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Artykuł stanowi wybór fragmentów rozdziału poświęconego wstydowi-upokorzeniu, jednemu z ośmiu podstawowych afektów wyróżnionych i opisanych przez Silvana Tomkinsa. Autor prezentuje w nim podstawową charakterystykę wstydu pozwalającą odróżnić go od innych afektów. Opisuje jego podstawowe komponenty fizjologiczne oraz te związane ze świadomymi aspektami jego przeżywania. Podkreśla szczególne znaczenie świadomości „ja” i twarzy, które jego zdaniem w doświadczeniu wstydu odgrywają najistotniejsze role. This is a selection of passages from Silvan Tomkins’s Affect Imagery Consciousness. In his chapter on shame–humiliation, one of the nine basic affects, Tomkins presents the fundamental characteristics of shame, allowing us to distinguish it from other affects. He describes its basic physiological components as well as those that are linked to conscious aspects of our experience. He also highlights the particular meaning of the consciousness of the ‘I’ and the face, which in his opinion plays the most important role in our experience of shame.

It is well established that emotional responses to stimuli presented to one perceptive modality (e.g., visual) are modulated by the concurrent presentation of affective information to another modality (e.g., auditory)—an effect known as the cross-modal bias. However, the affective mechanisms mediating this effect are still not fully understood. It remains unclear what role different dimensions of stimulus valence and arousal play in mediating the effect, and to what extent cross-modal influences impact not only our perception and conscious affective experiences, but also our psychophysiological emotional response. We addressed these issues by measuring participants’ subjective emotion ratings and their Galvanic Skin Responses (GSR) in a cross-modal affect perception paradigm employing videos of ballet dance movements and instrumental classical music as the stimuli. We chose these stimuli to explore the cross-modal bias in a context of stimuli (ballet dance movements) that most participants would have relatively little prior experience with. Results showed (i) that the cross-modal bias was more pronounced for sad than for happy movements, whereas it was equivalent when contrasting high vs. low arousal movements; and (ii) that movement valence did not modulate participants’ GSR, while movement arousal did, such that GSR was potentiated in the case of low arousal movements with sad music and when high arousal movements were paired with happy music. Results are discussed in the context of the affective dimension of neuroentrainment and with regards to implications for the art community., The study was funded by the research project FFI2010-20759 (Spanish Government: Ministry of Economy and Competitiveness). Julia Frimodt Christensen was supported by FPU PHD scholarship from the Spanish Ministry of Education, Culture and Sports (AP2009-2889). Beatriz Calvo-Merino was supported by the grant RYC-2008-03090 and PSI2012-34558 from the Spanish Ministry of Economy and Competitiveness.