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This paper aims to study the cross-modal correspondence between a visual stimulus (i.e. glossiness), haptic perception and consumers’ reactions (internal responses and behavioral intentions).

Using an experimental design, three experimental studies have been conducted to test the effect of a glossy (versus matte) packaging upon the perception of haptic features of a packaging (roughness, thickness and lightness), internal reactions (perceived product quality and product attractiveness) and behavioral intentions (purchase intention and willingness to pay).

This paper evidences the significant impact that glossiness bears on the haptic perception of a packaging material as well as upon internal reactions and behavioral intentions. A new conceptual framework combining the SOR model and the cross-modal correspondences is validated.

The results encourage further research to explore the wide range of potential cross-modal correspondences between visual stimuli and haptic perception.

The results highlight the critical influence of visual cues for managers, especially for online shopping or advertising. Even if consumers cannot touch the product, it is possible to induce haptic perception through visual cues and to influence the internal reactions and behavioral intentions.

This research demonstrates that the packaging texture and weight can be visually induced through glossiness.

This chapter considers the reception of the poetry of Charles Baudelaire through the music of the Soviet metal band Chernyi Obelisk. It argues that Chernyi Obelisk's four Baudelaire settings, performed in Russian, as part of their early live sets in 1986/1987, offer an important part of the poet's reception history, within the Soviet Union. Taking as a starting point, Michael Robbins's claim that ‘metal and poetry are […] arts of accusation and instruction’, the chapter explores ideas of alienation and of the carnivalesque in Baudelaire's works, as presented through the medium of metal music. Focussing particular on settings of ‘Spleen’ and ‘Une Gravure fantastique’, the chapter contends that Chernyi Obelisk's intertextual and interlingual dialogue with Baudelaire can be read as an aesthetic response to social and political uncertainty during the era of glasnost and perestroika.