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    Tesi In Psicologia Delle Emozioni


  2. #2
    Partecipante Affezionato L'avatar di diblykiss
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    a casa
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    Riferimento: Tesi In Psicologia Delle Emozioni

    Citazione Originalmente inviato da BAYADERE Visualizza messaggio
    ke cosa complicata! cmq secondo me dovresti iniziare col parlare delle emozioni... che cosa sono ecc,,
    Ma in che senso emozione estetica???!!! scusa l'ignoranza
    Il TrUcCo NeLlA vItA nOn è OtTeNeRe Ciò ChE vUoI...è VoLeRlO dOpO kE l'HaI oTtEnUtO!!!

  3. #3
    Postatore OGM L'avatar di willy61
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    Albino (BG)
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    Riferimento: Tesi In Psicologia Delle Emozioni

    Magari puoic ercare questi articoli:

    DANCE MOVEMENT THERAPY IMPROVES EMOTIONAL RESPONSES AND MODULATES NEUROHORMONES IN ADOLESCENTS WITH MILD DEPRESSION. By: Young-Ja Jeong; Sung-Chan Hong; Myeong Soo Lee; Min-Cheol Park; Yong-Kyu Kim; Chae-Moon Suh. International Journal of Neuroscience, Dec2005, Vol. 115 Issue 12, p1711-1720, 10p, 3 charts, 1 graph Abstract: This study assessed the profiles of psychological health and changes in neurohormones of adolescents with mild depression after 12 weeks of dance movement therapy (DMT). Forty middle school seniors (mean age: 16 years old) volunteered to participate in this study and were randomly assigned into either a dance movement group ( n = 20) or a control group ( n = 20). All subscale scores of psychological distress and global scores decreased significantly after the 12 weeks in the DMT group. Plasma serotonin concentration increased and dopamine concentration decreased in the DMT group. These results suggest that DMT may stabilize the sympathetic nervous system. In conclusion, DMT may be effective in beneficially modulating concentrations of serotonin and dopamine, and in improving psychological distress in adolescents with mild depression. [ABSTRACT FROM AUTHOR] DOI: 10.1080/00207450590958574 (AN 18908905)

    General and specific abilities to recognise negative emotions, especially disgust, as portrayed in the face and the body. By: Rozin, Paul; Taylor, Cory; Ross, Lauren; Bennett, Gwendolyn; Hejmadi, Ahalya. Cognition & Emotion, Apr2005, Vol. 19 Issue 3, p397-412, 16p, 5 charts Abstract: We examined the ability of 150–166 undergraduate students to assign four negative emotions (sadness, fear, disgust, and anger) to five sets of emotion expression stimuli: a standard of face photographs expressing basic emotions, faces that were morphs of standards for these emotions, a special set of faces that was designed to detect different components of disgust expressions, and two sets of dynamic, video clips displays of emotions as described in traditional Hindu scriptures and used in classical Hindu dance. One of these sets presented the full body traditional displays (including hands and face), while in the second set, the same clips were used but the facial expressions were blocked out. Participants also completed an obsessive compulsive inventory and the disgust scale. Major findings are that: (a) there are some substantial individual differences in ability to correctly identify emotions; (b) the ability to detect facial emotions correlates substantially (.49) with ability to detect bodily emotions; (c) there is no evidence for specific deficits in the detection of any particular emotion; and (d) there is no relation between individual differences in obsessive-compulsive disorder (OCD) tendencies or disgust sensitivity, in a normal sample and the ability to detect disgust. [ABSTRACT FROM AUTHOR] DOI: 10.1080/02699930441000166 (AN 16607148)

    Human Body as the Medium in Dance Movement. By: Sakata, Mamiko; Shiba, Mariko; Maiya, Klyoshi; Tadenuma, Makoto. International Journal of Human-Computer Interaction, 2004, Vol. 17 Issue 3, p427-444, 18p Abstract: To clarify mechanisms involved in the human recognition of body-mediated information, this study examines what kinds of impressions and emotions are perceived from body movements in dance. The study attempted to develop multiple regression models to investigate the effects of physical movement factors on impressions and emotions. The regression analyses show that people perceive emotional information from the body-mediated information, even without facial expressions. Those results suggest that the body does not only have an additional or secondary function, but also plays an important role as independent media in human communications. Emotions are actually expressed and impressed, that is, communicated through the human body as the medium. [ABSTRACT FROM AUTHOR] (AN 14889033)

    A Test of the Ability to Identify Emotion in Human Standing and Sitting Postures: The Diagnostic Analysis of Nonverbal Accuracy-2 Posture Test (DANVA2-POS). By: Pitterman, Hallee; Nowicki Jr., Stephen. Genetic, Social & General Psychology Monographs, May2004, Vol. 130 Issue 2, p146-162, 17p, 3 charts Abstract: The purpose of the present study was to introduce the Diagnostic Analysis of Nonverbal Accuracy for Postures (DANVA2-POS), a test that measures an individual's ability to identify emotion in human standing and sitting postures. The authors describe the construction and selection of the test items. Types of standing and sitting postures were generated from a set of dimensions gleaned from a review of relevant theoretical and empirical literature. Two men and 2 women portraying standing and sitting postures were photographed. An empirical norming procedure was used to select 32 high- and low-in-tensity standing and sitting postures representing happiness, sadness, anger, and fear. Three hypotheses guided the collection of construct validity evidence. Consistent with the hypotheses, data from 243 participants showed that DANVA2-POS scores increased in accuracy with age, were internally consistent and reliable over time, and were related to self-reported loneliness, fear of negative evaluation, and locus of control. The authors re-port construct validity evidence from 6 additional studies. Future applications of the DANVA2-POS test are described. [ABSTRACT FROM AUTHOR] (AN 15348216)

    Add AddedThe Use of Laban Movement Analysis in the Study of Personality, Emotional State and Movement Style: An Exploratory Investigation of the Veridicality of "Body Language". By: Levy, Jacqyln A.; Duke, Marshall P.. Individual Differences Research, Apr2003, Vol. 1 Issue 1, p39-63, 25p Abstract: The present study examines the application of Laban Movement Analysis (LMA) in research on personality and movement style. LMA is a method of analyzing movement that is widely accepted in the dance field, and it is argued that its use may have important implications for psychologists. Thirty-six college students participated in a movement improvisation and completed the Beck Depression Inventory II, State-Trait Anxiety Scale, and Adjective Check List. The movement improvisation was scored with a measure developed based on the principles of LMA. Correlational analyses revealed relationships among emotional states of depression and anxiety, a selection of personality characteristics (needs for affiliation, achievement, dominance and exhibition), and specific movement variables. Discussion focused on the mutual benefit for psychology and dance theory/practice of the use of Labia Movement Analysis in research on nonverbal behavior. Key Words: Movement Style; Personality; Anxiety; Depression; Dance [ABSTRACT FROM AUTHOR] (AN 11840428)

    Children's decoding of emotion in expressive body movement: The development of cue attunement. Boone, R. Thomas; Cunningham, Joseph G.; Developmental Psychology, Vol 34(5), Sep 1998. pp. 1007-1016. [Journal Article] Abstract: Little research has focused on children's decoding of emotional meaning in expressive body movement; none has considered which movement cues children use to detect emotional meaning. The current study investigated the general ability to decode happiness, sadness, anger, and fear in dance forms of expressive body movement and the specific ability to detect differences in the intensity of anger and happiness when the relative amount of movement cue specifying each emotion was systematically varied. Four-year-olds (n = 25), 5-year-olds (n = 25), 8-year-olds (n = 29), and adults (n = 24) completed an emotion contrast task and 2 emotion intensity tasks. Decoding ability exceeding chance levels was demonstrated for sadness by 4-year-olds; for sadness, fear, and happiness by 5-year-olds; and for all emotions by 8-year-olds and adults. Children as young as 5 years were shown to rely on emotion-specific movement cues in their decoding of anger and happiness intensity. The theoretical significance of these effects across development is discussed. (PsycINFO Database Record (c) 2007 APA, all rights reserved)

    The Elegant Passion. By: Peters, Sally. Journal of Popular Culture, Spring92, Vol. 25 Issue 4, p163-171, 9p, 3bw; Abstract: This article discusses ballroom dancing and considers ballroom dancers as slaves of passion. Not to be confused with social dance, competition dance demands much, but promises everything. For those who fox trot only at weddings, and only fox trot, ballroom dance evokes visions of Viennese waltzes and memories of Fred Astaire's legendary dance scenes with Ginger Rogers. In Le Bal, the Ettore Scola film, a single dance hall is the laboratory for examining the sexual manners and mores of twentieth-century Europe. It was said that ballroom dance elevates woman. The dances tell a different story, one drenched in eroticism and machismo. The Viennese waltz is imbued with the aura of the crystal chandeliered ballrooms where courtly couples so gracefully surrendered to romantic exuberance almost two centuries ago. Like all social dances, waltz reflected male/female relations in a specific cultural setting and functioned as a courting ritual as well. Structured on artistic proficiency, modern ballroom dance competitions, emphasizing challenge, technique, and propriety, assume the aura of a quite different kind of ritual event. What is intriguing is the way this formal event relies on fantasy, stylized, allusive, largely unarticulated. Psychologically, the encapsulated fantasies range from the ethereal to the erotic. (AN 9205183474)

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