Word and text emotions

Продолжаем говорить о наших чувствах и эмоциях. Возможно, эта тема больше интересна девушкам, но ведь мужчины тоже испытывают чувства. Посмотрите на рисунки человеческого лица, отражающего основные эмоции. Назовите их.
Feelings and Emotions. Faces

  1. calm – спокойный
  2. mad — взбешенный
  3. surprised – удивленный
  4. shocked — шокированный
  5. depressed — подавленный
  6. nervous — нервный
  7. tense — напряженный
  8. relaxed — расслабленный
  9. encouraged – вдохновленный
  10. frightened — напуганный
  11. annoyed — раздраженный
  12. delighted — восторженный
  13. disappointed — разочарованный
  14. jealous — ревнивый
  15. confused — в замешательстве

* * * ГЛАГОЛЫ

  1. feel down — быть в подавленном настроении
  2. feel blue — грустить
  3. feel stressed out — быть в стрессе
  4. cheer up — воспрянуть духом

Вспомните, с какими глаголами используются прилагательные из списка.

ПРИМЕРЫ

  1. You look nervous.
  2. Do you feel nervous?
  3. Why are you nervous?

Feelings and Emotions. Задания

Задание 1. Распределите чувства на положительные и отрицательные. Переведите.

Feelings and Emotions. Список английских слов

* * *

Задание 2. Прочитайте, переведите и выучите стихотворение.

The Poem «I Feel Happy Today» (from «Tune into English»)

  • stay out of my way — не становись на моем пути
  • feel terribly blue — ужасно расстроен
  • It doesn’t make sense. — Не имеет смысла.

On Monday:
I feel angry today.
Please, stay out of my way.
I am so mad at the whole world.
I feel angry today.

On Tuesday:
I feel terribly blue.
I don’t know what to do.
‘Cause it’s cold and it’s raining.
I feel terribly blue.

On Thursday:
I feel nervous and tense.
It just doesn’t make sense.
I can’t take all this pressure.
I feel nervous and tense.

On Friday:
I feel happy today.
It’s been sunny all day,
And I don’t work tomorrow.
I feel happy today.

* * *

Задание 3. Назовите эмоции на картинках.

Feelings and Emotions. Список английских слов

Abstract

The article is aimed at verification of what exactly emotive analysis is – a proprietary method or a general methodology of linguistics of emotions. For this purpose, firstly is considered the history of its origin. Then are sequentially analyzed the stages of its transformation. Finally, is described its current state. Are made necessary comments to key concepts of linguistics of emotions. Shown is its dynamics and transition to a new (eco-oriented) paradigm. Is demonstrated the potential of emotive analysis on the example of the word functioning in the text. To illustrate this are given contemporary ultra-short flash-fiction texts, unique in their structure and semantics. Due to their limited scope, the category of emotivity is implemented in a special way, which makes it possible to fully demonstrate emotive analysis in action. This results in understanding that emotive analysis is a special method of linguistics of emotions, which is supposedly able to be universally applicable not only to texts of different genres and functional styles, but also to different time periods. Using the method of emotive analysis is found that in such unusual modern ultra-short texts, selected in this article as a private illustration of its application, potentiatives and connotatives almost instantly approach to affectives. This also suggests a new idea of ​​accelerated ultra-emotivity of modern texts.

Keywords: Linguistics of emotionsemotive analysismethodmethodologyemotive wordsemotive texts

Introduction

An entire galaxy of outstanding linguists ( Arnold, 2016; Galperin, 2019, 2020; Kolshansky, 2020; Komlev, 2017; Ufimtseva, 2020; Shakhovsky, 2019c) is credited with the development of such concepts as lexical meaning, connotation, style, text which are directly related to the study of the nature of human emotions embodied in the language. Without the dedicated work of these scientists, it would hardly be possible to talk about the presence of emotions in language, about the emerging communicative (and, more broadly, anthropocentric, and now eco-centric) turn of linguistics.

Emotion in a word

Some researchers focused exclusively on such a unit of language as a word. This gave a powerful impetus to the development of a semiological approach to the study of vocabulary and its semantics. Gradually, scientists noticed that the emotion somehow penetrates the structure of the word’s meaning, and they were interested in its volume in it.

Emotion in a text

But a number of researchers paid attention to the functioning of the word in a unit of a higher order – the text. The concept of the text, its structure and features, actively developed in text linguistics. Scientists could not help but see that emotion is translated not only by the word, but also by the text. The obvious conclusion was that the functioning of the word expressing emotion in the text couldbe no longer ignored.

Problem Statement

All this gave an impulse to the emergence and development of such a powerful scientific field as linguistics of emotions. Like any science that goes through the process of finding its own coordinates, linguistics of emotions had to develop its own object, subject, offer its own terminology, determine the main research unit, and suggest a private scientific method.

Emotive analysis claimed to be the latter. It was an attempt to categorize emotions in the lexical and semantic system of English and Russian. Its significance is difficult to overestimate: at a certain stage of development of domestic science, some cognitive lacuna was closed. Namely, with the help of emotive analysis, it was established how emotions penetrate the word, what place and what volume they occupy in its semantics, how and why words acquire the ability to translate emotions, what dictionaries say about the reflection of emotions in the semantics of the word and etc.

More than 30 years have passed since then. Language does not stand still. And we wanted to turn back to emotive analysis to look at it in action, in relation to modern texts.

This feature of modern communication, such as speed, probably dictates the appearance of ultra-short texts. This article is devoted to the application of emotive analysis to the named texts in order to determine whether such analysis can be called a method or even a methodology, and also to determine what type of their emotivity it can be spoken about after identifying different types of emotives in them and their functioning.

Emotive word and emotive text

Speaking about emotives, we will show how this concept expanded its boundaries: initially it was only about words with an emotive meaning, but later it was established that any language unit can act as an emotive. However, in order to avoid improper mixing of different terms, let us clarify that the text can be considered to be the largest language unit, and then it becomes possible to talk about emotive texts. On the other hand, the text contains units of lower levels (and in particular words), and then we can talk about an emotive text, the emotive density of which is measured at all levels by quantitative calculation of emotives.

Dynamics of the emotive meaning of the word in the text

Realizing that a word itself performs only its nominative and significative function, we are well aware that it can live a full life only in a certain context, which is «grasped» or «removed» by the text from a certain situation of communication. And in this environment, the word can change the degree of its emotivity and through the emotive valence in different ways realize its emotive potential.

Research Questions

In connection with the latest circumstances, natural questions arise:

What steps does emotive analysis consist of?

A review of the literature on the problem revealed several disparate ways to analyze emotions in the word and the text. We would like to specify whether there is a specific algorithm that can be identified by summing up parts of emotive analysis and bringing them into a certain sequence.

Is emotive analysis of the word and the text the same?

It is also necessary to find out how universal emotive analysis is in relation not only to texts of different functional styles and genres, but also to the ones of different time periods. If we proceed from emotionality as a fact of the human psyche of all times, it makes sense to check the work of emotive analysis on a specific type of text, and then make a corpus of the analyzed texts. In a global sense – this is a task that is just being begun in this research. In this article, we will consider only one particular example – namely ultra-short flash-fiction texts.

Does the quality of emotivity depend on the type of text?

Here we plan to find out how emotives behave and what happens to their emotive semantics in ultra-short texts.

Purpose of the Study

Thus, the purpose of this article is to identify the status of emotive analysis, on the material of, in particular, modern ultra-short texts. This goal involves the following tasks:

  • operating with the main terminological concepts in the context of modernity: emotionality, emotivity, word, text, context, emotive, emotive text;

  • crystallization of the main approaches in the found research on linguistics of emotions in Soviet and modern Russia;

  • determining the content of emotive analysis;

  • installation and description of a step-by-step algorithm for emotive analysis of the word in the text;

  • the use of emotive analysis of ultra-short texts;

  • practical application of emotive analysis to the word in the text.

Research Methods

The main research method in this work is emotive analysis, which is also checked at the meta-level. Namely, the use of emotive analysis clarifies whether it is a method or a methodology. Clarifying the understanding of the method and methodology we find the definition of both concepts. We also find similarities between emotive analysis and the method and methodology. To do this, we generalize its stages described in the works of its author. We apply emotive analysis to the vocabulary we are interested in in ultra-short texts. Intuitively, we choose the type of emotives we are interested in. We observe the implementation of emotivity in ultra-short texts.

Findings

To achieve the stated goal of this article, we will try to rethink the emotive analysis developed by Shakhovsky ( 1983) and apply it to ultra-short texts in the flash-fiction genre.

Let us first pass to the current concepts of linguistics of emotions.

Linguistics of emotions (or emotiology) developed into an independent theory with its own object, subject, terminology, units, and method of research by the end of the 80’s of the XX century ( Shakhovsky, 2019a). By this period, it had already passed a long way of development ( Shakhovsky, 2016; Shakhovsky & Solodovnikova, 2017), and now even acquires an eco-centric orientation ( Solodovnikova, 2019).

It is obvious that all knowledge is gradual, accumulative, but the linguistic theory of emotions still has no analogues, and the questions it develops are still relevant ( Palkin, 2002; Riabtseva, 2019; Shakhovsky, 2019b, 2019d, 2019e, 2019f), which is probably due to the recognition of a human
homo sentiens
, whose emotions will always, as mentioned above, act as the motivational basis for all his activities, including speech.

Since we fully share V.I. Shakhovsky’s linguistic theory of emotions, we consider it necessary to present its main concepts proposed by the scientist in order to approach the key concept of this article – emotive analysis.

So, following Shakhovsky ( 2019a), the next formulations of the main terminological concepts are accepted in this work:

emotivity
– the reflection of emotions in a word, which determines its semantic ability to express emotions, compared to its ability to name and describe them;

emotive component of semantics
– a structural division of semantics that is specifically designed to adequately express emotional relationships by all speakers of a given language;

emotive
– a word with an emotive component in its semantics;

affective
– a word with a denotative emotionality;

connotative
– a word with an emotive connotation;

potentiative
– a word that acquires an emotive connotation by actualizing hidden semantics of emotivity, their semantic features, or semeconcretizers that are potentially encoded and collapsed in the semantics of a word, or by inducing semantics of emotionality from consociation to the semantics of a neutral word;

emotive valence
– a combination of unpredictable, and therefore, as a rule, emotive, due to unusual denotative-referential relations of words;

emotive text
– a statement within one or more sentences that conveys, along with factual and emotional information (or only one of them) using at least one emotive means – linguistic or paralinguistic (kinesics, phonation), expressing a certain emotion that is more or less adequately understood by all communicants in a given situation ( Shakhovsky, 2019a).

The history of the emergence of emotive analysis

Based on the theses about the emotional aspect of thinking, about the concept as the unit of cognition, the word as the form of existence of concepts, the scientist quite rightly came to the conclusion on possibility of existence of some concepts with emotive content, which is reflected in the emotive component of the semantics of words.

Studying the emotive component of meaning, the scientist developed certain methods for describing it. Generalizing, it can be noted that it gives a semasiological interpretation of the category of emotivity, using such methods as the method of modeling the lexical-semantic field of emotivity, linguistic interviewing, the method of contrasting emotive texts, the method of emotive valence, and some other to describe it ( Shakhovsky, 1983). He points out that these methods are complementary, since they can be used in a variety of ways. They extract data, the integration of which forms a certain understanding of this semasiological phenomenon. In his work, the author pays special attention to the methodological aspect of the study of the category of emotivity.

Stages of transformation of emotive analysis

Dealing with the most important problem of semantics – the emotive (connotative) aspect of meaning, the scientist considers it in the word, phraseology, sentence, and text, gradually coming to his own, original, understanding of connotation and an expansive interpretation of the emotive. The scientist develops the idea of a complex organization of the semantic system of emotivity, namely the idea of the integral functioning of the emotive, evaluative, and expressive components at the level of the emotive aspect of meaning, its emotive valence, and emotive function as components of this system.

Justifying why emotivity is a linguistic aspect of the category of emotionality, the author considers the lexical meaning of the word and its connotation (emotivity). He studies connotation as a subject of semasiology, the relationship of emotion, the lexical meaning of a word and connotation, the interaction of denotation and connotation (emotivity), expression and evaluation as components of denotation, the functional and stylistic component of meaning and connotation of emotivity.

While working on the description of the emotive component of meaning, the author for the first time faces the problem of formulating a method for studying emotivity. Exploring a variety of language material, he goes from modeling the lexical-semantic field of emotivity to its typological and lexicographic description. This stage involves working with a unit such as a word.

But then it becomes quite obvious that a word does not live in a dictionary, but it lives in a text. And the scientist comes to understand what an emotive text is. He uses the contextual method of analyzing emotivity, the method of contrasting the emotivity of the original text and its translation, the method of linguistic interviewing, and has a deeper understanding of the problem of emotive valence.

Modern understanding of emotive analysis

In the tradition of modern linguistics, it is possible to use texts of fiction as research material, which are stylized fixation of oral colloquial speech, but its main features, in principle, remain. This corresponds to the thesis that all fiction is a cast from reality, and therefore the linguistics of emotions has accumulated an impressive amount of knowledge about the emotivity of a literary text and an emotive artistic text. However, it does not limit itself only to this functional style, although there is a certain genre diversity in it itself.

And emotive analysis of such a text consists in identifying the most obvious cases of using the vocabulary of naming, describing, and expressing emotions by verbal means, as well as finding the most striking examples of affectives, connotatives, and poteniatives in it. Then their quantitative calculation is performed, the emotive density of the text is set, and the dynamics of the emotive semantics of the keywords of this text is monitored. Separately, different types of lexical emotives are correlated with lexical stylistic devices. Their negative or positive connotation is determined and the emotions they relate to are named.

So, what is emotive analysis – a method or a methodology?

From the works of V.I. Shakhovsky of different years, it is impossible to conclude with accuracy what the author considers emotive analysis to be. On the one hand, he suggests that a set of methods should be considered a methodology for the study of emotivity. We believe, based on the understanding of the method as an action that allows for the shortest possible time to get the maximum result with minimal costs, and the methodology as a set of methods used in a certain area, or the rules for their development and application ( Pishchalnikova & Sonin, 2017), that emotive analysis is a method, i.e. a set of certain actions – that is, options for using the method in working with a separate group of objects, a special case of the method adapted to specific conditions. The method of emotive analysis itself is included in the methodology of emotivity research.

Application of the emotive analysis method to ultra-short texts in the flash-fiction genre

For this article, ultra-short flash-fiction texts were chosen out of love for the genre itself, based on the principle of consistent research of the category of emotivity in texts of different functional styles and genres and time periods, as well as out of interest in its implementation in a limited volume, i.e. using a minimum of means.

The complexity and low level of research of the above-mentioned genre is evidenced by the fact that a general terminology has not been formed for this phenomenon. Flash-fiction, small prose, short story, ultra-small, minimal, ultra-short prose are all names of the same phenomenon. The genre of small prose has not been subjected to deep emotive analysis before.

The fundamental and most pronounced distinguishing feature of flash-fiction is, as the name of the genre implies, the size of the text, that is, its volume. Flash-fiction is a story whose content is thought out by the reader, because the authors deliberately use an ultra-short form.

To analyze the practical material, the paper uses the method of counting affectives, connotatives and potentiatives, and elements of stylistic analysis (means only of the lexical level, which corresponds to the traditions of the chosen research paradigm).

The analysis showed that in the case of ultra-short texts consisting of several sentences (shorter than a paragraph), it is not only about emotive inclusions, but also about emotive ultra-density. From the point of view of the theory of emotivity, there are no neutral words at all, even potentiatives express emotions. Ultra-short texts consisting of several sentences (shorter than a paragraph) contain mainly potentiatives and a few splashes of connotation and / or affectives, however, the analysis showed that potentiatives in the «texts» are implemented property to converge on the transmitted power of emotions effectively depending on the amount of story and context. In this sense, we can speak not only about the convergence of stylistic means and techniques, but also about the convergence of emotives, which also indicates the ability of emotive semantics to dynamics.

Here is an example of an ultra-short «text-sentence» authored by Graeme Gibson: Three to Iraq. One came back.

There are only six words in this text. None of them have a dictionary emotivity markation. This means that all the words in this text are potentially emotive. However, it is clear from the context that Iraq becomes a symbol of death and tragic losses and is associated with emotions such as grief,fear, and hatred. The implied verb went is omitted. Both sentences are an example of an antithesis. The fact that the other two were killed is not mentioned in the text, but it is obvious. Therefore, all potentially emotive words in this context appear to converge in their emotive semantics with affectives. In this text, there is also a gradation that is veiled by the reception of deceived expectations. The word Iraq, of course, does not promise well, but the contrast of three gone – one returned reinforces this feeling because of a failed hope. We didn’t choose this short text by accident. It fully demonstrates the emotive potential of each neutral word used in it, turning this text into a super-dense or, in other words, ultra-emotive one. The genre feature of such texts allows us to conclude that we can speak not only about the dynamics of the emotive semantics of the word in the text, but also about the ultra-emotivity of some texts.

Conclusion

Let us sum up the results concerning the issues considered in this article. Namely, what is emotive analysis – a method or a methodology, and also – what features of the implementation of the category of emotivity by the word in the text are revealed through the application of emotive analysis to individual emotives in ultra-short texts in the flash-fiction genre.

Why is emotive analysis a method, not a methodology?

Emotive analysis is a symbiosis of semasiology and contextual analysis. Firstly, a researcher intuitively selects a word for analysis, checks all its fixed meanings in the dictionary, sets their common semantic core, and then analyzes the same word in a context where its positive or negative evaluation sign and relationship with the emotion being expressed are established through lexical compatibility. The maximum number of contexts found for the functioning of a given word allows a researcher to make a representation of all its possible connotations, but no dictionary is currently able to fix them. Hence, arise the fundamental limitations of dictionaries and the limitless emotive potential of each word in the limitless contexts of its use. The steps listed above allow us to consider emotive analysis as a method – actually and a methodology – potentially. Its reality as a method is explained by the fact that it has already been repeatedly applied to many words of individual linguistic cultures, including contrastively, and its potential as a methodology is explained by the fact that the universality of its application to texts of different functional styles and genres of different time epochs is currently still only an attractive prospect.

Emotivity in ultra-short texts

The specificity of ultra-short texts is manifested in their extremely limited volume. This makes their authors use figurative and expressive means of creating fiction reality as much as possible. As it is known, evaluation, imagery, and expressiveness are closely intertwined in the stylistic tools and techniques used by authors of works of fiction, especially those that are small in volume, such as flash-fiction texts. The restriction imposed on the volume of such texts by the genre to which they belong makes them densely emotive, if it is assumed that all words of the language are actually or virtually emotive. All types of emotives are found in the analyzed example. We consider the texts of the flash-fiction genre not only ultra-short, but also ultra-emotive. In this sense, it is proposed to continue this logic and talk about ultra-emotivity, which implies it is the emotive ultra-high density. Since a number of texts are formally characterized by the use of potentially emotive vocabulary (with or without affectives and connotatives), the emotive dynamics of words in such texts is of particular interest. Observations of ultra-short texts have shown that they are close to affective in their emotive potential and always have a pronounced negative or positive evaluation.

Perspectives of the method of emotive analysis

As a prospect for further research we see the development of the idea whether the method of emotive analysis is universally applicable to any text. For that it is necessary to determine the notions of «texts of ancientry and contemporaneity» and to generate a corpus of such texts, united by a uniform approach.

Acknowledgments

Words of deep and sincere gratitude are to be said to that generation of outstanding Soviet scientists without whom there would be no text linguistics, stylistics, and theory of connotation. And among them especially – to Professor Viktor IvanovichShakhovsky – for his endless love for the linguistics of emotions, dedication to his work, his talent, and for the fact that his works are a boundless source of inspiration for new generations of linguists. The reported study was funded by RFBR according to the research project № 20-012-00418 А.

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Publication Date

03 August 2020

eBook ISBN

978-1-80296-085-3

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Subjects

Sociolinguistics, linguistics, semantics, discourse analysis, translation, interpretation

Cite this article as:

Solodovnikova,
N. G.

(2020). Emotive Text Analysis: Method Or Methodology?. In

&
N. L.
Amiryanovna

(Ed.),
Word, Utterance, Text: Cognitive, Pragmatic and Cultural Aspects, vol 86. European Proceedings of Social and Behavioural Sciences (pp. 1325-1334).
European Publisher. https://doi.org/10.15405/epsbs.2020.08.153

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Exploring the compositionality of emotions in text: Word emotions, sentence emotions and automated tagging

Exploring the compositionality of emotions in text: Word emotions, sentence emotions and automated tagging

This paper presents an approach to automated marking up of texts with emotional labels. The approach considers the representation of emotions as emotional dimensions. A corpus of example texts previously annotated by human evaluators is mined for an initial assignment of emotional features to words. This results in a List of Emotional Words (LEW) which becomes a useful resource for later automated mark up. An algorithm for the automated mark up of text is proposed. This algorithm employs for the actual assignment of emotional features a combination of the LEW resource, the ANEW word list, and WordNet for knowledge-based expansion of words not occurring in either. The algorithm for automated mark up is tested against texts from the original samples used for feature extraction to test its correctness and against new text samples to test its coverage. The results and additional techniques and solutions that may be employed to improve the results are discussed.

Introduction: Where are the Emotions in Words?

We text, blog, twitter and tweet, we write each other emails, poems and love letters. Ever since in human history, people have been using language to communicate emotions and feelings, well knowing that words can hurt or heal. Thus, considering everyday experiences, there is no doubt that written language constitutes a most powerful tool for inducing emotions in self and others—and for eliciting emotional responses in the sender and perceiver of a message even when no direct face to face communication is possible.

However, what happens so naturally and effortlessly in everyday life has become a subject of intensive scientific debate. Can language, specifically written language in terms of single words elicit emotions? And if so, where are the emotions in words and where are the words in emotions?

Theoretically, the answer to these questions is anything than trivial. Traditionally, language has been considered a purely cognitive function of the human mind; a property of the mind that evolved for the purpose of representing individual experiences in an abstract way, independent from sensory and motor experience and independent from bodily sensations including emotions (for a discussion see Chapter 1 in this book). In this view, reading emotion-related or emotional words such as “snake” or “fear” may activate the semantic meaning of the word including its emotional meaning; readers may even infer from reading that snakes are harmful and threatening creatures; nonetheless, this knowledge would be stored in a purely amodal fashion. As a result, readers would be unable to bodily and affectively feel what they are reading because the crucial link between mental states and sensory, motor and peripheral (bodily) changes characterizing emotions would be missing. In other words, viewed from a pure cognitive approach of language, emotions and their perceptual, sensory and motor consequences can be expressed linguistically. However, the linguistic description and semantic representation of an emotion will not be accompanied by physiological bodily changes or by affective experiences of arousal, or by bodily feelings of pleasure and displeasure nor by changes in motivational behavior of approach or avoidance.

In recent years there have been changes with respect to the understanding of mind-body interactions and the role language may play in emotion processing and emotion regulation. In the past 15 years, a number of studies have been conducted at the interface of language and emotion, most if not all of them accumulated empirical evidence against the theoretical belief of a purely cognitive-based foundation of language (e.g., see Chapter 1–4 in this book).

Emotional Word Processing—Core Dimensions, Time Course and Brain Structures

Several studies investigated the neurophysiological and psychophysiological correlates of emotional word processing to determine whether the processing of emotions from words and the processing of emotions from pictures or faces share the same neurophysiological mechanisms (e.g., Kissler et al., 2006, 2007; Herbert et al., 2008; Citron, 2012; Mavratzakis et al., 2016; see Bayer and Schacht; Palazova in this book for an overview). Methodologically, most studies used high-density electroencephalography (EEG) or functional magnetic resonance imaging (FMRI) techniques either alone or in combination with behavioral and subjective self-report measures.

Investigating emotional word processing in the brain showed that reading emotional words vs. neutral words increases neural activity in the ventral visual processing stream (involved in object recognition) within the first 200 ms after word presentation; i.e., in the same early time-windows reported in EEG studies investigating emotional picture processing (e.g., Junghöfer et al., 2001; Kissler et al., 2007; Herbert et al., 2008; see Bayer and Schacht, in this book for an overview). For words, occasionally, even earlier emotional facilitation effects have been reported indicating that emotional content is able to circumvent in-depth semantic analysis (e.g., Kissler and Herbert, 2013; see Palazova in this book for discussion). Interestingly, results from imaging studies suggested that these stimulus-driven neural activity changes are likely to be caused by reentrant processing between the amygdala and the ventral visual processing system (e.g., Herbert et al., 2009; see Flaisch et al.; Eden et al. in this book for a discussion). Furthermore, under some instances, processing of emotional words may also lead to changes in approach and avoidance behavior (e.g., Herbert and Kissler, 2010) and to specific approach- and avoidance related behavioral response patterns (see Citron et al. for an overview in this book).

Taken together, the results do not support the idea that language representations in the brain are cut off from perception, actions and emotions. Instead the results argue in favor of a common coding principle of how the brain represents and processes emotional information—be this information abstract or concrete, verbal or non-verbal. Emotional stimuli may therefore—regardless of the stimulus type (pictures, faces or words)—elicit changes in central autonomic arousal and in specific appraisals related to pleasure and displeasure. Nevertheless, as suggested by functional imaging and EEG source analysis studies, the activation of brain structures involved in the top-down regulation of visual attention can significantly differ during processing of emotional pictures vs. emotional words; also when words are used as task-related distracters vs. targets (e.g., see Flaisch et al.; Hinojosa et al. in this book).

This raises questions about whether the emotional content of a word is embodied during reading: i.e., can readers affectively experience and feel what they are reading? And if so, when during reading does this kind of embodied processing occur? Undeniably, many if not all languages are rich of emotional words, suggesting a tight connection between written words and felt emotions. Previous research exploring the structure of affective ratings in large emotional word corpora and different languages suggested two dimensional emotional factors of valence (positive vs. negative) and arousal (being physiologically calm vs. aroused). These two factors seem to explain most of the variance of the affective ratings of words (e.g., see Jacobs et al. in this book for an overview). More recent studies found that other stimulus appraisal factors related to sensing, acting and feeling may also play a role (e.g., see Imbir et al.; Jacobs et al. in this book for an overview). All in all, this suggests on the one hand, fast and non-reflective appraisal of words according to the bodily arousal of the words and on the other hand, temporally slower and reflective evaluation of the word’s personal self-, motivational or emotional relevance.

The distinction between pre-reflective, arousal-driven vs. reflective and valence-driven appraisal checks is well in line with what EEG studies investigating the time course of emotional word processing during passive reading, lexical decision or rapid serial visual presentation suggested (Herbert et al., 2006, 2008; Kissler et al., 2007, 2009; Carretié et al., 2008; Schacht and Sommer, 2009; Hinojosa et al., 2010): a rapid and selective processing of highly arousing emotional words of positive and negative valence in the time window of, for instance, the early posterior negativity (EPN) and a temporally later in-depth semantic processing of emotional words according to their emotional valence (positive vs. negative) in, for instance, the time windows of the N400 and LPP (e.g., Herbert et al., 2006, 2008; Kissler et al., 2009; see Palazova; Bayer and Schacht, in this book for a discussion). Therefore, the emotional significance of a word may be quickly appraised according to its physiological arousal and its emotional intensity. However, at these early bottom-up driven stages of emotional word processing the subjective feelings that arise from this processing may at this stage of word processing not be consciously, conceptually and semantically available for the reader although they arise from verbal input (Herbert, 2015; see e.g., Lindquist; Ensie Abbassi et al. in this book for a theoretical discussion). Subjective feelings may be consciously, conceptually and semantically available for the reader only during later stages of word processing.

Effects of Mood, Intrapersonal and Sublexical Factors Including Comparisons Across Stimulus Types

Moreover, sublexical factors such as phonological iconicity (sound-to-meaning correspondences) and intrapersonal factors (e.g., subjective mood, anxiety) can influence emotional word processing (e.g., Eden et al.; Sereno et al.; Ullrich et al., in this book). Regarding sublexical factors, these factors may modulate already stimulus-driven early stages of emotional word processing (Ullrich et al. in this book). Furthermore, anxiety may modulate activity in emotion structures such as the amygdala (involved in emotion detection and emotional response selection) in associative word-learning paradigms (Eden et al. in this book), whereas positive mood may change lexical decisions for positive and negative words via a broadening of attention (Sereno et al. in this book). Also, the induced mood state (via positive or negative film clips) may significantly affect syntactic processing of words. Thus, the interaction between emotion and language can go beyond semantic processing levels (see Verhees et al. in this book).

Nevertheless, an early stimulus tagging stage seems obligatory for all types of emotional stimuli (faces, words, pictures). This is also suggested by studies that compared the time course of emotional picture, emotional face and emotional word processing. These studies suggest that pictures, faces and words do evoke the same electrophysiological signals (e.g., an early posterior negativity component, EPN, as well as a late positive potential, LPP), but the emotion effects elicited at later processing stages may be stimulus-type specific due to a positivity offset elicited by the overall lower arousal levels of words vs. faces and pictures (see Bayer and Schacht; Lüdtke and Jacobs in this book for a discussion of EEG and behavioral results).

Emotional Word Processing—Current Theories and Perspectives

What many emotional word processing studies though still leave open is whether the results summarized above are more compatible with traditional associative network models, interactive dual processing models or with an embodied account of word processing. Associative network models of emotions assume that emotional content conveyed by an abstract symbol such as a word or a concrete emotional stimulus such as a picture is rapidly mapped onto conceptual knowledge stored in associative memory networks. The information stored in these networks as nodes includes links to the operations, use, and purpose of the stimulus, as well as its emotional and physiological consequences (e.g., Lang, 1979; Bower, 1981). Importantly, activation of these networks is assumed to partially reactivate the perceptual processing, feeling- and action patterns that occur when directly confronted with an emotion inducing event in real time; an assumption that is also shared by theories of embodied cognition, that view knowledge as grounded in perception and action. Dual processing models (e.g., Paivio, 2010) as well as embodied theories of language processing (e.g., Barsalou et al., 2008) distinguish between two processing systems. Controversy between the two theories exists in the way concrete and abstract stimuli are processed by the two propagated systems (Vigliocco et al., 2009; Kousta et al., 2011; Paivio, 2013, for a discussion). Embodied theories propose a fast linguistic system and a temporally slower imagery-based simulation system (see Ensi-Abassi et al. in this book). Additionally, they assume that experiencing emotions through abstract words is possible only through simulation or reenactment. Theoretically, it has been proposed that on a cortical level, embodied processing of emotional words is laterized to the right hemisphere, whereas a pure linguistic and probably “cold” appraisal of words is more strongly associated with left-hemisphere activation (see Ensi-Abassi et al. Moritz-Gasser et al. in this book).

Going Beyond Single Words—the Impact of Self-Reference, Social Relevance and Communicative Context on Emotional Word and Sentence Processing

Compelling evidence that emotional content conveyed by abstract symbols such as words can elicit consciously retrievable affective feeling states comes from recent studies that extended emotion word processing to the domains of social cognition. Going beyond single words, a number of these studies use sentences that differ in self-reference (see Fields and Kuperberg, in this book). Other studies use compound stimuli consisting of pronoun- and article-noun pairs making a reference to the reader’s own emotions (e.g., “my fear,” “my pleasure”) or to the emotion of another person (“my fear,” “my pleasure”) or that contain no particular personal reference (see Weis and Herbert, in this book). Some studies are using more complex designs in which participants read emotional trait adjectives in anticipation of an evaluation by a significant communicative sender (see Schindler et al. in this book). Generally speaking, these studies allow a detailed analysis of where and when in the processing stream emotional meaning is discriminated from neutral meaning as a function of the communicative context and the stimuli’s personal or social reference (self, other, no reference). Crucially, one particular observation of these studies is that self-reference impacts emotional word processing during later stages of cortical processing, i.e., after an in-depth semantic analysis (N400, LPP) (see Fields and Kuperberg in this book; see also Herbert et al., 2011a,b). Moreover, the self-reference of an emotional word seems to selectively enhance activity in cortical midline structures, possibly generating an awareness, feeling or evaluation that this stimulus and its content refer to one’s own emotion (see Herbert et al., 2011c). Nevertheless, the evaluation of self-related emotional words in reference to one’s own feelings may not be accompanied by stronger emotional expressive behavior or by stronger physiological changes in heart rate or skin conductance: instead, it appears that appraising other-related emotional words (e.g., “his happiness”) in reference to one’s own feelings elicits significant changes in facial muscle activity (see Weis and Herbert, in this book).

Taken together, the results of the studies presented in Chapter 3 argue in favor of a differentiated view of embodied emotional word processing. The studies suggest that the social relevance of the emotional words needs to be taken into consideration. Interestingly, anticipating the evaluation by a communicative partner seems to be sufficient to increase the relevance of an emotional word. This seems to facilitate already early cortical processing in the EPN time window (see Schindler et al. in this book). Moreover, recent studies have extended emotional word processing to the domain of verbal fear learning and to symbolic generalization (see Bennet et al. in this book) and to grammatical aspects in political speech (see Havas and Chapp, in this book) and to the general affective meaning of a word in poetic texts (see Ullrich et al. in this book).

Where are the Words in Emotions? Affect Labeling, Emotional Language Acquisition, Multilingualisms and Poetic Aesthetics

Although the results reviewed above clearly support the notion that words can elicit emotions, yet, there is another line of research showing that language processing can also regulate and change emotion perception of non-verbal emotional signals (e.g., Lieberman et al., 2011; Herbert et al., 2013; see Lindquist et al. in this book for discussion). Viewed from a developmental perspective of the human brain, emotion processing may be significantly influenced by language as soon as children learn to use words and verbal labels for emotion expression and emotion categorization (see Lindquist et al. in this book). This implies that in the adult brain, language and emotions are inextricably intertwined, influencing each other on different levels of cerebral, peripheral, subjective and behavioral responding. Due to this bidirectional link between emotion and language, experimental approaches probing learning of new emotion concepts in adults in different languages as well as approaches investigating emotion processing in mono- vs. bilinguals or multilingual speakers seem to be especially fruitful to better understand this interaction (e.g., see Caldwell-Harris; Ferré et al. in this book).

Conclusion

As outlined above, the articles included in this book The Janus Face of Language: Where are the Emotions in Words and Where are the Words in Emotions? can provide a conclusive theoretical and empirical answer to the questions raised by the Topic Editors Herbert, Ethofer, Fallgatter, Walla, and Northoff. The authors of the in total 24 articles theoretically and empirically illuminate the key aspects of the relationship between language and emotion. They provide answers to how information about an emotion is decoded from abstract stimuli such as words, and how the emotional content of a word is processed in the brain. They furthermore highlight the role bodily physiological changes and self- and socially relevant contexts play in the processing and generation of emotional word meaning.

Summary and Structure of the Chapters

The articles are grouped into four chapters: Chapter 1 comprises articles with a strong theoretical focus. These articles discuss recent theoretical views that exist in explaining the emotion-language link with regard to written language. In addition, empirical research focusing on word corpora analyses is included in Chapter 1 investigating the major core affective dimensions underlying the appraisal of emotional words in different languages. Chapter 2 comprises several experimental studies investigating the brain structures and the time course of emotional word processing. These studies also lay special focus on the effects of task-, sublexical, and intrapersonal factors. Moreover, they shed light on the questions of how affective core dimensions (e.g., emotional valence, emotional arousal or affective origin) influence emotion word processing, the interaction between words and the direction of behavior (approach vs. withdrawal). The studies summarized in Chapter 3 extend emotional word processing to the domains of social cognition. They provide evidence that the interaction between words and emotions must also be seen in a broader context that takes intrapersonal (self-reference), social factors (sender-receiver characteristics) and the sender’s communicative intentions into consideration. Finally, the studies summarized in Chapter 4 extend the research on emotional word processing to the domains of aesthetics and poetic text, bi- and multilingualism, i.e., areas of psycholinguistic and psychological language research that have developed only recently.

Author Contributions

All authors listed have made a substantial intellectual contribution to the work, and approved it for publication.

Conflict of Interest Statement

The authors declare that the research was conducted in the absence of any commercial or financial relationships that could be construed as a potential conflict of interest.

References

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