Plutchiks three-dimensional circumplex model describes the relations among emotion concepts, in a similar way to the colours on a colour

wheel. The cones vertical dimension represents intensity emotions intensify as they move from the outside to the centre of the wheel. As an example, a feeling of boredom can intensify to loathing if left unchecked. This is an important rule about emotions to be aware of in relationships in the workplace, with family and with friends. The eight sectors are designed to indicate that there are eight primary emotion dimensions.They are sadness, surprise, fear, anger etc. Each circle sector has an opposite emotion. The opposite of sadness is joy, the opposite of trust, disgust etc. The emotions with no colour represent an emotion that is a mix of the 2 primary emotions. For example, anticipation and joy combine to be optimism and joy and trust, love etc. You can read Plutchiks original explanation in American Scientist. Ive used this model with leaders to explain the rules of emotions and to also support them to increase their vocabulary of feeling words. Id be keen to hear other ways youve used the Plutchik model or how you could use it with your clients.

http://www.slideshare.net/Ionesco/procesepsihicereglatorii-afectivitate Plutchik's (1980) psychoevolutionary theory of basic emotions has ten postulates. 1. The concept of emotion is applicable to all evolutionary levels and applies to animals as well as to humans. 2. Emotions have an evolutionary history and have evolved various forms of expression in different species. 3. Emotions served an adaptive role in helping organisms deal with key survival issues posed by the environment. 4. Despite different forms of expression of emotions in different species, there are certain common elements, or prototype patterns, that can be identified. 5. There is a small number of basic, primary, or prototype emotions. 6. All other emotions are mixed or derivative states; that is, they occur as combinations, mixtures, or compounds of the primary emotions. 7. Primary emotions are hypothethical constructs or idealized states whose properties and characteristics can only be inferred from various kinds of evidence.

8. Primary emotions can be conceptualized in terms of pairs of polar opposites. 9. All emotions vary in their degree of similarity to one another. 10.Each emotion can exist in varying degrees of intensity or levels of arousal. Basic Emotions Plutchik Acceptance, anger, anticipation, disgust, joy, fear, sadness, surprise Basis for Inclusion Relation to adaptive biological processes

Poate stiti deja ca actulamente exista mai multe variante in privinta emotiilor de baza. Diferiti autori care au facut studii in aceast domeniu au promovat diverse emotii ca fiind de baza. Da click aici (Variante Emotii de Baza), sau Aici daca doresti sa vezi diferitele variante propuse pentru emotiile de baza. Este adevarat ca unele dintre emotii se gasesc pe lista mai multor altor autori in timp ce altele nu. Care lista este mai buna? Buna intrebare. Mi-o pun si eu! Daca ai un raspuns zi-mi si mie. Lista emotiilor pe care v-o propun mai jos este inspirata dupa lucrarile lui Robert Plutchik.El propune 8 emotii de baza si 8 avansate, respectiv emotii compuse din cate 2 emotii de baza. Emotie de Baza Bucurie Incredere(Acceptare) Frica Surpriza Tristete Dezgust Furie Anticipare Emotia de Baza Opusa Tristete Dezgust Furie Anticipare Bucurie Incredere(Acceptare) Frica Surpriza

In contiunare sa vedem si emotiile avansate / compuse, in opinia lui Plutchik Robert: Emoie Avansat Compus Em. Av. Opus Optimism = Anticipare + Bucurie Dezamgire Iubire = Bucurie + ncredere Remucare Supunere = ncredere + Fric Dispre Venerare = Fric + Surpiz Agresivitate Dezamgire = Surpiz + Tristee Optimism Remuscare = Tristee + Dezust Iubire Dispre = Dezgust+ Furie Supunere Agresivitate = Furie + Anticipare Venerare

Figure 1. Authors three-dimensional circumplex model describes the relations among emotion concepts, which are analogous to the colors on a color wheel. The cones vertical dimension represents intensity, and the circle represents degrees of similarity among the emotions. The eight sectors are designed to indicate that there are eight primary emotion dimensions defined by the theory arranged as four pairs of opposites. In the exploded model the emotions in the blank spaces are the primary dyadsemotions that are mixtures of two of the primary emotions.

Imagschematica

Figure 2. Although emotional substrates cannot always be discerned in the behavior of nonhuman animals, many stimuli are experienced by people and animals alike and result in prototypical behavior followed by, generally, the reestablishment of an equilibruim state that might not have been achieved without the impulse precipitated by the inner state. In human experience it is common to use the term emotion to describe the feeling state, but in fact emotion is considerably more complex.

Basic Emotions

Robert Plutchik agreed with Ekman's biologically driven perspective but developed the "wheel of emotions", suggesting eight primary emotions grouped on a positive or negative basis: joy versus sadness; anger versus fear; trust versus distrust; and surprise versus anticipation.[9] Some basic emotions can be modified to form complex emotions. The complex emotions could arise from cultural conditioning or association combined with the basic emotions. Alternatively, similar to the way primary colors combine, primary emotions could blend to form the full spectrum of human emotional experience. For example,

interpersonal anger and disgust could blend to form contempt. Relationships exist between basic emotions, resulting in positive or negative influences.[10] Emotions are controlled by a constellation of interacting brain systems, but the amygdala appears to play a particularly crucial role. According to LeDoux (1996), sensory inputs that can trigger fear (such as seeing a snake while walking) arrive in the thalamus and then are routed along a fast pathway directly to the amygdala and along a slow pathway that allows the cortex time to think about the situation. [11] [edit]Multi dimensional Analysis of emotions

Two Dimensions of Emotion Through the use of multidimensional scaling, psychologists can map out similar emotional experiences, which allows a visual depiction of the "emotional distance" between experiences. A further step can be taken by looking at the map's dimensions of the emotional experiences. The emotional experiences are divided into two dimensions known as valences (how negative or positive the experience was) and arousal (extent of reaction to stimuli). These two dimensions can be depicted on a 2D coordinate map.[12]

Tools Task Circumplex (Modell)

Anhnge:4 Hinzugefgt von Fabian Bethge, zuletzt bearbeitet von Fabian Bethge am Mar 25, 2010 (nderung anzeigen) Das Tast Circumplex-Modell beschreibt grundstzliche Aufgaben (tasks), die bei der Lsung einer bestimmten bergeordneten Aufgabe in einer Gruppe erledigt werden mssen. Entlang der zwei Dimensionen Kooperation vs. Konflikt und Konzeptuell vs. Handeln werden acht verschiedene tasks beschrieben, die die

Gruppe in jedem Lsungsprozess durchluft. In der Erweiterung des Modells ("integrated Circumplex") knnen diese tasks in eine zeitliche Abfolge im Gruppenprozess eingeordnet werden. Das Task Circumplex Modell von Joseph McGrath (1984) ist das Ergebnis einer umfassenden explorativen Literaturrecherche. Dabei betrachtet er zunchst die in Gruppen zu lsenden Aufgaben. Auf der Grundlage der Literatur zu Typologien von Aufgaben eine vereinheitlichte Typologisierung vor, die er im "Group Task Circumplex" (siehe Abb. 1) darstellt. Im zweiten Schritt betrachtet er den Kommunikationsprozess in Gruppen. Hierbei vereinheitlicht er die Theorien zur Beschreibung von Kommunikationsprozessen und entwickelt ein Ablaufschema der Gruppenkommunikation, das zugleich auf die zuvor entwickelten Aufgabentypen bezug nimmt (siehe Abb. 2 und Abb. 3). Das Task Circumplex Modell nimmt dabei immer Bezug auf die interne Kommunikation in kleinen Gruppen. Die beschriebenen Interaktionen sieht McGrath immer auch als Kommunikationsprozesse: "First a behavio by one member (A), verbal or otherwise, can be regarded as a communication from A to ohters (B, C, and so on). A series of such behaviors, by a set of interacting persons, can be regarded as thecommunication process. The form or structure of such a series of interactive behaviors or communications entails such factors as the communication channels and modalities used, the distribution of acts among persons and over time. That form or structure can be regarded as a communication pattern." (S. 17, Hervorhebungen im Original kursiv) Group Task Circumplex Der groe Gewinn dieses Modells ist die Einfhrung eines nur zweidimensionalen Systems, in dem durch graduelle Verschiebungen auf den beiden Achsen alle gngigen Typen von Aufgaben beschrieben werden knnen. Die beiden Dimensionen sind Kooperation vs. Konflikt und konzeptionell vs. ausfhrend. Damit ergeben sich vier Quadranten: I) GENERATE: Kooperation, sowohl konzeptionell als auch ausfhrend II) CHOOSE: konzeptionell, sowohl Kooperation als auch Konflikt III) NEGOTIATE: Konflikt, sowohl konzeptionall als auch ausfhrend IV) EXECUTE: Ausfhrend, sowohl Konflikt als auch Kooperation

Abb. 1: McGrath, 1984, S. 61 Das "Integrated Circumplex"-Modell baut auf dem Group Task CircumplexModell auf. Es ergnzt dieses durch die Annahme, dass die vier Quadranten eine zeitliche Abfolge der Ebenen im Gruppen-Entwicklungsprozess darstellen. Dadurch ergibt sich die Beschreibung von "communication pattern" (s.o.), also verschiedener Kommunikationsmustern. Fr die vier Quadranten werden zustzlich zu den jeweiligen Aufgaben ("task performance pattern") auch die Formen der interpersonalen Kommunikation ("interpersonal relationship pattern") beschrieben, die auf den jeweiligen Entwicklungsstufen stattfinden. Die fehlenden Achsen Konflikt vs. Kooperation und konzeptionell vs. ausfhrend mssten in Abb. 2 um 45 im Uhrzeigersinn gedreht eingezeichnet werden. Den vier Quadranten ordnet McGrath im Text vier eigens entwickelte Ebenen des Entwicklungsprzesses zu:

I) Values and Goals II) Abilities and Resources III) Norms and Cohesiveness IV) Group Task Performance

Abb. 1: McGrath, 1984, S. 161 Functional Chain of Fundamental Group Problems Bei der Vereinigung der verschiedenen Theorien zum Gruppenentwicklungsprozess sieht McGrath jedoch ein Problem im Quadrant II und III. Als Alternative stellt er ein Entwicklungs-Modell mit drei Schritten vor (Intention, Means, Action). Damit taucht in diesem Modell der Aspekt der Entwicklung von Fhigkeit und Ressourcen zur Zielerfllung auf, der im

Integrated Circumplex hchstens indirekt im CHOOSE-Feld vorkommt.

Functional Needs nach Hare (1976) Das Task Circumplex Modell bezieht sich unter anderem auf die Functional Needs nach Hare (1976), der sich wiederum auf die Theories of Society von Talcott Parson (1961) sttzt. Dabei handelt es sich um vier grundlegende Anforderungen, die in jeder Gruppe erfllt sein mssen, um bestehen zu knnen und werden von McGrath (1984, S. 156) folgendermaen zusammengefasst: the members must share a common identity and have a commitment to the values of the group (This is termed L for latent pattern maintenance and tension reduction.) 2. They must have or be able to generate the skills and resources needed to reach their goal(s). (A for adaptation.) 3. They must have rules (norms) to coordinate their activities and enough solidarity (cohesiveness) to stay together to complete their goals. (I for integration.) 4. They must be able to exercise enough control over members to be effective in reaching goal(s). (G for goal attainment)
1.

Hare (1976, S. 15) ordnet diesen vier Anforderungen jeweils ein soziales Subsystem zu, das zur Erfllung der jeweiligen Aufgaben mageblich verantwortlich ist: Integrated Circumplex (McGrath, 1984) Functional Need (Hare 1976) Social Subsystem

I) Values and Goals

Latent pattern maintenace, tension reduction Adaption Integration Goal attainment

family / religion

II) Abilities and Resources III) Norms and Cohesiveness IV) Group Task Performance (nach McGrath, 1984, S. 156 ff.) Literatur

economic legal political

Hare, Alexander Paul (1976): Handbook of small group research. New York. McGrath, Joseph E. (1984): Groups: Interaction and performance. New Jersey. Parson, Talcott (1961): Theories of society : foundations of modern sociological theory. New York.

The first and simplest step is to save a copy of this information for your personal reference. A fabulous poster (PDF) exists courtesy of Markus Drews of the University of Applied Sciences in Potsdam, Germany. 2. Next, read over the list of emotions again. Look at the diagram. Get them into your head. Study. Focus. Cram. Actually, dont cram but do all the other things. Take the time to really explore what this theory means to you and your writing. 3. Feel free to test the limits of Plutchiks theory as you do this. For example, does the combination of Fear + Disgust suggest Shame to you as he proposes? How about the other combinations? I had an excellent discussion with someone who expressed doubt about Fear and Anger being mutually-exclusive opposites. I shared this insight: In both emotions, ones attention is strongly focused usually on some object or person. However, the action that expresses the emotion happens in opposite directions; Fear is about escaping away from that focal object whereas when Angry one usually cannot be kept away. Clearly approach
1.

and escape cannot co-exist in the same moment of time so in this sense Fear and Anger are mutually-exclusive opposites. 4. The previous step should naturally lead to thoughts of individual characters as their emotions travel around Plutchiks wheel. In general, let the wheel be the spark that ignites your creative juices. Use it to identify and emphasize opposites (as in dialogue between two characters with different scene purposes). 5. Finally, if Plutchiks research is correct, then many writers are not using the full spectrum (or potential) of emotions in their writing. Make your characters three-dimensional by showing as much depth to their personalities as possible. Let me introduce you to Sylvia who has just returned home from the grocery store to find her door smashed in and splintered. Her arms are full of groceries. What emotions would she experience? How about Outrage (Surprise + Anger) over the state of her door, Anticipationthat an intruder might still lurk inside, Fear and very likely Terror (Intense Fear) that she will be discovered on the stoop. In Alarm (Surprise + Fear) she grasps the grocery bags tight around her body like a shield. Her eyes are wide with Grief (Intense Sadness) as she lowers her head in an act of Submission (Trust + Fear) over the state of her home and backs silently away. As she nears the driveway she sees a shadowy figure in the outline of the broken door and reacts with Disgust and Contempt (Anger + Disgust), but she controls her emotions and does not leap forward in Rage (Intense Anger). Finding the handle to the car door provides a small measure of comfort (Serenity) as her emotions finally start to calm down (Rest) knowing that soon she will be safely away. SheTrusts her engine to start smoothly and it does.

The 48 Emotions of Plutchik Emotion Anger Anticipation Disgust Fear Joy Sadness Surprise Trust LVL Composition Opposite Fear Surprise Trust Anger Sadness Joy Anticipation Disgust Alarm1 Disappointment Submission Aggressiveness Remorse Love Optimism Contempt Despair Unbelief3 Curiosity Pride Envy Guilt Hope2 Cynicism Intense Mild Form Form Rage Annoyance Vigilance Interest Loathing Boredom Terror Apprehension Ecstasy Serenity Grief Pensiveness Amazement Distraction Admiration Acceptance

Basic N/A Basic N/A Basic N/A Basic N/A Basic N/A Basic N/A Basic N/A Basic N/A Primary Anger + Aggressiveness Blend Anticipation Primary Anticipation Optimism Blend + Joy Primary Disgust + Contempt Blend Anger Primary Fear + Alarm1 Blend Surprise Primary Love Joy + Trust Blend Primary Sadness + Remorse Blend Disgust Primary Surprise + Disappointment Blend Sadness Primary Submission Trust + Fear Blend Secondary Pride Anger + Joy Blend Secondary Anticipation Hope2 Blend + Trust Secondary Disgust + Cynicism Blend Anticipation Secondary Fear + Despair Blend Sadness Secondary Guilt Joy + Fear Blend Secondary Sadness + Envy Blend Anger Secondary Surprise + Unbelief3 Blend Disgust Secondary Trust + Curiosity Blend Surprise Tertiary Anger +

No good writer would write a scene this way, so take it for what it is an example, an exploration of all eight emotions in the same scene. Yet if you count them, theyre all represented! While including all eight probably isnt a good thing, exploring all eight for each scene is. Use Plutchik to explore each of the eight emotions in your scenes to identify which are the best to use or emphasize. By the way, were all biased. We all have pet words that we tend to overuse and we often prefer certain letters of the alphabet for our characters names. The same goes for emotions. We write about certain emotions while ignoring others. So use Plutchik to keep your writing fresh by exploring the areas of human emotion that you often overlook. Keep what improves your writing and discard what doesnt. Finally, the thoughtful and observant writer will note the need for specific methods to include this material in their writing. For this, I propose the need for a comprehensive list of Facial Expressions, Body Language, and Mental States mapped to Plutchiks emotions. However, in my research such a list doesnt yet exist. So that will have to be the topic of another post. Hopefully, Ive given you much to think about and a new tool to explore in your writing.

Each basic and complex emotion has its opposite emotion: Basic: Satisfaction - Sorrow Trust - Disgust Fear - Anger Surprise - Anticipation Complex: Love - Compassion Obedience - Contempt Awe - Aggressiveness Disappointment Optimism

Basic emotion Basic opposite

Joy

Sadness

Trust

Disgust

Fear

Anger

Surprise

Anticipation

Human feelings (results of emotions)

Feelings

Opposite

Optimism

Anticipation + Joy

Disappointment

Love

Joy + Trust

Remorse

Submission

Trust + Fear

Contempt

Awe

Fear + Surprise

Aggression

Disappointment

Surprise + Sadness Optimism

Remorse

Sadness + Disgust

Love

Contempt

Disgust + Anger

Submission

Aggression

Anger + Anticipation Awe