Textbook Notes (368,501)
Canada (161,931)
Psychology (9,695)
PSYC18H3 (275)
Chapter 3

Book/ Chapter 3

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Michelle Hilscher

Chapter 3 The construction of emotions in the West Plato, who thought emotions arise from the lower part of the mind and pervert reason. The distrust was brought into the modern era by Darwin who implied that, in human adults, expressions of emotions are obsolete, vestiges of our evolution from the beasts and of our development from infancy. These stances toward emotion, distrust on the one hand apprediation on the other, are constructions of Western culture. The appreciation beames marked in Europe and America, during the historical era of Romanticism. In the Romantic era promotions came to be valued in personal life, in politics, in literature, and in philosophy. Jean-Jacques Roosseau first published the idea that religious sensibility is based on how you feel rather than on authority, or on scripture, or on arguments for the existence of God. He it was who began to attack cultivated pursuits as artificial and corrupting: he proposed instead that education should be natural, and that peoples natural emotions indicate what is right they have merely to be alive to the feelings of their conscience. The Romantics were fascinated by the natural. Wild scenery, previously thought barbarous, began to be valued. Writers began to explore the worlds of ordinary life, rather than the artificial lives of aristocrats. The elements of a cultural approach to emotion That theme is that values, concepts, and ideas about the self, as expressed in art forms, rituals, social practices and institutions, shape how members of particular societies experience emotion, and that these matters are not universal. Our beliefs about emotion in the West, that emotions are both irrational and also authentic aspects of the true self, are products of a [articular culture: the culture of Europe and North America, which is different, for instance, from the belief systems of the people Catherine Lutz met on Ifaluk. Most importantly, a cultural approach involves the assumption that emotions are constructed primarily by the processes of culture. The more radical claim is that emotions derive from human meanings which are necessarily cultural. A second assumption of some cultural approaches is that emotions can be thought of as roles that people fulfill to play out culture-specific identities and relationships. Batja Mesquita, a pioneer in the study of emotion and culture, contends that cultural approaches focus on the practice of emotion, in contrast to the potential for emotion. Potential means asking whether people of different cultures, if put in an appropriate experimental situation, would www.notesolution.com
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