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.You may find that your hands get colder, that you begin tobreathe more deeply and rapidly, that you begin to sweat, and per-haps that you feel trembling or tightening of the muscles in yourarms and legs.And you might feel your face or body beginning tomove back in the chair.Usually when you are terrified you know it, but you may not be asfamiliar with the sensations that accompany slight worry, when thethreat is in the future and is not severe.(I believe that the sensationsare similar to terror, but much less intense.However, no researchhas yet been done to see if worry and terror are associated with dif-ferent subjective experiences.)Let's try now to evoke the sensations you feel when you are wor-ried.Recall a situation in which you were anticipating somethingharmful happening, something that wouldn't be a disaster, but cer-tainly something you would like to avoid.You might have worriedabout having a wisdom tooth pulled or a colonoscopy performed.The worry might be about whether the report you wrote will beevaluated as highly as you hope.You might be worried about howyou did on the math final exam.When you have such an experi-ence in mind remember it is in the future, you are anticipating it,and at this point you can't do anything to prevent the possible harm again focus on what the sensations are that you feel withinyour face and body.They should be a much weaker version of theterror feelings.Recognizing Fear in OthersThe caption for this picture when it appeared in Life magazine in1973 said: "In New York, a fall from grace.Eyes apop, eight wheelsand ten fingers raking the air, San Francisco Bay Bomber CharlieO'Connell assumes the position every Roller Derby daredevil dreadsmost.He has just taken a fancy bump-and-grind from Bill Groll ofthe New York Chiefs during the world championship at Shea Sta-dium last May.O'Connell and his team ended up sore losers."O'Connell shows the same terror expression you saw on the truckdriver, although here you can get a better look at it.His upper eye-lids are raised as high as they can go, his eyebrows are raised anddrawn together, and his lips are stretched horizontally toward hisears, while his chin is pulled back. The caption for this photograph when it appeared in Life maga-zine said: "Dallas, November 24, 1963- The precise instant of a his-toric act of revenge is captured as Jack Ruby shoots Kennedyassassin Lee Harvey Oswald."Detective J.R.Leavelle, the man on the left, has just heard thegunshot.He shows both fear and anger on his face.His eyebrows arepulled down and together, pressing against his raised upper eyelids,producing what I called a "glare" in chapter 6, a clear anger expres-sion.The lower half of his face and the position of his head showfear.The lips are stretched back horizontally, and his chin is pulledbackward as his head tilts away from the gunshot.Try covering thelower half of his face with your hand so you can see just the anger inthe upper part of his face.Then reverse it, covering the upper partof his face so you can see the fear in the lower part.It makes sense that he would feel momentary fear, perhaps terror,when he saw the gun, not knowing if it would be turned next onhim.(From the pain expression on Oswald's face, we know that thegun has already been fired, and Leavelle's startle reaction to that loud noise has already occurred).Detective Leavelle would also beangry with the assassin Ruby, for Leavelle's job was to prevent suchan attack on Oswald.Earlier, I mentioned that it is not uncommonto be both angry and afraid when we are threatened, and that iswhat has happened here.Now let's look at the pictures showing the subtle signs of fear andsurprise in the face.ABC(NEUTRAL)The eyes are crucial for both surprise and fear and for distinguish-ing between them.In photo A, the upper eyelids have been raised justa slight amount, compared to her neutral face shown in picture B.This could be a sign of surprise, but probably it is more simply a signof attention or interest.In picture C, the upper eyelids are raisedmore, and now it is very likely to be either surprise, worry, or fright;which one would depend on what was happening in the rest of theface.(None of the Eve pictures show terror, which I believe to be thevery extreme expressions shown by the truck driver and the roller-derby fellow).If the expression were limited just to the eyes, as it is in photo C,then what it is signaling would depend on how long it appears.Ifthe eye widening shown in C appeared for just a second or two, itwould more likely be surprise than worry or fright. DE FIt should be apparent at first glance that now Eve is showing fearin her eyes.Although it is common to speak of expression in theeyes, usually it is not the eyeball itself we are referring to but whatwe see of it due to changes in the eyelids.Here the clue that this isnot surprise or attention but fear are in the lower eyelids.Whentensed lower eyelids accompany raised upper eyelids and the rest ofthe face is blank, it is almost always a sign of fear.Going from photoD sequentially to photo F, the intensity of the fear increases.This isdue to the increase in the raising of the upper eyelids.In picture Fthe upper eyelid raise is extreme, the most that Eve can do deliber-ately.This could occur in terror, not fright or worry, but it would behighly controlled terror, in which the person showing the expressionis trying very hard not to reveal how she feels.G HNow let's look at how the eyebrows express surprise and fear.When the brows are simply raised, as they are in photo G, it is anambiguous signal.Most often this movement is an emphasis sign, accenting a word when someone is speaking.If this is the case, therewill be an increase in the loudness of the emphasized word at thesame time.Photo G may also be a question-mark signal, insertednear the end of a questioning statement.Recall in the last chapter Imentioned that lowering and drawing together eyebrows, as shownin picture D on page 165, can also be used as a question-mark sig-nal.Some of our research has suggested that if the person knows theanswer to the question he or she is asking and uses a brow move-ment, it will more likely be the one depicted in photo G; if the per-son does not know the answer to the question he or she is asking, themovement will more likely be the brow lowering and drawingtogether shown in chapter 6.Picture G may also be an exclamationsign or a sign of disbelief, especially when the person who is listen-ing to something that the speaker is saying shows it.Rarely willthese raised eyebrows without raised eyelids be a sign of surprise.Photo H, however, is a very reliable sign of worry or fright, in thesense that if it is shown there is little doubt that fear is felt [ Pobierz całość w formacie PDF ]