robert plutchik

7/23/2019 Robert Plutchik

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Plutchiks three-dimensional circumplex model describes the relations amongemotion concepts, in a similar way to the colours on a colour wheel. The conesvertical dimension represents intensity emotions intensify as they move from theoutside 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 tobe aware of in relationships in the workplace, with family and with friends.The eight sectors are designed to indicate that there are eight primary emotiondimensions.They are sadness, surprise, fear, anger etc. Each circle sector has anopposite 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 andtrust, 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 coulduse 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 keysurvival issues posed by the environment.

4. Despite different forms of expression of emotions in different species, thereare 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 whoseproperties and characteristics can only be inferred from various kinds ofevidence.
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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 Basis for Inclusion

PlutchikAcceptance, anger, anticipation, disgust,

joy, fear, sadness, surpriseRelation to adaptive

biological processes

Poate stiti deja ca actulamente exista mai multe variante in privinta emotiilor debaza. Diferiti autori care au facut studii in aceast domeniu au promovat diverseemotii ca fiind de baza. Da click aici (Variante Emotii de Baza), sau Aici dacadoresti sa vezi diferitele variante propuse pentru emotiile de baza. Este adevarat caunele 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-misi 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 dincate 2 emotii de baza.

Emotie de Baza Emotia de Baza Opusa

Bucurie TristeteIncredere(Acceptare) DezgustFrica FurieSurpriza Anticipare

Tristete BucurieDezgust Incredere(Acceptare)Furie FricaAnticipare Surpriza
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In contiunare sa vedem si emotiile avansate / compuse, in opinia lui PlutchikRobert:Emo ie Avansat Compus Em. Av. Opus

Optimism = Anticipare + Bucurie Dezamgire

Iubire = Bucurie + ncredere Remu careSupunere = ncredere + Fric DispreVenerare = Fric + Surpiz AgresivitateDezamgire = Surpiz + Triste e OptimismRemuscare = Triste e + Dezust IubireDispre = Dezgust+ Furie SupunereAgresivitate = 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 representsintensity, and the circle represents

degrees ofsimilarity 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 aremixtures of two of the primary emotions.

Imagschematica


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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 Plutchikagreed with Ekman's biologically driven perspective but developed

the "wheel of emotions", suggesting eight primary emotions grouped on a positiveor negative basis: joy versus sadness; anger versus fear; trust versus distrust; andsurprise versus anticipation.[9] Some basic emotions can be modified to formcomplex emotions. The complex emotions could arise from cultural conditioningor association combined with the basic emotions. Alternatively, similar to thewayprimary colors combine,primary emotions could blend to form the fullspectrum of human emotional experience. For example,
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interpersonal angerand disgust could blend to form contempt. Relationships existbetween basic emotions, resulting in positive or negative influences.[10]

Emotions are controlled by a constellation of interacting brain systems, but theamygdala 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 inthe thalamus and then are routed along a fast pathway directly to the amygdala andalong 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 ofmultidimensional scaling, psychologists can map out similaremotional 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 dividedinto two dimensions known as valences (how negative or positive the experiencewas) and arousal (extent of reaction to stimuli). These two dimensions can bedepicted 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
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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 inGruppen zu lsenden Aufgaben. Auf der Grundlage der Literatur zu Typologienvon Aufgaben eine vereinheitlichte Typologisierung vor, die er im "Group TaskCircumplex" (siehe Abb. 1) darstellt. Im zweiten Schritt betrachtet er denKommunikationsprozess in Gruppen. Hierbei vereinheitlicht er die Theorien zurBeschreibung von Kommunikationsprozessen und entwickelt ein Ablaufschemader Gruppenkommunikation, das zugleich auf die zuvor entwickeltenAufgabentypen bezug nimmt (siehe Abb. 2 und Abb. 3). Das Task CircumplexModell nimmt dabei immer Bezug auf die interne Kommunikationin kleinen Gruppen.

Die beschriebenen Interaktionen sieht McGrath immer auchals 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 Originalkursiv)

Group Task Circumplex

Der groe Gewinn dieses Modells ist die Einfhrung eines nur zweidimensionalenSystems, in dem durch graduelle Verschiebungen auf den beiden Achsen allegngigen Typen von Aufgaben beschrieben werden knnen. Die beidenDimensionen sind Kooperation vs. Konflikt und konzeptionell vs. ausfhrend.

Damit ergeben sich vier Quadranten:I) GENERATE: Kooperation, sowohl konzeptionell als auch ausfhrendII) CHOOSE: konzeptionell, sowohl Kooperation als auch KonfliktIII) NEGOTIATE: Konflikt, sowohl konzeptionall als auch ausfhrendIV) EXECUTE: Ausfhrend, sowohl Konflikt als auch Kooperation
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Abb. 1: McGrath, 1984, S. 61

Das "Integrated Circumplex"-Modell baut auf dem Group Task Circumplex-Modell auf. Es ergnzt dieses durch die Annahme, dass die vier Quadranten einezeitliche Abfolge der Ebenen im Gruppen-Entwicklungsprozess darstellen.Dadurch ergibt sich die Beschreibung von "communication pattern" (s.o.), alsoverschiedener Kommunikationsmustern. Fr die vier Quadranten werdenzustzlich zu den jeweiligen Aufgaben ("task performance pattern") auch dieFormen der interpersonalen Kommunikation ("interpersonal relationship pattern")

beschrieben, die auf den jeweiligen Entwicklungsstufen stattfinden. Die fehlendenAchsen Konflikt vs. Kooperation und konzeptionell vs. ausfhrend mssten inAbb. 2 um 45 im Uhrzeigersinn gedreht eingezeichnet werden. Den vierQuadranten ordnet McGrath im Text vier eigens entwickelte Ebenen desEntwicklungsprzesses zu:


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I) Values and GoalsII) Abilities and ResourcesIII) Norms and CohesivenessIV) 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 IIund III. Als Alternative stellt er ein Entwicklungs-Modell mit drei Schritten vor(Intention, Means, Action). Damit taucht in diesem Modell der Aspekt derEntwicklung von Fhigkeit und Ressourcen zur Zielerfllung auf, der im


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Integrated Circumplex hchstens indirekt im CHOOSE-Feld vorkommt.

Functional Needs nach Hare (1976)

Das Task Circumplex Modell bezieht sich unter anderem auf die Functional Needsnach Hare (1976), der sich wiederum auf die Theories of Society von TalcottParson (1961) sttzt. Dabei handelt es sich um vier grundlegende Anforderungen,die in jeder Gruppe erfllt sein mssen, um bestehen zu knnen und werden vonMcGrath (1984, S. 156) folgendermaen zusammengefasst:

1.

the members must share a common identity and have a commitment to thevalues of the group (This is termed L forlatent patternmaintenance and tension reduction.)

2. They must have or be able to generate the skills and resources needed toreach their goal(s). (A foradaptation.)

3. They must have rules (norms) to coordinate their activities and enoughsolidarity (cohesiveness) to stay together to complete their goals.(I forintegration.)

4. They must be able to exercise enough control over members to be effectivein reaching goal(s). (G forgoal attainment)

Hare (1976, S. 15) ordnet diesen vier Anforderungen jeweils ein sozialesSubsystem zu, das zur Erfllung der jeweiligen Aufgaben mageblichverantwortlich ist:

Integrated Circumplex

(McGrath, 1984)

Functional Need (Hare 1976) Social

Subsystem


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I) Values and Goals Latent pattern maintenace,tension reduction

family / religion

II) Abilities and Resources Adaption economic

III) Norms and Cohesiveness Integration legal

IV) Group Task Performance Goal attainment political

(nach McGrath, 1984, S. 156 ff.)

Literatur

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.

\

1.

The first and simplest step is to save a copy of this information for yourpersonal reference. A fabulousposter(PDF) exists courtesy of MarkusDrews of the University of Applied Sciences in Potsdam, Germany.

2. Next, read over the list of emotions again. Look at the diagram. Getthem into your head. Study. Focus. Cram. Actually, dont cram but do allthe other things. Take the time to really explore what this theory means toyou and your writing.

3. Feel free to test the limits of Plutchiks theory as you do this. Forexample, does the combination of Fear + Disgust suggest Shame toyou as he proposes? How about the other combinations? I had an excellent

discussion with someone who expressed doubt about Fear and Angerbeing mutually-exclusive opposites. I shared this insight: In bothemotions, ones attention is strongly focused usually on some object or

person. However, the action that expresses the emotion happens inopposite directions; Fear is about escaping away from that focal objectwhereas when Angry one usually cannot be kept away. Clearly approach
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and escape cannot co-exist in the same moment of time so in this senseFear and Anger are mutually-exclusive opposites.

4. The previous step should naturally lead to thoughts of individualcharacters as their emotions travel around Plutchiks wheel. In general, letthe wheel be the spark that ignites your creative juices. Use it to identifyand emphasize opposites (as in dialogue between two characters withdifferent scene purposes).

5. Finally, if Plutchiks research is correct, then many writers are not usingthe full spectrum (or potential) of emotions in their writing. Make yourcharacters 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 storeto 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 herdoor, Anticipationthat an intruder might still lurk inside, Fear and verylikely Terror (Intense Fear) that she will be discovered on the stoop.

In Alarm (Surprise + Fear) she grasps the grocery bags tight around her body likea shield. Her eyes are wide with Grief(Intense Sadness) as she lowers her head in

an act ofSubmission (Trust + Fear) over the state of her home and backs silentlyaway. 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 shecontrols 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 heremotions finally start to calm down (Rest) knowing that soon she will be safely

away. SheTrusts her engine to start smoothly and it does.


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The 48 Emotions of Plutchik

Emotion LVL Composition OppositeIntense

FormMild Form

Anger Basic N/A Fear Rage Annoyance

Anticipation Basic N/A Surprise Vigilance Interest

Disgust Basic N/A Trust Loathing Boredom

Fear Basic N/A Anger Terror Apprehension

Joy Basic N/A Sadness Ecstasy Serenity

Sadness Basic N/A Joy Grief PensivenessSurprise Basic N/A Anticipation AmazementDistraction

Trust Basic N/A Disgust Admiration Acceptance

AggressivenessPrimaryBlend

Anger +Anticipation

Alarm1

OptimismPrimaryBlend

Anticipation+ Joy

Disappointment

ContemptPrimary

Blend

Disgust +

AngerSubmission

Alarm1PrimaryBlend

Fear +Surprise

Aggressiveness

LovePrimaryBlend

Joy + Trust Remorse

RemorsePrimaryBlend

Sadness +Disgust

Love

DisappointmentPrimaryBlend

Surprise +Sadness

Optimism

SubmissionPrimaryBlend

Trust + Fear Contempt

PrideSecondaryBlend

Anger + Joy Despair

Hope2SecondaryBlend

Anticipation+ Trust

Unbelief3

CynicismSecondaryBlend

Disgust +Anticipation

Curiosity

Despair SecondaryBlend Fear +Sadness Pride

GuiltSecondaryBlend

Joy + Fear Envy

EnvySecondaryBlend

Sadness +Anger

Guilt

Unbelief3SecondaryBlend

Surprise +Disgust

Hope2

Curiosity

Secondary

Blend

Trust +

Surprise CynicismTertiar An er +


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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 eightemotions 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 andwe often prefer certain letters of the alphabet for our characters names. The samegoes for emotions. We write about certain emotions while ignoring others. So usePlutchik to keep your writing fresh by exploring the areas of human emotion thatyou often overlook. Keep what improves your writing and discard what doesnt.

Finally, the thoughtful and observant writer will note the need for specific methodsto include this material in their writing. For this, I propose the need for acomprehensive list of Facial Expressions, Body Language, and Mental States

mapped to Plutchiks emotions. However, in my research such a list doesnt yetexist. So that will have to be the topic of another post. Hopefully, Ive given youmuch to think about and a new tool to explore in your writing.

Each basic and complex emotion has its opposite emotion:Basic:

Satisfaction - SorrowTrust - DisgustFear - AngerSurprise - AnticipationComplex:

Love - CompassionObedience - ContemptAwe - AggressivenessDisappointment Optimism

Basic emotion Basic opposite

Joy Sadness
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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
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robert plutchik

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