RESUMEN
Understanding the nature of emotional experience requires understanding the relationship between positive and negative affect. Two particularly important aspects of that relationship are the extent to which positive and negative affect are correlated with one another and the extent to which they co-occur. Some researchers have assumed that weak negative correlations imply greater co-occurrence (i.e., more mixed emotions) than do strong negative correlations, but others have noted that correlations may imply very little about co-occurrence. We investigated the relationship between the correlation between positive and negative affect and co-occurrence. Participants in each of 2 samples provided moment-to-moment happiness and sadness ratings as they watched an evocative film and listened to music. Results indicated (a) that 4 measures of the correlation between positive and negative affect were quite highly related to 1 another; (b) that the strength of the correlation between measures of mixed emotions varied considerably; (c) that correlational measures were generally (but not always) weakly correlated with mixed emotion measures; and (d) that bittersweet stimuli consistently led to elevations in mixed emotion measures but did not consistently weaken the correlation between positive and negative affect. Results highlight that the correlation between positive and negative affect and their co-occurrence are distinct aspects of the relationship between positive and negative affect. Such insight helps clarify the implications of existing work on age-related and cultural differences in emotional experience and sets the stage for greater understanding of the experience of mixed emotions. (PsycINFO Database Record
Asunto(s)
Afecto , Emociones , Felicidad , Música/psicología , Femenino , Humanos , MasculinoRESUMEN
We studied mock jurors' evaluations of police false-evidence ploys across two false-evidence ploy information conditions (true or false confession). Study 1 participants evaluated lists of demeanor, testimonial, and scientific ploys and rated testimonial false-evidence ploys as more coercive than demeanor false-evidence ploys. Participants in the false-confession condition rated false-evidence ploys as more deceptive than did participants in the true-confession condition. Study 2 participants evaluated false-evidence ploy types within interrogation transcripts. Participants rated testimonial false-evidence ploys as more deceptive and coercive than demeanor false-evidence ploys; participants in the true-confession condition rated false-evidence ploys as more justified. Across studies, participants reading realistic transcripts rated false-evidence ploys as more deceptive and coercive. We discuss implications for scholars, attorneys, and interrogators.
Asunto(s)
Coerción , Decepción , Entrevistas como Asunto , Aplicación de la Ley/métodos , Policia , Revelación de la Verdad , Femenino , Humanos , Detección de Mentiras , MasculinoRESUMEN
Some evidence indicates that emotional reactions to music can be organized along a bipolar valence dimension ranging from pleasant states (e.g., happiness) to unpleasant states (e.g., sadness), but songs can contain some cues that elicit happiness (e.g., fast tempos) and others that elicit sadness (e.g., minor modes). Some models of emotion contend that valence is a basic building block of emotional experience, which implies that songs with conflicting cues cannot make people feel happy and sad at the same time. Other models contend that positivity and negativity are separable in experience, which implies that music with conflicting cues might elicit simultaneously mixed emotions of happiness and sadness. Hunter, Schellenberg, and Schimmack (2008) tested these possibilities by having subjects report their happiness and sadness after listening to music with conflicting cues (e.g., fast songs in minor modes) and consistent cues (e.g., fast songs in major modes). Results indicated that music with conflicting cues elicited mixed emotions, but it remains unclear whether subjects simultaneously felt happy and sad or merely vacillated between happiness and sadness. To examine these possibilities, we had subjects press one button whenever they felt happy and another button whenever they felt sad as they listened to songs with conflicting and consistent cues. Results revealed that subjects spent more time simultaneously pressing both buttons during songs with conflicting, as opposed to consistent, cues. These findings indicate that songs with conflicting cues can simultaneously elicit happiness and sadness and that positivity and negativity are separable in experience.