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El estudio de las emociones ha sido una de las áreas de investigación más importantes en Ciencias Sociales. La psicología social también ha contribuido al desarrollo de esta área. En este artículo analizamos parte de la contribución hecha por esta disciplina al estudio de la emoción, entendida como construcción social. Específicamente, planteamos una discusión sobre las características generales de la psicología social de las emociones y las posibles líneas de continuidad de esta área de investigación. En este sentido, hemos revisado referencias bibliográficas de los últimos años, las hemos organizado temáticamente y clasificado en tres grandes categorías: 1) Percepción de la naturaleza de la emoción, 2) procesos de consumo de las emociones y 3) práctica discursiva de la emoción. En la primera categoría, hemos considerado las principales y más recientes investigaciones sobre la percepción de la naturaleza de una emoción, las cuales se pueden sintetizar en cinco miradas: la antropológica, la semántica, la comunicativa, la constructora de identidades y la que escapa al control social. En la segunda categoría hemos tratado los trabajos que entienden las emociones como un producto de consumo. Finalmente, en la tercera, revisamos los estudios que conciben las emociones como producciones lingüísticas Research on emotions has been an outstanding area of work in the Social Sciences. Social Psychology has also made relevant contributions to the development of this area. In this paper, we analyze some of these contributions, especially those that conceive emotions as socially constructed phenomena. Specifically, we pose a discussion on the general characteristics of the social psychology of emotions and, based on this discussion, we underscore those possible lines of inquiry in which current research on the subject can find continuity. This work is the result of a review of last scholar publications. Such publications have been organized according to their thematic specificity and latter classified in one of the following categories: (1) Perception of the nature of emotions; (2) processes of consumption of emotions; and (3) discursive practices on emotions. As of the first category, we have taken into account current outstanding research on the perception of the nature of an emotion. Such research can be synthesized in five looks: anthropologic, semantic, communicative, identity-building, and the one that escapes from social control. In regard to the second category, research that deals with emotions as an object of consumption has been analyzed. Finally, the third category has been treated through the review of research that is based on the idea of emotion as a linguistic production O estudo das emoções tem sido uma das áreas de mais investigação mais importantes das ciências sociais. A psicologia social também tem contribuído para o estudo das emoções, entendida como construção social. Especificamente, neste artigo, fizemos uma discussão sobre as características gerais da psicologia das emoções e as possíveis linhas de continuidade desta área de investigação. Nesse sentido, realizamos revisões de referências bibliográficas dos últimos anos, organizando-as tematicamente e classificando em três categorias: 1) percepção da natureza das emoções; 2) processo de consumo das emoções; 3) práticas discursivas das emoções. Na primeira categoria, consideramos as principais e mais recentes investigações sobre a percepção sobre a natureza de uma emoção as quais sintetizamos em cinco aspectos: antropologia, semântica, comunicação, construção de identidade e aquela que escapa do controle social. Na segunda categoria tratamos dos trabalhos que entendem as emoções como produto de consumo. Finalmente, na terceira, revisamos os estudos que concebem as emoções como produção lingüística

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.