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Start Over Rights http://creativecommons.org/publicdomain/mark/1.0/ Subject emotions

11. Mezinárodní systém fotografií pro výzkum emocí: jeden ze současných přístupů ke zkoumání emočních stavu

Creator:
Czekóová, Kristína and Urbánek, Tomáš
Type:
article, model:article, and TEXT
Subject:
emotions, emotion research, IAPS, psychosemantics, emoce, výzkum emocí, and psychosémantika
Language:
Czech
Description:
Článek se věnuje výzkumu emocí prostřednictvím Mezinárodního systému fotografií pro výzkum emočních stavů. Jedná se o soubor fotografií, které se podle předpokladu autorů liší ve dvou základních dimenzích emocí – valenci a arousalu. Článek diskutuje výzkumy prováděné pomocí tohoto systému, teoretické souvislosti tohoto přístupu, jeho teoretické i metodologické nedostatky a možná východiska. Jako hlavní východisko formuluje potřebu zabývat se sémantickým obsahem snímků, tedy potřebu psychosémantického přístupu.
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12. Od teatrality k intimitě?: Emoce a smrt u Martiniců a Schwarzenbergů v období baroka a romantismu

Creator:
Grubhoffer, Václav and Kadeřábek, Josef
Format:
print, bez média, and svazek
Type:
model:article and TEXT
Subject:
Martinitz (rod), Schwarzenbergové (rod), smrt, umírání, emoce, death, dying, emotions, poslední okamžiky, dobrá smrt, last moments, good death, 8, and 94(437)
Language:
Czech and English
Description:
Between the Baroque and Romanticism attitudes to death and the discursive framework of the emotional experience of dying fundamentally changed among the Catholic high nobility. The ideal baroque death was supposed to take the form of an extreme point at which the dying person confessed their sins through theatrical gestures and utterances. The deathbed ritual explicitly confirmed the denominational and spiritual orientation of the family. In succeeding generations, both aristocrats and commoners were expected to be confirmed in that orientation by a written and iconographic testimony rich in symbols. Romanticism, on the other hand, imbued the process of dying with sentiment, loving care and family cohesion, which among the high nobility brought solace and a peaceful death. Finally, between the Baroque and Romanticism the relative status of private and public experience of the last moments changed. The Baroque "theatrical" deathbed, which was presented with the central figure of the dying individual and the priest, was a public event. Gradually it changed into a more intimate, quiet contemplation with only a few witnesses gathered in the family circle. Moreover, the doctor came to replace the priest as the chief attendant at the dying person’s bedside. What remained unchanged was the anxious determination to conform to expected patterns of behaviour. By trying to fulfil the contemporary ideal of a "good death", the counts of Martinice and the princes of Schwarzenberg tried to affirm their unique position in Bohemian (and European) aristocratic society. Their emotional experience of death was intended to serve as an example to their descendants and form one of the constitutive elements of the family’s collective memory., Václav Grubhoffer, Josef Kadeřábek., and Obsahuje bibliografické odkazy
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13. Odpustenie sebe: teoretické východiská a výskumné zistenia

Creator:
Martinčeková, Lucia
Format:
počítač and online zdroj
Type:
model:article and TEXT
Subject:
odpustenie sebe, odpustenie, emócie, intervencia, self-forgiveness, interpersonal forgiveness, emotions, and intervention
Language:
Czech
Description:
Napriek tomu, že odpustenie sebe sa ukazuje ako významnejšie súvisiace s fyzickým zdravím jednotlivca, ako aj celkovým well-beingom v porovnaní s odpustením druhému, a dôsledky neodpustenia sebe môžu byť extrémne, odpusteniu sebe je venovaná neporovnateľne menšia teoretická a výskumná pozornosť oproti interpersonálnemu odpustenia. Cieľom štúdie je kritický prehľad súčasných teoretických a empirických štúdií v tejto oblasti. Štúdia sa zameriava na vymedzenie odpustenia sebe, s ohľadom na jeho hlavné aspekty ako je ľútosť za vykonaný čin, prijatie zodpovednosti a zmena správania do budúcnosti. Štúdia definuje podobnosti a rozdiely odpustenia sebe s interpersonálnym odpustením. Je zdôraznené, že odpustenie sebe je proces vyžadujúci čas a popísané sú jednotlivé kroky procesu odpustenia. Diskutované sú intervenčné štúdie odpustenia sebe, so zameraním na ich výsledky a metodologické nedostatky. V závere je predstavený kritický postoj voči odpusteniu sebe a argumentácia proti jednotlivým kritickým názorom. Načrtnutý je ďalší smer výskumu v oblasti odpustenia sebe. and Despite the evidence that self-forgiveness is more strongly associated with physical health and well-being compared to interpersonal forgiveness, and that the results of self-blaming may be extreme, self-forgiveness has received considerately less attention in theory and research, compared to interpersonal forgiveness. The aim of this study is a critical overview of the current theoretical and empirical studies in this area. The paper focuses on a definition of selfforgiveness with an emphasis of its important aspects such as remorse, responsibility taking, and conciliatory behaviour. The study defines similarities and differences of self-forgiveness and interpersonal forgiveness. It is stressed that self-forgiveness is a process which takes time and the steps of self-forgiveness are described. The intervention studies of self-forgiveness are discussed, with an emphasis on their results and methodological limitations. Finally, a critical attitude toward self-forgiveness and argumentation against these critical views are presented. Future direction of research in self-forgiveness is outlined.
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14. Radost a smutek v Pamětech Františka Jana Vaváka

Creator:
Timofejev, Dmitrij
Format:
print, bez média, and svazek
Type:
model:article and TEXT
Subject:
Vavák, František Jan, 1741-1816, rétorika, emoce, historiografie, rhetoric, emotions, historiography, historická stylistika, lidové kroniky, historical stylistics, folk chronicles, 8, and 94(437)
Language:
Czech and English
Description:
The article looks at how emotion is represented in Bohemian folk chronicles, i.e. texts of a historiographic character, written by autodidacts - mostly peasants and artisans. At the core of our analysis is the most famous work of this kind, Paměti Františka Jana Vaváka z let 1770-1816 (Memoirs of František Jan Vavák 1770-1816). Other writings from the turn of the 19th century (e.g. those of Václav Jan Mašek, Jan Petr, Ondřej Lukavský) are also considered. Our initial question is: How, and in which contexts, did Czech-speaking authors of the late 18th and early 19th century, having no opportunity to get acquainted with contemporary philosophical theories, express affects? The study shows that the emotions, especially joy and grief, are expressed in a way recommended by early modern rhetoricians (e.g. Cypriano de Soarez or Bernard Lamy): particular figures are associated with particular affects. Though the principle is the same, the figures used by autodidacts differ from those recommended by the rhetoric manuals. Being unable to read Latin, German or French rhetorics, the authors had probably grasped the principles of how to represent affect from their reading, but adapted them according to their own talent and vision. As might be expected given the rural origin and values of the authors, joy is expressed mostly in the context of weather favourable for the harvest, while grief is realised in the context of rising prices and natural disasters., Dmitrij Timofejev., and Obsahuje bibliografické odkazy
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15. Senekovo pojetí hněvu v díle jezuitského dramatika Karla Kolčavy

Creator:
Pauerová, Eva
Format:
print, bez média, and svazek
Type:
model:article and TEXT
Subject:
Seneca, asi 4 př. Kr.-65 po Kr, Kolčava, Karel, 1656-1717, jezuitské divadlo, tragédie, emoce, hněv, Jesuit theater, tragedies, emotions, anger, 8, and 94(437)
Language:
Czech and English
Description:
Emotions and passions, especially the negative ones, played a major role in Seneca’s writing: the anger became the object of his philosophical treatise De ira and prevailed also in his tragedies. Seneca was probably the most important model for jesuit playwrigts which implies the question how these authors worked with his conception of anger and rage as destructive emotions, in which measure they took it over or changed it. Jesuit playwrights are represented here by Karel Kolčava whose plays are the only ones published as collected works during his life. In addition, there are (also published) Kolčava’s didactic letters, which gives us the opportunity to compare his theoretical view of anger with the Seneca’s one in the first part of the article. The realization of these conceptions is then observed on a few examples taken from the respective plays of both authors. Finally a special attention is paid to female characters in rage who are so important in Seneca’s tragedies and who can be found in Kolčava’s plays although women were not welcome on the jesuit stage even as characters., Eva Pauerová., and Obsahuje bibliografické odkazy
Rights:
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17. Veřejná nitra: Emoce a výraz v kolegiu Karla Heinricha Seibta

Creator:
Smyčka, Václav
Format:
print, bez média, and svazek
Type:
model:article and TEXT
Subject:
Seibt, Karel Jindřich, 1735-1806, rétorika, afekty, emoce, osvícenství, rhetoric, affections, emotions, enlightenment, écriture féminine, 8, and 94(437)
Language:
Czech and English
Description:
This work deals with the changes of rhetorical education and emotional orders in the second half of the 18th century. The aim of the research is to assess the relations among language education, funtions of medias, anthropological models and expression of emotions on the Threshold of enlightenment. The background of the research shapes the transformation of rhetorical tradition. The research of the broad field of pedagogical, rhetorical and moral discurs is focused on the collegium of Karl Heinrich Seibt., Václav Smyčka., and Obsahuje bibliografické odkazy
Rights:
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18. Základní faktory ovlivňující úzkost ze smrti

Creator:
Helena Kisvetrová and Králová, Jaroslava
Type:
article, články, model:article, and TEXT
Subject:
Psychologie, psychologie, emoce, umírání, psychology, emotions, dying, úzkost ze smrti, prožívání, death anxiety, experience, 17, and 159.9
Language:
Czech
Description:
Úzkost ze smrti je chápána jako multidimenzionální poznávací koncept, který vychází z postojů ke smrti. Zahrnuje myšlenky, strachy a emoce související s umíráním a smrtí, které jedinec prožívá za normálních podmínek života. Úzkost ze smrti a její prožívání ovlivňuje řada faktorů, a to jak negativně, tak pozitivně. Jednotlivé faktory se mohou překrývat nebo být ve vzájemné interakci. Patří mezi ně život ohrožující nemoc, spiritualita, životní zkušenost, kulturní normy, sociální opora, prostředí, věk a gender. Uvědomění si těchto faktorů pomáhá zdravotnickým pracovníkům lépe pochopit reakci pacienta na realitu smrti v současné technologicky vyspělé, sekularizované a multikulturní společnosti., Death anxiety is understood as a multidimensional cognitive concept arising from attitudes to the death. It includes thoughts, fears, and emotions connected with dying and death experienced by an individual under the normal life conditions. Death anxiety and its experiencing are influenced by many factors, both negatively and positively. The particular factors can overlap or can be in mutual interaction. They cover life threatening disease, spirituality, life experience, cultural norms, social support, environment, age, and gender. Realization of these factors helps medical workers to understand better the patient´s response to the reality of death in contemporary technologically developed. secularizationed and multicultural society., and Helena Kisvetrová, Jaroslava Králová.
Rights:
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