico evolutiva y culturalmente seleccionado para la comunicación de estados emocionales, se puede suponer un acuerdo significativo entre evaluadores de una población homogénea en la atribución de términos de la emoción a segmentos musicales cuidadosamente seleccionados. El sistema de atribución elegido permitió obtener respuestas objetivas, derivadas de la introspección, a segmentos musicales y analizar los datos mediante un procesamiento estadístico apropiado de nivel de acuerdo entre observadores. Los voluntarios fueron 108 estudiantes con una edad promedio de 22 años, de ambos sexos, de cuatro escuelas de nivel superior en los Estados mexicanos de Querétaro y Guanajuato. Las sesiones duraron 90 minutos cada una y se realizaron en un salón adaptado en cada centro pedagógico. En las sesiones de audición y atribución se tocaron 10 obras musicales: cinco del repertorio clásico, cuatro del inventario popular propio y ajeno, así como la sonorización del espectro magnético de una aurora boreal, un fenómeno natural. Los fragmentos seleccionados, divididos en dos a cinco segmentos de 24seg de duración en promedio, se reprodujeron con diferente orden y en dos pasos consecutivos. Primero se tocó la sección completa para que el oyente expresara libremente sus reacciones por escrito. A continuación se tocaron los segmentos de la misma obra y el oyente escogió términos de la emoción que mejor identificaran su respuesta afectiva a cada uno de ellos a partir de un compendio adjunto. El formato de respuestas presentaba un arreglo donde el sujeto realizó la selección y atribución de los términos de la emoción que le evocaron los diferentes segmentos musicales al tiempo de escucharlos. Para esta tarea se proveyó a los sujetos de un esquema circular de términos de la emoción, anexo al formato, el cual se obtuvo a partir de una lista de 328 palabras en castellano que denominan emociones particulares. Los términos fueron agrupados finalmente en 28 conjuntos y 14 ejes de polaridades afectivas opuestas en un modelo circular del sistema afectivo, con un total de 168 términos. Para el análisis estadístico, las atribuciones de todos los sujetos participantes fueron transformadas a rangos y se aplicó la prueba no paramétrica de varianza bifactorial de Friedman para k muestras relacionadas como análisis de acuerdo entre observadores. Los datos se agruparon en las 28 categorías emocionales mencionadas y se probaron las diferencias entre los segmentos musicales. Éstas resultaron significativas en 24 de las 28 categorías emocionales para α = 0.05, con 33 grados de libertad (Fr ≥ 43.88). Para establecer en cuáles segmentos se ubicaban las diferencias, se aplicó la extensión de la prueba de Friedman para comparaciones de grupos con un control y se obtuvo un valor crítico de las diferencias, - R1 - Ru - ≥18.59, con lo cual fue posible graficar el nivel de significancia de todas las categorías emocionales para cada segmento musical. De esta forma se obtuvo el perfil emocional específico de cada fragmento de música para la población analizada. Los resultados muestran que en todos los segmentos musicales hay predominio significativo de una o más categorías de la emoción y que éstos son diferentes para la mayoría de los segmentos. Si, como es verosímil suponer, los términos de la emoción elegidos por los sujetos participantes correspondían efectivamente a estados emocionales particulares, entonces la mayoría de los segmentos musicales elegidos como estímulos parecen generar una respuesta emocional semejante y relativamente específica entre los escuchas, en función de las características de su composición. Esta técnica puede ser útil para generar y analizar estados emocionales específicos en situaciones experimentales y controladas de audición musical.
ABSTRACT
El intercambio emocional humano implica expresión/reconocimiento de emociones. La cara es el lugar privilegiado para expresar o leer la emoción. Algunas emociones se asocian con llanto emocional, diferenciable del basal y del reflejo. Murube, Murube y Murube (1999) clasificaron el llanto emocional en de demanda y de ofrecimiento de ayuda. Se evaluó la validez de dicha tipología empleando rostros humanos de ambos sexos que lloraban por dolor propio y ajeno. Un grupo de jueces clasificó el llanto expresado en esos rostros. Se calcularon tasas de acierto de discriminación de llanto y se realizaron pruebas chi-cuadro por sexo. Los resultados no apoyan la idea de una habilidad para distinguir dos tipos de llanto y son explicados desde un punto de vista cultural.
Human emotional interchange implicates expression/recognition of emotions. The human face is a conspicuous place to express/read emotion. Certain emotions associate with emotional tearing, differentiable from basal and reflex tearing. Murube, Murube and Murube (1999) classified emotional tearing in requesting- and offering -help. The validity of that typology was evaluated using faces of people of both sexes crying because of their own suffering and because of others suffering. A group of judges classified the crying shown by those faces. Discrimination hit rates andqui-square tests were estimated by sex. Results do not support a human ability to distinguish two types of crying andare interpreted from a cultural point of view.