Emotional inteligence
reactions. A few exceptions aside, we do not decidewhen to be mad, sad, and so on.A Symbolic, Childlike Reality560/661The logic of the emotional mind is associative; it takeselements that symbolize a reality, or trigger a memory ofit, to be the same as that reality. That is why similes,metaphors, and images speak directly to the emotionalmind, as do the arts—novels, film, poetry, song, theater,opera. Great spiritual teachers, like Buddha and Jesus,have touched their disciples' hearts by speaking in thelanguage of emotion, teaching in parables, fables, andstories. Indeed, religious symbol and ritual makes littlesense from the rational point of view; it is couched inthe vernacular of the heart.This logic of the heart—of the emotional mind—iswell-described by Freud in his concept of "primary process"thought; it is the logic of religion and poetry, psychosisand children, dream and myth (as Joseph Campbellput it, "Dreams are private myths; myths are shareddreams"). The primary process is the key that unlocksthe meanings of works like James Joyce's Ulysses: Inprimary process thought, loose associations determinethe flow of a narrative; one object symbolizes another;one feeling displaces another and stands for it; wholesare condensed into parts. There is no time, no laws of
561/661cause-and-effect. Indeed, there is no such thing as "No"in the primary process; anything is possible. The psychoanalyticmethod is in part the art of deciphering andunraveling these substitutions in meaning.If the emotional mind follows this logic and its rules,with one element standing for another, things need notnecessarily be defined by their objective identity: whatmatters is how they are perceived; things are as theyseem. What something reminds us of can be far moreimportant than what it "is." Indeed, in emotional life,identities can be like a hologram in the sense that asingle part evokes a whole. As Seymour Epstein pointsout, while the rational mind makes logical connectionsbetween causes and effects, the emotional mind is indiscriminate,connecting things that merely have similarstriking features. 5There are many ways in which the emotional mind ischildlike, the more so the stronger the emotion grows.One way is categorical thinking, where everything is inblack and white, with no shades of gray; someone who ismortified about a faux pas might have the immediatethought, "I always say the wrong thing." Another sign ofthis childlike mode is personalized thinking, with eventsperceived with a bias centering on oneself, like thedriver who, after an accident, explained that "the telephonepole came straight at me."
- Page 510 and 511: These are the topics of gripping im
- Page 512 and 513: 512/661responsibility for decisions
- Page 514 and 515: 514/661twenty thousand people emplo
- Page 516 and 517: bring in pictures of a person's fac
- Page 518 and 519: 518/661from the basics for yet anot
- Page 520 and 521: negotiated. And since that is an ap
- Page 522 and 523: 522/661Such interventions work best
- Page 524 and 525: 524/661school, Hamburg notes, are a
- Page 526 and 527: 526/661By fourth and fifth grade, a
- Page 528 and 529: 528/661into incidents like the hall
- Page 530 and 531: 530/661I don't try to do the negati
- Page 532 and 533: 532/661important for those prone to
- Page 534 and 535: New Haven schools, when teachers fi
- Page 536 and 537: 536/661responsible adults volunteer
- Page 538 and 539: 538/661such as problems with girlfr
- Page 540 and 541: 540/661The story seems innocuous en
- Page 542 and 543: • Better able to express anger ap
- Page 544 and 545: 544/661becoming better friends, stu
- Page 546 and 547: 546/661happens as children build th
- Page 548 and 549: 548/661and given the quantum of hop
- Page 550 and 551: APPENDIX AWhat Is Emotion?A word ab
- Page 552 and 553: 552/661feelings such as doubt, comp
- Page 554 and 555: APPENDIX BHallmarks of the Emotiona
- Page 556 and 557: 556/661overall picture or the most
- Page 558 and 559: 558/661emotional mind, the "first i
- Page 562 and 563: This childlike mode is self-confirm
- Page 564 and 565: we behave when enraged or dejected;
- Page 566 and 567: 566/661Say you're alone one night a
- Page 568 and 569: 568/661corticomedial area of the am
- Page 570 and 571: 570/661neurotransmitters, for examp
- Page 572 and 573: 572/661• Using steps for problem-
- Page 574 and 575: APPENDIX EThe Self ScienceCurriculu
- Page 576 and 577: 576/661SOURCE: Karen F. Stone and H
- Page 578 and 579: SOURCES: E. Schaps and V. Battistic
- Page 580 and 581: M. T. Greenberg and C. A. Kusche, P
- Page 582 and 583: 582/661RESULTS:• Improved problem
- Page 584 and 585: 584/661• Increased ability to "si
- Page 586 and 587: 586/6616. Only in adults: An observ
- Page 588 and 589: 588/661About Emotion. New York: Oxf
- Page 590 and 591: 590/6616. Unconscious preferences:
- Page 592 and 593: 592/661the amygdala are especially
- Page 594 and 595: 594/6613. Richard Herrnstein and Ch
- Page 596 and 597: used statistical methods to assess
- Page 598 and 599: 14. Unconscious fear: The snake stu
- Page 600 and 601: 13. Therapies for anxiety disorder:
- Page 602 and 603: 602/6618. SAT scores of impulsive a
- Page 604 and 605: 26. Mihaly Csikszentmihalyi, Flow:
- Page 606 and 607: 8. Stern, op. cit.606/6619. The dep
- Page 608 and 609: 608/6612. The display rules are in
reactions. A few exceptions aside, we do not decide
when to be mad, sad, and so on.
A Symbolic, Childlike Reality
560/661
The logic of the emotional mind is associative; it takes
elements that symbolize a reality, or trigger a memory of
it, to be the same as that reality. That is why similes,
metaphors, and images speak directly to the emotional
mind, as do the arts—novels, film, poetry, song, theater,
opera. Great spiritual teachers, like Buddha and Jesus,
have touched their disciples' hearts by speaking in the
language of emotion, teaching in parables, fables, and
stories. Indeed, religious symbol and ritual makes little
sense from the rational point of view; it is couched in
the vernacular of the heart.
This logic of the heart—of the emotional mind—is
well-described by Freud in his concept of "primary process"
thought; it is the logic of religion and poetry, psychosis
and children, dream and myth (as Joseph Campbell
put it, "Dreams are private myths; myths are shared
dreams"). The primary process is the key that unlocks
the meanings of works like James Joyce's Ulysses: In
primary process thought, loose associations determine
the flow of a narrative; one object symbolizes another;
one feeling displaces another and stands for it; wholes
are condensed into parts. There is no time, no laws of