The functions of emotion-referencing names in Ibibio

In certain societies including the Ibibio of Akwa Ibom State, South-Eastern Nigeria, naming is a distinctive system of communicative practice which is used to express emotion and construct the personhood and identity of the name-bearer. This article examines emotion-referencing names among the Ibibio and adopts an ethnographic approach to investigate the motivations for the name choice, their socio-onomastic significance and the extent of influence they have over their bearers’ ‘selves’. We find that emotion names are bestowed through a range of motivations such as being a reflection of familial problems, death-prevention, religiously inspired and namesaking. We conclude that regardless of these motivations or whether the name has a positive or negative VALENCE, for the Ibibio, emotion-referencing names appear to have a subtle psychological impact upon the name-bearers self-perception. Naming among the Ibibio, therefore, is not only a form of cultural identity but a prominent site to reflect on and interpret emotions.

Emotion Experience and Expression Goals Shape Emotion Regulation Strategy Choice

Research has begun to investigate how goals for emotion experience—how people want to feel—influence the selection of emotion regulation strategies to achieve these goals. We make the case that it is not only how people want to feel that affects strategy selection, but also how they want to be seen to feel. Incorporating this expressive dimension distinguishes four unique emotion goals: (1) to experience and express emotion; (2) to experience but not express emotion; (3) to express but not experience emotion; and (4) to neither experience nor express emotion. In six experiments, we investigated whether these goals influenced choices between six common emotion regulation strategies. Rumination and amplification were selected most often to meet Goal 1—to experience and express emotion. Expressive suppression was chosen most often to meet Goal 2—to experience but not express emotion. Amplification was chosen most often to meet Goal 3—to express but not experience emotion. Finally, distraction was chosen most often to meet Goal 4—to neither experience nor express emotion. Despite not being chosen most for any specific goal, reappraisal was the most commonly selected strategy overall. Our findings introduce a new concept to the emotion goals literature and reveal new insights into the process of emotion regulation strategy selection.

HAPPINESS IN THE CELEBRATION OF CHINESE NEW YEAR

Gong xi facai is a Chinese New Year greeting that is commonly spoken, heard, and written by people. Even if we don't know what it means, we guess the meaning must be good. The problem is what is the meaning of each word and the meaning of the sentence as a whole so that it can be concluded that the sentence is an expression of a joyful? Are there no other feelings? Since the sentence is considered a text, it will be examined which words express emotion, what kind of emotions they are. The goal is to express clearly what is meant by that sentence. To find out what kind of emotions it contains, Santangelo's theory (2000) will be used to detect which words express emotion and belong to which class. The data are Chinese Lunar New Year greetings written in Han characters. There is Indonesian-language data in the form of Chinese New Year pantun. Based on the analysis of the meaning components of emotions, the data are classified into several domains, such as Chinese New Year greeting, success in business, health, family, education, etc. The novelty of this research is to analyze the meaning components of emotional sentences so that emotional content can be identified precisely. This research will enrich research on emotions in the field of greetings for the Chinese New Year that has not been done much.

Emotion metaphors in an awakening language

Kaurna, the language of the Adelaide Plains, is an awakening language undergoing revival since 1989 (Amery 2016). Though little knowledge of Kaurna remains in the oral tradition and no sound recordings of the language as it was spoken in the nineteenth century exist, a surprising number and range of emotion terms were documented. A great many of these involve the tangka ‘liver’ followed by kuntu ‘chest’, wingku ‘lungs’, yurni ‘throat’ and yurlu ‘forehead’, whilst mukamuka ‘brain’ and yuri ‘ear’ are involved in cognition. The role of pultha ‘heart’ is minimal. But these are not the only means to talk about emotions. Muiyu ‘pit of the stomach’, a more elusive term, which may or may not be located in a body part and yitpi ‘seed’ are also central to emotions. These three terms tangka ‘liver’, muiyu ‘pit of the stomach’ and yitpi ‘seed’, appear to be viewed by Teichelmann & Schürmann (1840) and especially Teichelmann (1857) as seats of emotion. In addition, there are a range of other means to express emotion, simple verbs and interjections. This paper will discuss in detail the historical documentation, its interpretation and the ways in which this documentation is used today. In the context of re-introducing a reclaimed language, such as Kaurna, how to talk about emotions can become the topic of serious and sometimes unresolved debate. The title of a book of poetry (Proctor & Gale 1997) ended up having two translations, one involving tangka ‘liver’ and the other pultha ‘heart’. Historical phrases expressing emotions are often co-opted in names, speeches, poetry and written texts.

Art, Anti-Racism and Health Equity: “Don’t Ask Me Why, Ask Me How!”

Objective: One of the fundamental chal­lenges in research on, and the practice of, anti-racism is helping people open their minds to new possibilities and new ways of thinking.Design: This commentary illustrates how art can help people unlearn misinformation and narrow ways of thinking while enhanc­ing flexibility that allows people to think cre­atively about efforts to eliminate or mitigate the health effects of racism.Results: Historically, art has been a critical foundation of the history of protest and struggle to achieve equity in the United States and across the globe. Whether music, poems, paintings or other forms of creative expression, art has been at the core of efforts to express emotion, communicate difficult concepts, spur action and change what seems impossible. Art has been particularly important in illustrating and helping to facilitate how people understand what racism is, how it feels to experience privilege or oppression and exploring the implications of policies and practices that affect health indirectly or directly. Yet, art remains underutilized in anti-racism educa­tion, training and organizing efforts within public health. This commentary includes several arts-based examples to illustrate how art can facilitate insights, observations and strategies to address racism and achieve health equity.Conclusion: Art can be an important tool to facilitate moving past intellectual arguments that seek to explain, justify and excuse racism. Art may be particularly important in efforts to illuminate how racism operates in organizational or institutional contexts and to communicate hope, resilience, and strength amid what seems impossible. Ethn Dis. 2020;30(3):373-380; doi:10.18865/ed.30.3.373

SWEARING AND ITS MOTIVES IN THE ANTOLOGI RASA NOVEL

This paper investigated English swear words used in a novel. This study was urgent to conduct because using swear words is a natural behavior in communication which is indicated by the employment of certain swear words to express emotion, to reduce frustrated feeling, and to show solidarity to others. Two research points to resolve were as follows: what types of swearing which the main character used and what motives for swearing in the novel. Data, consisting of 46 swear words, were collected from the Antologi Rasa novel written by Ika Natassa, and were investigated using a content analysis. Findings showed the following: 26 (56.5%) occurrences of auxiliary swearing, 12 (26.1%) of expletives swearing, 4 (8.7%) of abusive swearing, and 4 (8.7 %) of humorous swearing. Three motives for the main character to swear were as follows: psychological motives (23 occurrences or 50.0 %), social motives (19 or 41.30%), and linguistic motives (4 or 8.70%).

The Preferred Account of Human Capabilities

Chapter 3 translates the idea of dignity as species integrity into the more grounded idea of respecting central human capabilities. Fleshing out human capabilities yields a preferred capability list, which is balanced, life stage sensitive, and provisional. This conception of human dignity carries the advantage of avoiding speciesism, the view that members of one’s own species are morally superior. It leaves open the possibility that members of nonhuman species possess their own kind of dignity, based on central capabilities for their species. Dignity as species integrity carries the advantage of avoiding ableism. In contrast to Kantian conceptions, which regard highly developed cognitive functioning as necessary for dignity, Chapter 3 equates dignity with possessing at least one central human capability. Infants and people with disabilities who can affiliate, express emotion, or exercise senses and imagination possess a human dignity that demands respect, even if they lack specific cognitive capabilities.

The intersection of goals to experience and express emotion

Experience and expression are orthogonal emotion dimensions: we do not always show what we feel, nor do we always feel what we show. However, the experience and expression dimensions of emotion are rarely considered simultaneously. We propose a model outlining the intersection of goals for emotion experience and expression. We suggest that these goals may be aligned (e.g., feeling and showing) or misaligned (e.g., feeling but not showing). Our model posits these states can be separated into goals to 1) experience and express, 2) experience but not express, 3) express but not experience, or 4) neither experience nor express positive and negative emotion. Considering intersections between experience and expression goals will advance understanding of emotion regulation choice and success.

Emotions through texts and images

We analyzed in multimodal Flickr posts how citizens express emotion in response to the outcome of the EU Referendum that led to the Brexit vote. We conceived a model that articulates three levels of analysis, in a bid to understand how meaning operates, namely how inscribed, signalled and/or supported emotion is expressed in narrative and/or conceptual representations, in image and in text, through logico-semantic relations of expansion, projection and/or decoration. We tested this model empirically on a corpus of 173 posts. Our results reveal that emotion is very often supported through images and that narrative representations are particularly prevalent in the text.