Towards a validation of multiple features in the assessment of emotions

This study extends previous attempts to assess emotion with single adjective descriptors, by examining semantic as well as cognitive, motivational, and intensity features of emotions. The focus was on seven negative emotions common to several emotion typologies: anger, fear, sadness, shame, pity, jealousy, and contempt. For each of these emotions, seven items were generated corresponding to cognitive appraisal about the self, cognitive appraisal about the environment, action tendency, action fantasy, synonym, antonym, and intensity range of the emotion, respectively. A pilot study established that 48 of the 49 items were linked predominantly to the specific emotions as predicted. The main data set comprising 700 subjects' ratings of relatedness between items and emotions was subjected to a series of factor analyses, which revealed that 44 of the 49 items loaded on the emotion constructs as predicted. A final factor analysis of these items uncovered seven factors accounting for 39% of the variance. These emergent factors corresponded to the hypothesized emotion constructs, with the exception of anger and fear, which were somewhat confounded. These findings lay the groundwork for the construction of an instrument to assess emotions multicomponentially.

'Homescapes' and identity reformations in Australian multicultural drama

A consideration of identity formation in contemporary Australian multicultural theatre is offered through a re-assessment of the unsettled (and unsettling) constructions of Australia as 'home' in the work of three playwrights. William Yang's Sadness disrupts a localized perception of home, space, and cultural communities to amalgamate two disparate communities (the queer/homosexual community in Sydney and the Asian-Australian, or 'Austasian' community) into a reconfigured Australian identity. Janis Balodis's The Ghosts Trilogy uses many actors who play across the unsettled lines of history, amid numerous voices, homes, and homelands that indicate the enormity of what 'Australia' comes to signify. Noelle Janaczewska's The History of Water constructs a way of locating the self by means of a metaphoric home as each character establishes herself on a psychic plane rather than choosing the strictly physical locations to which she has access. In their interrogations of home and homeland, these plays challenge assumptions regarding identity, disrupt notions of the ultimate ownership of land/culture by anyone, and problematize the idea of settlement as it is currently articulated in Australia.

Similarity in recognition processes used for bodies and faces: Bodies show caricature effects

Because faces and bodies share some abstract perceptual features, we hypothesised that similar recognition processes might be used for both. We investigated whether similar caricature effects to those found in facial identity and expression recognition could be found in the recognition of individual bodies and socially meaningful body positions. Participants were trained to name four body positions (anger, fear, disgust, sadness) and four individuals (in a neutral position). We then tested their recognition of extremely caricatured, moderately caricatured, anticaricatured, and undistorted images of each stimulus. Consistent with caricature effects found in face recognition, moderately caricatured representations of individuals' bodies were recognised more accurately than undistorted and extremely caricatured representations. No significant difference was found between participants' recognition of extremely caricatured, moderately caricatured, or undistorted body position line-drawings. AU anti-caricatured representations were named significandy less accurately than the veridical stimuli. Similar mental representations may be used for both bodies and faces.