Cultural Norms Determine Emotions Sociology Essay

heathenal Norms Determine Emotions Sociology Essay agriculture has been recognized by sociologists and anthropologists to carry a particular display roles or norms. These affect the supervision of emotions and establish green and predictable conduct among individuals and their sociable environ handst in response to sundry(a) emotional stimulations. Therefore, it is of primary importance to address the issue how and wherefore ethnic norms mickle fixate the emotional status of throng. Levy (1984) defines stopping point as an internalized system of controlling people in grade to construct adaptive, structured and sane attitude. Culture influences individuals in a multi-level horizon and shapes forgiving beliefs, emotions and behaviour through various traditions, ethnic belonging and national identification. In this wallpaper I will attempt to illustrate how heathen norms get to a profound effect on peoples emotions and demonstrate a clear concord of the interaction betw een emotional state of mind and the culture and where they be positi integrityd in society.We witness culture since we were born. We argon learning active culture mainly through friendlyizing. Caruso and Salovey (2004) examine culture on a macro instruction lever, meaning how culture influence emotional expressions in different nations and ethnic groups. They conclude that heathenish beliefs, symbols and emotional patters are shared by a complex system of processes called lovingization. These are the key points and issues to be discussed in this evidence which aims to illustrate the dramaturgical and morphologic perspectives on the sociology of emotions by contrasting them. On another level culture also provides shared symbols such as norms, language, traditions, customs and frame in this way the value, feelings and behaviour of its members. On a group level culture influences emotional process through the feat roles individuals bring in in society (Levy, 1984). In order for sociologists and anthropologists to comprehend and condone the emotional processes they have to study cultures from the point of view of cognitive sociable psychology (Druskat and Wolff, 1999). Lazarus (1991) proposes that there are two phases of the emotional process. The first one adoptd awareness of the events and the second one represents the behavioural response to the emotions stimulated.Culture and affectionate structure are interrelated. Both reproduce order and alter emotions during the course of interacting with other individuals. Lewis (2000) claims that there are at least fiver theoretical research traditions in the sociology of emotions which are related to the significant aspects of sociological abstract. Lewis (2000) enumerates the models as dramaturgical (Culture), structural (social structure), symbolic-interactionist (cognitive appraisal) and ritual and exchange (interaction) perspectives on emotions. I will concentrate on dramaturgical and structural on es. Dramaturgical move upes to the sociology of emotions commission on the importance of culture in supplying ideologies for emotions, feeling rules, fel first baseship and vocabularies. This structure is provided by Gordon (1981). According to him the elements of culture act as cognitive guidelines to what emotions might be come acrossd and conveyed in situations. An example of dramaturgical perspective on emotional sociology is made by Schmitt and Clark (2006). Their studies conclude how emotions are culturally decoded so as to when to feel and how to give raise to feelings. During the process of socialization individuals learn how to associate certain emotion vocabularies with particular situations and internal sensations.What makes the approach dramaturgical is that individuals are screened as performing on a stage, constructed by social structure (audience). Each person employs different cultural scripts in order to perform his role. In this sense people are outstanding ac tors, because they utilize their emotions to manipulate others through expressive control of their behaviour on the stage. heap take advantage of the knowledge they store for the appropriate feelings and their displays and take over strategies to reach their goal. Through various manipulations of postures, language, role play, or talk individuals consciously apply dramatic emotional displays to gain recognition, favour, control or social status (Schmitt and Clark, 2006). Recent research in dramaturgy reveals that there are cases when social structure demands from individuals to express emotions that they do not feel. Hochsehilds (1983) research on flight attendants and bill controllers is an example and clear illustration how dramaturgy can be inseparable from emotions in a cultural and social context.The stress on culture in dramaturgical perspective aids us in understanding how emotional responses are learned and applied in situations. Another example of cultural displays and e motional management is given over by Pierce (1995). Her research highlights that emotions can be gendered and this is so, because of the different social positions men and women occupy and the social roles they are expected to perform. She gives an example of male and female lawyers. Lawyers who are male are supposed to be aggressive, whereas, women are slackly considered paralegals and are expected to be more nurturing. Dramaturgical perspectives of sociology of emotions involve emotions associated with already rehearsed social roles and conscious emotional manipulation.All sociological perspectives studying emotions involve social structure as part of the analyses. However, it is not only an analysis of the social structure, but also how relevant is the relationship between emotions and social structures. Theories and researches in the sociology of emotions often emphasize on a relatively itsy-bitsy specter of social-structural properties. According to Lewis (2000) the most pr ominent theories in this direction, investigate micro-level federal agency (authority) and status or prestige disstandardizedities among individuals and emotions during the course of interaction, including stratifications, institutional spheres and macro-level processes. Berger and Webster (2006) create mint of approaches that follow the micro-level order in interactions. They reveal that there are differences in relative power and in status among individuals. Berger and Webster conclude that the dissimilarities are constrained by the existing social structures. In other cases they emerge in the course of the very interaction. Furthermore, the differences can be encoded in cultural beliefs for the people that stay high or low in the social ladder. here(predicate) too, similar in the dramaturgical perspective, emotions generate expectations. Therefore, there is a similar characteristic in the two approaches. In dramaturgical as wholesome(a) as in the structural the differences in emotional stimulations are in all probability to occur in ethnicity, age, social class, or gender. Berger and Webster (2006) state that when individuals react in accordance with the expectations what depicts them as belonging to a certain hierarchy, they display and experience positive emotions such as pride, happiness. In contrast, those who were in low-ranking status, are predisposed to experience negative emotions, for example anger or fear. Individuals perceive that their low rank in their own fault and blame themselves, and that is the reason why they are affected by negative emotions and dissatisfaction.All these are consequences of structural arrangements which work quite unfairly. Social structure, therefore determines to a large storey the level of emotions and their polarity. Kemper (1978) comments that when individuals gain power their positive attitude and self-presentation grows accordingly. For Barbalet (1998) emotions are distributes raggedly and differently acro ss segments of society, usually corresponding to each of the socio-economic status segments. People react emotionally in regards to their social standing and what advantages this brings them particular shares of money, power, or prestige something what they can not obtain in a frown social belonging. business organisation is one of the emotions that Barbalet (1998) theorizes to differentiate between social ranking. Fear is generated from the lack of power. Usually individuals attribute this to their shortcomings. In his analysis Barbalet (1998) preliminary speculates that emotions are like most resources and consequently are distributes unequally. Particular kinds of emotions emerge among some subpopulations and have rather predictable conditions. However, sociological theory will have to elaborate on the conditions determining those emotions and define the potential effects that they have on collective actions in society (Lewis, 2002).Lewis (2000) says that most of the structur al theories on emotions are oriented to the micro-level, meaning that they examine situations and processes and face to face and insouciant interactions such are power or social status. But, micro-level course of actions fleet within the context of macrostructural operations. In the structural theory of emotions in order for them to emerge, there needs to be interconnections between the micro and macro level of the structure. These differentiations were no present in the dramaturgical perspective. For the structural theory of emotions a whole category of individuals regardless of their gender, class belonging, race or cultural values, can experience very similar emotions, because they are placed in the same stratification system (Lewis, 2000). They are structurally identical, thereby, they are in all probability to have the same experiences, which creates similar emotional reactions.Cultural concepts determine in greater degree the emotional quality and the versatile emotions tha t people experience. while discussing various approaches, special attention was paid to dramaturgical and structural perspectives of the sociology of emotions. Examples were given illustrating the two methods and seeing that even though they differ they are similarities namely that emotions are the result of culturally translated elements. Integrated into the cognition processes, emotions are cultural just like traditions and values. We need to posses some cultural knowledge in order to recognize certain emotions. Evaluating emotions requires a comprehensive framework about different concepts of culture and cultural norms.Emotions are socially constructed just like cultural norms and we can say that emotional are also together with directed because they transfer the inward relation of the individual with the surrounding social structures. Both approaches, the dramaturgical and the structural are based on the social organization of human behaviour and how it is controlled through t he means of psychology. Cultural norms determine emotions, because they are socially organized activities, they are psychological phenomena and they involve human behaviour.