Skip to main content Accessibility help
×
Hostname: page-component-cd9895bd7-mkpzs Total loading time: 0 Render date: 2024-12-22T21:28:41.750Z Has data issue: false hasContentIssue false

2 - Mechanisms of emotional contagion: II. Emotional experience and facial, vocal, and postural feedback

Published online by Cambridge University Press:  05 June 2012

Elaine Hatfield
Affiliation:
University of Hawaii, Manoa
John T. Cacioppo
Affiliation:
University of Hawaii, Manoa
Richard L. Rapson
Affiliation:
Ohio State University
Get access

Summary

The violinist Itzak Perlman, in trying to play a difficult note raises his eyebrows (if it is a high note) and keeps them raised until the note has been played … it is generally believed that these motions are secondary and ancillary. But suppose that a good part of musical memory is in fact lodged in these peculiar movements. Suppose that they are significant.

–Zajonc & Markus (1984, pp. 83–84)

Introduction

We have defined emotional contagion as a multiply determined family of psychophysiological, behavioral, and social phenomena. In chapter 1, we reviewed evidence that there is a pervasive tendency automatically to mimic and synchronize expressions, vocalizations, postures, and movements with those of another person. This mimicry coordinates and synchronizes social interactions while freeing the interactants to think about other issues, such as what one or both of them are trying to achieve and what each is saying. In this chapter, we focus on another important but often overlooked consequence of mimicry: the tendency for mimicked acts to cultivate a convergence of emotions among the interactants. Thus,

Proposition 2. Subjective emotional experiences are affected, moment to moment, by the activation and/or feedback from such mimicry.

As was outlined in chapter 1, subjective emotional experience could theoretically be influenced by either:

  1. the central nervous system commands that direct such mimicry/synchrony in the first place;

  2. afferent feedback from such facial, verbal, or postural mimicry/synchrony; or

  3. conscious self-perception processes, wherein individuals make inferences about their own emotional states on the basis of their own expressive behavior.

Type
Chapter
Information
Publisher: Cambridge University Press
Print publication year: 1993

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

Save book to Kindle

To save this book to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×