Lecture
Facial expressions (from ancient Greek μιμικός "mimic, acting", then from μιμέομαι "to imitate") are "expressive movements of the facial muscles, which are one of the forms of manifestation of certain human feelings" [or "movements of muscles in coordinated complexes, reflecting various mental states of a person" (L. M. Sukharebsky, 1966). "Approximately the same formulation of the latter is given in the Great Medical Encyclopedia, but instead of "reflecting" they use "responding to various mental states". It should be noted that in these definitions the emphasis is placed on the reflective function of facial expressions, on its correspondence to the state of the psyche. The physical state of the organism is apparently combined with the mental one, which can hardly be considered fair <…> In addition, an important element of facial expressions is the gaze, which depends on the size of the pupil, the color of the iris, the shine of the cornea, which are not controlled by somatic muscles. " The definition of the Great Soviet Encyclopedia indicates only "feelings" as part of emotional processes, while it would be more correct to indicate many forms of experiences in the form of "emotional states of a person", explaining the meaning of the term from a psychophysiological point of view. In addition, from a pathological point of view, in the definition of the word " facial expressions " it is important to take into account somatic processes, since the face, according to Hippocrates, is the first indicator of the patient's condition, by which one can judge the state of health and identify "a number of diseases of the internal organs, which causes the appearance of quite unique memes <…>" (Vorobyov V.P.). From the artistic and theatrical points of view, facial expressions are the ability or skill to voluntarily use such muscle movements, which can be called “the art of expressing feelings and moods <…>”, “through gestures, poses and various facial expressions (mines)”. For example, in the term of the beginning of the 20th century from the dictionary of foreign words that entered the Russian language, edited by Pavlenkov, there was an approximate and incomplete unification of today's definitions of facial expressions, which was as follows:
"The movement of muscles corresponding to the work of the brain. But this movement can be produced artificially, both to achieve resemblance to someone (physiognomists), and for greater expressiveness of the expressed thought (theatrical mimicry)."
In general, "as is evident, the most precise definition of facial expressions does not yet exist." Facial expressions refer to expressive movements and are one of the links in the chain of various forms and methods of communication between people, as well as between representatives of the animal world in biocommunication. At the same time, facial expressions, including bodily ones, are usually called emotional expression, which are considered the main determining components of emotions. In everyday life, facial expressions are called the "language of feelings", facial expression or expression, expression of emotions or simply expressiveness.
Nothing is known about the origin of the term "mimicry". However, according to I. A. Sikorsky (1904), the concept of "physiognomy" was formed earlier, and "subsequently another term was established: "mimicry", "mimic", from the word: μῖμος = imitator, actor <…> Thus, the term: "mimic" has a different meaning than the term: "physiognomic"; but this difference was not taken into account in word usage"
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For each person, the methods of facial expression will always remain largely individual. |
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“In most animals, the face is a stable mask, but in primates we see a greater variety of facial expressions (Redican, 1982).” For example, in chimpanzees, scientists identify 8 typical expressions.[ |
Human facial expressions, from the point of view of non-verbal psychology, are a very valuable source of information. We can use them to determine what emotions a person is experiencing (anger, fear, sadness, grief, disgust, joy, satisfaction, surprise, contempt), as well as the strength of their manifestation. But despite the expressiveness of a person's face, it is often the one that misleads us. Nevertheless, it is very difficult to separate the expressiveness, expression or facial expressions and a person's internal experiences from each other, which is why its concept includes the following components:
Features of facial muscles:
1) attached to the skin
2) located superficially, under the skin
3) not covered by subcutaneous fascia
4) concentrated around the natural openings of the skull
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Emotional facial expressions of manga characters
In different cultural and ethnic groups, facial expressions can express different meanings, despite the fact that many manifestations of facial expressions are universal. In ethnography, this is closely related to the "culture" of a people (tribe), which consists of a system of many characteristic features, in particular, the method of communication (language, gestures, facial expressions).
Physiognomy has been familiar to mankind for a long time. “Physiognomy is the study of stable somatic configurations as distinctive features of the mental sphere. Facial expressions are the study of somatic movements as manifestations of mental life. Physiognomy lacks a principle that would ensure the clarity of the relationship between the body and the soul and that could serve us as a methodically reliable criterion. This is stated on the website https://intellect.icu . As for facial expressions, such a principle is present here. Unlike physiognomy, facial expressions are an area of intuitions that can be discussed from a scientific standpoint.” The first correct explanation of the connection between a stable facial expression and repeated movements of the facial muscles was made by Leonardo da Vinci. For his research in the field of physiognomy, he chose old people, since their wrinkles and changes in facial features spoke of the suffering and feelings they had experienced.
Often, a person's expression of emotions is accompanied by gestures.
The face is the most important characteristic of a person's physical appearance. "Thanks to cortical control, a person can control each individual muscle of his face. Cortical control of external components of emotions has developed especially intensively in relation to facial expressions. This is determined, as P.K. Anokhin notes, by its adaptive features and role in human communication. Social imitation, as one of the conditions for the development of facial expressions, is possible precisely due to its voluntary regulation. In general, the socialization of facial expressions is carried out as the use of organic manifestations to influence a partner and as the transformation of emotional reactions adequately to the situation. Society can encourage the expression of some emotions and condemn others, can create a "language" of facial expressions that enriches spontaneous expressive movements. In this regard, we speak of universal or specific facial signs, contingent or spontaneous facial expressions. Facial expressions are usually analyzed:
It is also possible to carry out an analysis of facial expressions based on those impressions-standards that are formed in the process of a person's perception of facial images surrounding people. Actual images-standards include features that not only characterize the model, but are sufficient for its recognition."
The first attempts to create a method for determining the ability to recognize emotions by facial expression were made by E. Boring and E. Titchener, who used schematic drawings created in 1859 by the German anatomist T. Piderit (cited in: Woodworth, Schlosberg, 1955, p. 113). They created interchangeable images of individual parts of the face and, by combining them, obtained 360 schemes of facial expression, which were presented to the subjects. However, the percentage of correct answers in recognizing different emotions was low - from 26 to 57%. In the 1970s, at the University of California, P. Ekman et al. developed a method that received the abbreviated name FAST (Facial Affect Scoring Technique). The test has an atlas of photo standards of facial expression for each of the six emotions: anger, fear, sadness, disgust, surprise, joy. The photo standard for each emotion is represented by three photographs for three levels of the face: eyebrows-forehead, eyes-eyelids and the lower part of the face. Variants are also presented taking into account different head orientations and gaze directions. The subject looks for the similarity of the emotion with one of the photo standards, like a witness taking part in compiling a photofit of a criminal.
CARAT is a technique developed by R. Buck (R. Buck et al., 1972) based on the presentation of slides depicting the reaction of a person looking at scenes from life around them, varying in content. The subject must recognize, while looking at the slide, what scene the person is observing. In another test, consisting of 30 short fragments of communication between representatives of various professions (teachers and students, psychotherapists and clients, doctors and patients), the subject must determine what emotions the people depicted are experiencing, and choose their designation from five possible ones.
V. A. Labunskaya developed a method of "verbal fixation of signs of expression of emotional states". This method is a modified version of the verbal portrait method, widely used by psychologists in the field of social perception. A participant in a study performing a task according to this method is required to describe a variety of features of another person. The subject is tasked with describing the expressive signs of six emotional states: joy, anger, disgust, fear, surprise, suffering. It is necessary to name those expressive signs that he or she is guided by when recognizing the emotional states of another person.
As Labunskaya notes, the analysis of expressive behavior is not always carried out purposefully, and the detection of signs is not conscious. Therefore, in order to clarify the features of the recognition of expressive behavior, it is of interest to study standards using such methods as motor, kinesthetic imitation of expressive behavior or graphic representation of expression. Although motor imitation of expressive behavior as a way of exteriorization of the standard is more natural, it is difficult to analyze. Therefore, in this case, the researcher is forced to resort to translating the language of movements into verbal language in order to analyze the kinesthetic standards of mental states.
In this regard, in order to diagnose the standards of expressive behavior, Labunskaya developed a method of "graphic recording of signs of expression of emotional states." This method is also a translation of expressive behavior into the language of images. However, in this case, spontaneity in the exteriorization of standards does not disappear, and the researcher has the opportunity to repeatedly refer to the recorded image, compare, determine specific signs and invariant combinations of expressive behavior.
1. According to I. A. Sikorsky, “facial expressions can be conveniently divided into three groups, which correspond to three main mental functions”:
2. Distinguish between [source not specified for 4838 days]:
Facial expressions, just like speech, can be used by a person to convey false information (that is, to show emotions that are not those that a person actually feels at a given moment).
3. Forms of facial complexes
6 basic human emotions, most often expressed through facial expressions: joy, anger, surprise, disgust, fear, sadness.[17] The main character of "The Theory of Lies" demonstrates 7 basic emotions. K. Izard in his differential theory of emotions identified 10 basic emotions.
According to scientists, there are few basic feelings, and yet there is no classification of emotions that would be accepted by all behavioral researchers. Some scientists recognize the existence of basic emotions, while others dispute them; however, many psychologists have attempted to define a set of "basic" emotions: M. Arnold, P. Ekman, N. Frijda, J. Gray, K. Izard, W. James, W. McDowell, O. Maurer, K. Otley, P. Johnson-Laird, J. Panksepp, R. Plutchik, S. Tomkins, J. Watson, B. Weiner, and in all cases a different number of emotions and a wide variety of criteria for their classification were proposed. Basic emotions are provided by innate neural programs, and most basic emotions are called innate [proven?], while others are elementary. The opposite of basic emotions are variable emotions, the external manifestation of which is culturally and personally conditioned and is often conventional (contractual) or purely individual in nature.
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Basic emotions and their variations
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| Joy |
Partially: happiness, inspiration, fun, pleasure
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| Anger |
Rage, fury, indignation
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| Astonishment |
Amazement, interest
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| Disgust |
Partially: disgust, rejection, contempt
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| Fear |
Fear, fright, horror, panic
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| Sadness |
Sadness, grief (deep sorrow); partly: melancholy, despondency, sorrow; melancholy
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The main emotional definitions, depending on the severity, which are used to describe fear and anxiety are anxiety, fright, horror, panic, dread, phobia. However, when a person talks about his "fears", his facial expression can demonstrate anything but fear itself, for example, irritation, discontent, suffering, complacency and even euphoria. Back in the 17th century, the director of the French Academy of Painting and Sculpture Charles Lebrun wrote a treatise "On the Method of Depicting Passions", where he tried to establish which facial muscles work when a person experiences a particular feeling. For example, Lebrun wrote the following about the expression of fear: “Fear, when it is very strong, is expressed in the fact that the person affected by it has eyebrows strongly raised in the middle, and the muscles that cause them to move are sharply defined, tightly compressed and fall on the nose, which is as if pulled together at the top…” Therefore, a subject who is actually experiencing fear or anxiety has quite expressive typical characteristics: the eyes become round, move faster (the so-called search activity is activated); the eyebrows rise and come together at one point in order to expand the field of vision; the lower eyelids are tense; breathing quickens from excitement, and the wings of the nose spread for an additional influx of oxygen.
Facial expressions in the theatre, along with speech and gestures, are one of the main means of expressiveness of the actor. They are developed by the actor in harmony with the general plastic solution of the character. If there is a semantic or rhythmic contradiction between facial expressions and plasticity, this can serve as an additional means of expressiveness, giving the psychological state of the hero additional volume and versatility. In this regard, K. S. Stanislavsky emphasized that facial expressions are inseparable from the structure of thoughts, feelings and actions of a person and are a visible reflection of the inner life of the character. However, he wrote: "Facial expressions cannot be taught", but "you can help it by exercising and developing the mobility of facial muscles and muscles." The choice of one or another type of facial expressions is determined by the genre and general style of the performance. In cases where the actor's facial expressions do not correspond to the general solution of the performance, the problem of an unsuccessful interpretation of the image arises. In theatrical jargon, an actor who uses unjustifiably exaggerated facial expressions is said to be "acting" or "fussing with his face." Facial expressions become the main means of expression in those theatrical genres where the actor's speech is not used: pantomime, ballet.
The study of facial expressions in the medical training program is an applied aspect of the general study of physiognomy. Perhaps, this term should not be rejected only because in the past it was associated with pseudo- and anti-scientific trends. Modern physiognomy has useful information that reveals the structure and functions of facial expressions, their types and their connection with the mental and emotional sphere. Naturally, young doctors will be critical, even with a significant degree of skepticism, about the diagnostic use of facial expressions if its interpretation is devoid of scientific foundations. Therefore, before considering specific approaches to assessing a patient's face, it is necessary to familiarize yourself with the typical forms of facial expressiveness, with the principles of its description, with the criteria of mental experiences recorded on the face. Based on these general provisions, the doctor will be able to begin training his abilities. This is how medical intuition develops as a combination of experience and knowledge, as the highest level of professionalism. The relationship between the doctor and the patient is complex and delicate. They belong to the field of deontology. However, when forming an idea of the patient's emotional and intellectual qualities based on his face, the doctor must remember that his own facial expressions, as well as his behavior, are under the control of patients. Medical physiognomy does not compete with other modern methods of determining the mental and physical state of the patient. It, like any scientific direction, has its own tasks, its advantages. Of course, the doctor does not rely in his conclusions only on the subjective analysis of objective physiognomic data. In an effort to avoid possible errors in diagnosis, the doctor synthesizes the indications obtained using various methods. At the same time, medical physiognomy certainly helps in making a clinical diagnosis, makes it possible to establish the phases of the disease. This is its enduring value, and abandoning it would not make the doctor's work easier, but would contribute to the loss of the opportunity for contacts with the patient, which are important for establishing mutual trust.
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Kinesika
Terms: Kinesika