Abstract
Introduction . Gender differences in the perception of human emotional states are usually studied on the material of static images of the face, gestures or postures. The dynamics and multiplicity of manifestations of emotions remain behind the scenes. The proposed work is aimed at finding patterns of perception of the procedural characteristics of the expression of emotions. The influence of gender and age on the identification of emotional states in ecologically and socially valid situations is investigated. Methodology . It is based on the Russian version of the Geneva Emotion Recognition Test ( Geneva emotion Recognition Test , GERT). The subjects, 48 women and 48 men, aged 20 to 62, were randomly presented with 83 audio-video clips recording fourteen key emotional states. Along with facial expressions, gestures, movements of the head and eyes, changes in the position of the body, the actors voiced pseudo-linguistic statements containing expressive intonations. An abbreviated version of the Geneva Wheel of Emotions was used as a tool for assessing emotional states. Each video clip was shown to the observer for 3–5 s. Gender differences in the responses in the accuracy of identification and the categorical structure of the tested expressions were determined.
Results and Discussion . Women, compared with men, more accurately recognize multimodal dynamic emotions, especially those expressed by women. Men are more sensitive to the nuances and semitones of the states they demonstrate. Sex and age differences in identification accuracy are statistically significant for five emotions: joy, amusement, irritation, anger, and surprise. On women's faces, joy, surprise, irritation and anger are more accurately recognized by women after 35 years. On male faces, surprise is less accurately recognized by men under 35; entertainment, irritation, anger - after 35 years. The dependence of the accuracy of recognition of multimodal dynamic expressions of emotions on the degree of arousal in male observers was not found, in women it is multidirectional, determined by the modality of emotion, the sex of the actor and the age of the observer.
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