Pride

"[7] Aristotle identified pride (megalopsuchia, variously translated as proper pride, the greatness of soul and magnanimity)[8] as the crown of the virtues, distinguishing it from vanity, temperance and humility, thus: By a high-minded man we seem to mean one who claims much and deserves much: for he who claims much without deserving it is a fool; but the possessor of a virtue is never foolish or silly.

[3] The field of psychology classifies it with guilt and shame as a self-conscious emotion that results from the evaluations of oneself and one's behavior according to internal and external standards.

[15] The term "fiero" was coined by Italian psychologist Isabella Poggi to describe the pride experienced and expressed in the moments following a personal triumph over adversity.

Indeed, some studies indicate that the nonverbal expression of pride conveys a message that is automatically perceived by others about a person's high social status in a group.

[17] Behaviorally, pride can also be expressed by adopting an expanded posture in which the head is tilted back and the arms extended out from the body.

Seen in this light, pride can be conceptualized as a hierarchy-enhancing emotion, as its experience and display helps rid negotiations of conflict.

[25] Understood in this way, pride is an emotional state that works to ensure that people take financial decisions that are in their long-term interests, even when in the short term they would appear irrational.

[27] He considers that the work of certain Neo-Freudian psychoanalysts, namely Karen Horney, and offers promise in addressing what he describes as a "deadlock between the overvalued and undervalued self".

Hubris is associated with more intra-individual negative outcomes and is commonly related to[clarification needed] expressions of aggression and hostility.

Excessive feelings of hubris tend to create conflict and sometimes to terminate close relationships, which has led it to be understood as one of the few emotions with no clear positive or adaptive functions.

[30][better source needed] "[H]ubristic, pompous displays of group pride might be a sign of group insecurity rather than a sign of strength,"[This quote needs a citation] while those who express pride by being filled with humility whilst focusing on members' efforts and hard work tend to achieve high social standing in both the adult public and personal eyes.

Research from the University of Sydney found that hubristic pride correlates with arrogance and self-aggrandizement, and promotes prejudice and discrimination.

But authentic pride is associated with self-confidence and accomplishment and promotes more positive attitudes toward outgroups and stigmatized individuals.

[36] Pride has gained a lot of negative recognition in the western cultures, largely due to its status as one of the Seven Deadly Sins.

[39] At one time, Europeans controlled 85% of the world's land through colonialism, resulting in anti-Western feelings among Asian nations.

[42] LGBT pride is a worldwide movement and philosophy asserting that lesbian, gay, bisexual, transgender, and queer (LGBTQ+) individuals should be proud of their sexual orientation and gender identity.

[45] In conventional parlance, vanity is sometimes used in a positive sense to refer to a rational concern for one's appearance, attractiveness, and dress, and is thus not the same as pride.

It can also refer to an excessive or irrational belief in or concern with one's abilities or attractiveness in the eyes of others and may, in that sense, be compared to pride.

Often depicted is an inscription on a scroll that reads Omnia Vanitas ("All is Vanity"), a quote from the Latin translation of the Book of Ecclesiastes.

[47] Although that phrase—itself depicted in a type of still life called vanitas—originally referred not to an obsession with one's appearance, but to the ultimate fruitlessness of man's efforts in this world, the phrase summarizes the complete preoccupation of the subject of the picture.

"The artist invites us to pay lip-service to condemning her", writes Edwin Mullins, "while offering us full permission to drool over her.

In his table of the seven deadly sins, Hieronymus Bosch depicts a bourgeois woman admiring herself in a mirror held up by a devil.

Upon closer examination, it reveals itself to be a young woman gazing at her reflection in the mirror of her vanity table.

Such artistic works served to warn viewers of the ephemeral nature of youthful beauty, as well as the brevity of human life and the inevitability of death.