A dominant theory of emotion of Cannon's time was the James Lange theory of emotion, and Cannon recognized that to test this theory, an examination of emotional expression with no visceral afferent feedback was required.
12.
He mentions the James-Lange theory, where all emotional stages as of joy, grief, fear, anger, jealousy, love, are associated with more or less characteristic bodily manifestation ( Ritter, 1925, p . 137 ).
13.
He comments, David tells me that fairies never say, We feel happy : what they say is, We feel dancey . This, and related texts, suggest that J . M . Barrie was familiar with the James-Lange theory.
14.
The James Lange theory relies on the backflow of impulses from the periphery to account for unique emotional experiences; impulses that William James assumed to come from all parts of the organism, including the muscles, skin, and the viscera are composed of smooth muscle and glands.
15.
The James Lange theory, seen by many as his masterwork, lost favor in the 20th century, but has regained popularity more recently due largely to theorists such as John Cacioppo, Ant�nio Dam�sio, Joseph E . LeDoux and Robert Zajonc who are able to appeal to neurological evidence.
16.
Darwin's ideas were followed up in William James "'What Is An Emotion ? " ( 1884 ); and, in the James-Lange theory of emotions, James develops Darwin's emphasis on the somatic component and, with autonomic ) aspects of emotion.
17.
Some people may believe that emotions give rise to emotion-specific actions, for example, " I'm crying because I'm sad, " or " I ran away because I was scared . " The issue with the James Lange theory is that of causation ( bodily states causing emotions and being " a priori " ), not that of the bodily influences on emotional experience ( which can be argued and is still quite prevalent today in biofeedback studies and embodiment theory ).
18.
Using EWMN, she composed five dance suites ( "'Publication "') all of them to be performed without music . ( When performed without music, the audience and the dancers are forced to focus on how movement by itself can evoke emotions within and set the mood of a choreographed dance . ) When asked to address her viewpoint, Eshkol used the example that someone does not swell their chest to express strength but instead the action of swelling the chest causes the feeling of strength . ( This is somewhat parallel to the James-Lange theory of emotion . ) Eshkol stated that by analyzing movement we might begin to understand how one movement evokes a certain emotion while another movement produces an entirely different feeling.
