affect

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affect

Psychol the emotion associated with an idea or set of ideas

Affect

 

an emotional state that is characterized by a turbulent and relatively short course (rage, anger, horror, and so forth). The manifestation of affect is linked with sharply expressed changes both in the autonomous motor sphere (inhibition or overexcitation and disorder in the coordination of movement) and in the sphere of vegetative reactions (change of pulse and breathing, spasms of the peripheral blood vessels, the appearance of so-called cold sweat, and so forth). Affect can disturb the normal course of the higher psychic processes of perception and thinking and can cause a decrease in consciousness or its loss. Under certain conditions, negative affect can be fixated in the memory in the form of so-called affective complexes. These traces of past affective states can become reactivated in the present under the influence of irritants associated with the situation that caused the affect. Another important peculiarity of affect is that with the repetition of a negative affect which is caused by the same factor or analogous factors, its manifestation can be reinforced (the phenomenon of “accumulation” of affect), sometimes creating the impression of pathological conduct. The presence of strong affective states in a person at the time when he commits an action is regarded by the law as a circumstance that decreases the degree of his responsibility for these actions.

A. N. LEONT’EV

affect

[′af‚ekt]
(psychology)
Conscious awareness of feelings; mood.
References in periodicals archive ?
Affectlessness in action disturbs him only afterwards, and alternates with sudden anxieties about being watched and losing control.
Now, trudging on, past methane pits and the occasional Star of David that marked a spot where human ashes had been unearthed, I felt something like a return of the numbing affectlessness that had descended upon me two decades before.
Under the generally economic law of affective thermodynamics, the total amount of emotion cannot be diminished by the affectlessness of a noble mind.
Unlike prior examples of modernist alienation, however, fun does not evoke "anxiety or dread" but affectlessness (Seguin contrasts the emerging "fun" of the 1950s, for instance, with the violence that mass alienation produces in Nathanael West's The Day of the Locust).
Indeed, Fritsch's objects court another kind of ugliness; they take their forms as perfect, smoothly contoured icons that rebuff the eye through a kind of affectlessness or, perhaps better said, through a kind of aloofness.