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The colour wheel theory of love is an idea created by the Canadian psychologist John Alan Lee that describes six love [1] styles, using several Latin and Greek words for love. First introduced in his book Colours of Love: An Exploration of the Ways of Loving (1973), Lee defines three primary, three secondary, and nine tertiary love styles ...
Such as, "affection", similar to "companionate love" in social psychology field, is the term most strongly co-occurs with terms in its generic sub-cluster and not with other terms in other sub-cluster groups: "Affection" for example contrasts significantly with "passionate love", which belongs to the second large sub-cluster – "lust".
The two other most obvious problems with Sternberg's theory of love are as follows. The first is the question of the separate nature of the levels of love. The second is a question of the measures that have been used to assess the three levels of love. [10] These problems with the theory continued to be studied, for example by Lomas (2018). [18]
The roots of the classical philosophy of love go back to Plato's Symposium. [3] Plato's Symposium digs deeper into the idea of love and bringing different interpretations and points of view in order to define love. [4] Plato singles out three main threads of love that have continued to influence the philosophies of love that followed.
The practical significance of Scheler's Stratification of Emotional Life is obvious in several respects and points of view. First, Scheler seems to be making a case in favor of what we might refer to today as Emotional Intelligence, as a portal to more ethical behavior and optimum personal development, similar to the ancient Greek concern for promoting virtuous character. [3]
For example, a person in a long-term partnership may feel attachment for their spouse, but become attracted to somebody else. [5] Lisa Diamond has argued based on independent emotions theory and other evidence that people can 'fall in love' without sexual desire, even in contradiction to their sexual orientation. [7]
The emotions, if contemplated and “recollected in tranquility” produce objective, as opposed to subjective, feeling that can then be expressed aesthetically via symbols (Suzanne Langer). The 'poetic' imagination is essentially projective, producing projective art works, whilst the philosophic imagination of Coleridge is evocative and is ...
ERM is based on George Mandler’s interruption theory, [2] which states that emotion is experienced when there is a change in relating patterns, meaning that a partner (not necessarily romantic) behaves in unexpected or unusual ways. This can have either positive or negative impacts, depending on the way it affects the individual's goals.