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By Noshir H. Antia

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It is plausible, then, that classical representations and analyses of the emotions would have stressed the interaction or interdependency of emotional responses, and 24 / The Emotions of the Ancient Greeks focused as well on the attitudes, motives, and actions of others rather than on chance, mechanical, or natural events as the causes or elicitors of emotion. This approach may have relevance for the modern interpretation of the emotions as well (see below). Evaluation presupposes values, and insofar as emotions are a function of value judgments, they will vary from one individual to another and according to the collective values of particular communities.

A glance at vase paintings, whether of the black-figured variety or the red-figured that superseded it around the year 500, indicates that for all the advances in draughtsmanship over the'archaic period, very little effort was expended in representing emotions by way of facial expression. This is as true of funerary monuments and images of war, where one might expect signs of grief or rage, as it is of scenes of marriage or love. 41 One can, of course, often infer the sentiment of the characters in a work of art from the context or other elements in the scene.

Lutz describes her sojourn with the Ifaluk, a people who dwell on a tiny atoll in the South Pacific. ' 'This concept required/ she writes, 'more than did most other Ifaluk emotional concepts, an effort to disentangle my own native emotional understanding from theirs' (119). Lutz concludes that 'emotional experience is not precultural but preeminently cultural'; rather than having a more or less uniform content across different societies, the emotions and the meanings attached to them are 'a social rather than an individual achievement - an emergent product of social life' (5).

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