Academic literature on the topic 'Catharsis theory'
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Journal articles on the topic "Catharsis theory"
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Emden, Christian J. "Nietzsches Katharsis. Tragödientheorie und Anthropologie der Macht." Nietzsche-Studien 47, no. 1 (November 1, 2018): 1–48. http://dx.doi.org/10.1515/nietzstu-2018-0002.
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Abstract Nietzsche’s Catharsis: The Theory of Tragedy and the Anthropology of Power. Nietzsche’s conception of catharsis undercuts the Aristotelian tradition by emphasizing that catharsis does not aim at a purification of the passions but at a cleansing of human judgment from moral sentiment. As such, Nietzsche develops a naturalistic counter-model to eighteenth-century theories of pity (e. g. Rousseau, Lessing). By bringing together ancient Greece and the experience of modernity, this counter-model shifts the concept of catharsis into the realm of the political and enriches the theory of tragedy with an anthropology of power. What is at stake in Nietzsche’s discussion of catharsis is an insight into the instability of normative order, which is triggered by the modern experience of the „phenomenon of Napoleon“ as an overcoming of Enlightenment conceptions of moral conscience. If modernity has to be understood along the lines of tragedy (e. g. Hegel), Napoleon Bonaparte is the cathartic event in the realm of the political.
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Bing, Won-Chul, and Soo-Jung Kim. "A Phenomenological Study of Mental Health Enhancement in Taekwondo Training: Application of Catharsis Theory." International Journal of Environmental Research and Public Health 18, no. 8 (April 13, 2021): 4082. http://dx.doi.org/10.3390/ijerph18084082.
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In modern society, catharsis is often understood as the relieving of stress, and the psychological and medical effects of catharsis are well known even to ordinary people. There are many studies showing that physical activity is a good tool for managing and promoting mental health. However, there are not many studies on Taekwondo training and catharsis. Therefore, we conducted a study explaining catharsis as mental health promotion in Taekwondo training. This study explores mental health enhancement of Taekwondo training by using a phenomenological methodology. Phenomenology is a theory that seeks to understand an individual’s recognition of their own subjectivity rather than explaining objective factors about an individual. We collected data from interviews with 12 students who had been members of a university Taekwondo demonstration team. The phenomenological results were expressed as six themes: (1) vicarious purgation of repressed emotions, (2) emotional catharsis through pity and fear, (3) catharsis from ethics, (4) catharsis through mimesis, (5) catharsis from vicarious satisfaction through teammates, (6) catharsis from being the object of envy. Taekwondo, a traditional Korean martial art, is a physical activity that allows people to experience catharsis, which is a mental health effect of sports.
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Glassberg, Roy. "A New Theory of Tragic Catharsis." Philosophy and Literature 45, no. 1 (2021): 249–52. http://dx.doi.org/10.1353/phl.2021.0016.
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Ross-Daniel, Dalia, and Adnan K. Abdulla. "Catharsis in Literature." World Literature Today 60, no. 3 (1986): 524. http://dx.doi.org/10.2307/40142430.
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ZERIHAN, RACHEL. "Revisiting Catharsis in Contemporary Live Art Practice: Kira O'Reilly's Evocative Skin Works." Theatre Research International 35, no. 1 (January 27, 2010): 32–42. http://dx.doi.org/10.1017/s0307883309990356.
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This article examines catharsis in recent one-to-one performances I shared with UK-based artist Kira O'Reilly. Focusing on my inter-experience ofMy Mother(2003) andUntitled Action: NRLA, The Arches, Glasgow(2005), I argue that both performances can be read as troubling and elucidating ideas about the presence, nature and affect of catharsis. I raise questions and reveal my responses to felt states such as risk, intimacy and confession, and draw on hysteria and Kristeva's concept ofle vréelto articulate the embodied knowledge of my close encounters with O'Reilly's visceral body artworks. Ultimately I propose that O'Reilly's performance practice adopts cathartic strategies that activate aesthetic, formal and material kinds of feminist political responsibility in her performance ‘other’.
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Yang, Seokwon. "Between Desire and Jouissance: Lacan’s Reading of Antigone and the Ethics of Catharsis." Criticism and Theory Society of Korea 22, no. 1 (January 31, 2017): 77–106. http://dx.doi.org/10.19116/theory.2017.22.1.77.
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Godzich, W. "Fear without Catharsis." boundary 2 33, no. 3 (September 1, 2006): 135–39. http://dx.doi.org/10.1215/01903659-2006-018.
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Zalewski, Cezary. "From “catharsis in the text” to “catharsis of the text”." Forum Philosophicum 25, no. 2 (December 4, 2020): 323–39. http://dx.doi.org/10.35765/forphil.2020.2502.21.
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Roman Ingarden (1893–1970) was a prominent Polish philosopher, phenomenologist, and student of Edmund Husserl. A characteristic feature of his works was the almost complete absence of analyzes from the history of philosophy. That is why it is so surprising that right after the end of World War II, the first text analyzed when Ingarden started working at the Jagiellonian University was Aristotle’s “Poetics.” Ingarden published the results of his research in Polish in 1948 in “Kwartalnik Filozoficzny” and in the early 1960s his essay was translated and published in the renowned American magazine “The Journal of Aesthetics and Art Criticism” as “A Marginal Commentary on Aristotle’s Poetics.” As far as I know today, this text does not arouse much interest among the many commentators and followers of Ingarden’s philosophy. Perhaps this state of affairs is justified: Ingarden’s own ideas are only repeated here, and their usefulness in the meaning of “Poetics” remains far from obvious. However, I think that this relative obscurity is worth considering now, because it shows how modern reason tries to control ancient concepts. The main purpose of this article is therefore to recon- struct the strategy by which philosophy tames the text of “Poetics,” especially its concepts such as catharsis and mimesis. The discovery and presentation of these treatments would not have been possible were it not for the mimetic theory of René Girad, which provides anthropological foundations for a critique of philosophical discourse.
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Kearney, Richard. "Narrating Pain: The Power of Catharsis." Paragraph 30, no. 1 (March 2007): 51–66. http://dx.doi.org/10.3366/prg.2007.0013.
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This article explores ways in which narrative retelling and remembering might provide cathartic release for sufferers of trauma. It looks at examples drawn from genocide, literature, history and psychotherapy. It draws particularly from Aristotle's theory of mythos-mimesis and Ricœur's theory of narrative configuration.
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Imans, Logan. ""Up Close and Intimate": Catharsis, the Dark Side of Sexuality, and The Dresden Dolls." Nota Bene: Canadian Undergraduate Journal of Musicology 13, no. 1 (June 15, 2020): 1–24. http://dx.doi.org/10.5206/notabene.v13i1.8559.
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The Dresden Dolls are a punk-cabaret band that use their music to delve into diverse and taboo subject matter including sexual assault, abortion, and trauma. Despite the morose and grotesque imagery invoked by their lyrics, this paper advocates for the therapeutic effects of catharsis as encouraged by The Dresden Dolls. This essay provides an overview of the applications of catharsis in the arts and psychotherapy, explores how the musical elements and performance contexts of punk-cabaret elicit catharsis, and develops a contemporary theory of catharsis as it pertains to the music of The Dresden Dolls. In considering manifestations of trauma and healing in the songs “Missed Me,” “Mandy Goes to Med School,” and “Lonesome Organist Rapes Page Turner,” this paper illustrates how, despite the potential challenges of confronting trauma through music, the approach of The Dresden Dolls is ultimately effective in cultivating catharsis and encouraging healing for their listeners.
Dissertations / Theses on the topic "Catharsis theory"
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Vaughn, Robert Craig. "Aggression Predictors in Video Games: Is Catharsis to Blame?" UKnowledge, 2015. http://uknowledge.uky.edu/comm_etds/39.
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The majority of research tends to focus on the effects of violent video games, and as a result the motivations to play games are understudied. This study used the uses and gratifications theory as a framework for investigating game player’s motivation to play video games for the purpose of catharsis. This study also proposed that in-game variables, such as level of difficulty and content of the video game, all be investigated to see the effects they have on the achievement of catharsis or the development of aggression through other mediating variables such as enjoyment, control, and frustration with the game. It was found that difficulty of the game predicted frustration with the game and that those with more game playing experience reported greater feelings of catharsis, enjoyment, and feelings of control. None of the independent variables were found to attribute to feelings of aggression, including game content. Feelings of control within the game were found to be predicted by game type. Although there were relatively few main effects with the independent variables, correlations show trends in the data between variables that would support the achievement of catharsis through greater feelings of control, enjoyment, and decreased frustration.
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Hobson, Amanda Jo. "Envisioning Feminist Genre Film: Relational Epistemology, Catharsis, and Erotic Intersubjects." Ohio University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1604074749500538.
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Mitsialos, Niko. "Attityder inom extrem kampsport : En undersökning om Mixed Martial Arts inverkan på utövaren." Thesis, Linnéuniversitetet, Institutionen för socialt arbete, SA, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-14164.
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Oliveira, Tamiris Souza de. "O conceito de catarse na filosofia de Theodor Adorno: desdobramentos para uma teoria crítica da educação." Universidade Federal do Espírito Santo, 2013. http://repositorio.ufes.br/handle/10/6043.
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Previous issue date: 2013-03-25This research is a theoretical literature that has as its axis the theoretical foundations of education and concern with the relationship between educational theory and critical aestheticcultural training. One wonders about the potential that has the category catharsis present in aesthetic theory of the german philosopher Theodor Adorno to scale discussion of aesthetic and cultural formation and critical appropriation of the products of the culture industry in the school. We started from the hypothesis that the central concept of catharsis Adorno can be fruitful for the unfolding of a critical theory of education. With the mapping of the presence of the concept of catharsis in educational discussions it was noted that the category is present, however little explored. With the study of the category, we have seen that it can be powerful and critical to understanding the cathartic process operated by the culture industry and its influences in the school environment. Besides the concept constitute a possibility of relating school content and form, manifested in the masterpiece, capable of adding a historical dimension of the civilizing process of mankind, and as a way able to manifest not as a mere extension of the daily lives of students, but a possibility of distancing himself and the consequent bridge to the imagination
Esta é uma pesquisa teórico-bibliográfica que possui como eixo os fundamentos teóricos da educação e a preocupação com a relação entre teoria educacional crítica e formação estéticocultural. Indaga-se sobre a potencialidade que possui a categoria catarse presente na teoria estética do filósofo alemão Theodor Adorno para dimensionar a discussão sobre formação estético-cultural e apropriação crítica dos produtos da indústria cultural no espaço escolar. Partiu-se da hipótese central de que o conceito de catarse, de Adorno, pode ser profícuo para o desdobramento de uma teoria crítica da educação. Com o mapeamento sobre a presença do conceito de catarse nas discussões educacionais, constatou-se que a categoria é presente, no entanto pouco explorada. Com o estudo sobre a categoria, vimos que a mesma pode ser potente para o entendimento e crítica ao processo catártico operado pela indústria cultural e suas influências no ambiente escolar. Além disso, o conceito de catarse pode se constituir como possibilidade de reflexão entre os conteúdos escolares e as formas em que se apresentam no ambiente escolar. Uma possível relação entre ambos que pode se manifestar na obra prima, ou seja, aquela capaz de agregar uma dimensão histórica do processo civilizatório da humanidade, e ao mesmo tempo como forma estética, também capaz de se apresentar não como mero prolongamento do cotidiano dos alunos, mas também como uma possibilidade de distanciamento do mesmo, e consequente ponte para uma imaginação livre e mancipadora
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Murray, Kristen A. School of Media Theatre & Film & School of Sociology UNSW. "???Bury, burn or dump???: black humour in the late twentieth century." Awarded by:University of New South Wales. School of Media, Theatre & Film and School of Sociology, 2007. http://handle.unsw.edu.au/1959.4/31475.
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In humour studies research, there have been few attempts to elucidate why black humour was such a prevalent, powerful force in late twentieth century culture and why it continues to make a profound impression in the new millennium. As Dana Polan (1991) laments: ???Rarely have there been attempts to offer material, historically specific explanations of particular manifestations of the comic???.1 This thesis offers an interdisciplinary analysis of black humour in the late twentieth century. I contend that the experience of black humour emerges from the intricacies of human beliefs and behaviours surrounding death and through the diverse rituals that shape experiences of loss. I suggest that black humour is an attempt to articulate the tension between the haunting absence and disturbing presence of death in contemporary society. Chapter 1 of this thesis offers an historical and etymological perspective on black humour. In Chapter 2, I argue that the increasing privatisation and medicalisation of death, along with the overt mediatisation of death, creates a problematic juxtaposition. I contend that these unique social conditions created, and continue to foster, an ideal environment for the creation and proliferation of black humour. In Chapters 3 and 4, I examine the structures and functions of black humour through three key theories of humour: incongruity, catharsis and superiority. Chapter 5 looks at ways in which the experience of black humour creates resolutions and forces dissonances for people entwined with loss. In this final chapter, I also consider how black humour may help people make meaning from issues surrounding death. Throughout this theoretical discussion, I interweave the analysis of a range of scenes from contemporary black comic texts (i.e. plays, screenplays and television scripts). On the whole, this thesis works towards a more complex, specific understanding of the phenomenon of black humour within a social context.
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McVea, Charmaine Susan. "Resolving painful emotional experience during psychodrama." Queensland University of Technology, 2009. http://eprints.qut.edu.au/30310/.
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Unresolved painful emotional experiences such as bereavement, trauma and disturbances in core relationships, are common presenting problems for clients of psychodrama or psychotherapy more generally. Emotional pain is experienced as a shattering of the sense of self and disconnection from others and, when unresolved, produces avoidant responses which inhibit the healing process.
There is agreement across therapeutic modalities that exposure to emotional experience can increase the efficacy of therapeutic interventions. Moreno proposes that the activation of spontaneity is the primary curative factor in psychodrama and that healing occurs when the protagonist (client) engages with his or her wider social system and develops greater flexibility in response to that system. An extensive case-report literature describes the application of the psychodrama method in healing unresolved painful emotional experiences, but there is limited empirical research to verify the efficacy of the method or to identify the processes that are linked to therapeutic change.
The purpose of this current research was to construct a model of protagonist change processes that could extend psychodrama theory, inform practitioners’ therapeutic decisions and contribute to understanding the common factors in therapeutic change. Four studies investigated protagonist processes linked to in-session resolution of painful emotional experiences. Significant therapeutic events were analysed using recordings and transcripts of psychodrama enactments, protagonist and director recall interviews and a range of process and outcome measures.
A preliminary study (3 cases) identified four themes that were associated with helpful therapeutic events: enactment, the working alliance with the director and with group members, emotional release or relief and social atom repair. The second study (7 cases) used Comprehensive Process Analysis (CPA) to construct a model of protagonists’ processes linked to in-session resolution. This model was then validated across four more cases in Study 3. Five meta-processes were identified: (i) a readiness to engage in the psychodrama process; (ii) re-experiencing and insight; (iii) activating resourcefulness; (iv) social atom repair with emotional release and (v) integration. Social atom repair with emotional release involved deeply experiencing a wished-for interpersonal experience accompanied by a free flowing release of previously restricted emotion and was most clearly linked to protagonists’ reports of reaching resolution and to post session improvements in interpersonal relationships and sense of self. Acceptance of self in the moment increased protagonists’ capacity to generate new responses within each meta-process and, in resolved cases, there was evidence of spontaneity developing over time.
The fourth study tested Greenberg’s allowing and accepting painful emotional experience model as an alternative explanation of protagonist change. The findings of this study suggested that while the process of allowing emotional pain was present in resolved cases, Greenberg’s model was not sufficient to explain the processes that lead to in-session resolution. The protagonist’s readiness to engage and activation of resourcefulness appear to facilitate the transition from problem identification to emotional release. Furthermore, experiencing a reparative relationship was found to be central to the healing process.
This research verifies that there can be in-session resolution of painful emotional experience during psychodrama and protagonists’ reports suggest that in-session resolution can heal the damage to the sense of self and the interpersonal disconnection that are associated with unresolved emotional pain. A model of protagonist change processes has been constructed that challenges the view of psychodrama as a primarily cathartic therapy, by locating the therapeutic experience of emotional release within the development of new role relationships. The five meta-processes which are described within the model suggest broad change principles which can assist practitioners to make sense of events as they unfold and guide their clinical decision making in the moment. Each meta-process was linked to specific post-session changes, so that the model can inform the development of therapeutic plans for individual clients and can aid communication for practitioners when a psychodrama intervention is used for a specific therapeutic purpose within a comprehensive program of therapy.
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Russell, Keith. "Kenosis, katharsis, kairosis: a theory of literary affects." 1990. http://hdl.handle.net/1959.13/28951.
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Research Doctorate - Doctor of Philosophy (PhD)This thesis explores theoretical aspects of the affective dimension of literature. Beginning with Aristotle's tying of katharsis to the drama, the pattern of affective relations is completed through the establishing of terms for each of the three broad traditional genres. These relations can be expressed in the ratio: as katharsis is to the genre of the dramatic, so kenosis is to the genre of the lyric, so kairosis is to the genre of the epic. Within each of these affective relations, further relations are determined for the identity structures within each genre. In defining these identity structures, the philosophical, theological, psychological and literary aspects of katharsis, kenosis and kairosis are explored. Of particular use in mapping these identity structures and literary affects were the philosophical theories of Aristotle, Kant, Hegel, Heidegger, Sartre, and Wittgenstein; the theological views of D.G. Dawe, John Macquarrie, Charles Pickstone, and Ernest F. Scott; the psychological theories of C.J. Jung, Jacques Lacan and Julia Kristeva; the literary theories of Mikel Dufrenne, Stanley Fish, Toshihiko and Toyo Izutsu, Hans Robert Jauss, W.R. Johnson, Frank Kermode, William Elford Rogers, and D.T. Suzuki; and the literary works of Homer, Shakespeare, George Herbert, S.T. Coleridge, Charles Baudelaire, Wallace Stevens, and James K. Baxter. Taking up Aristotle's project to grant cognitive value to the experience of art, this thesis argues for the centrality of identity structures within the dimension of the affective. The thesis further determines that literature's affective dimension is the domain within which aesthetic identity is established. Such imaginative identity structures amount to a cultural catalogue of identity possibilities. As the keepers of this catalogue, the three interpretive genres amount to a body of affective knowledge that is its own dimension.
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Duchek, Libor. "Katharsis v řecké tragédii." Master's thesis, 2011. http://www.nusl.cz/ntk/nusl-312942.
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This paper is focused on the concept of catharsis in classic Greek tragedy. In the first part, it traces historical context of this term particularly trough the work of Plato; and later, the main effort is devoted to Aristotle. It looks closely in Aristotle's Poetics and Politics, which are the only works where he mentions catharsis. After research of the Aristotle's texts, the study presents variety of interpretations that have arisen over centuries, examines them and derives an elementary understanding of catharsis. The second part of this work tries to trace catharsis in a sample of preserved tragedies of main Greek dramatists. It investigates tragic characters, plot and tragic emotions (i.e. pity and fear). The scope is to compare the Aristotle's theory and practice of dramatists, who lived one century before the theory had rised. Last but not least the study concludes by bringing forward an evaluation of this approach to the theory of Aristotelian catharsis.
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Goossen, Jonathan. "Jonson's and Shakespeare's "Comedy of Affliction"." 2011. http://hdl.handle.net/10222/14178.
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This dissertation explores the relevance of recent studies of Aristotle’s comic theory to the central dramatists of early modern England, Ben Jonson and William Shakespeare. Applications of the Poetics to Renaissance English drama tend to treat Aristotle’s theory historically, as a set of concepts mediated to England by continental redactions. But these often conflated the Poetics’ focus on literary form with the Renaissance’s predominant interest in literature’s rhetorical effect, reducing Aristotle’s genuinely speculative theory to a series of often pedantic literary prescriptions. Recent scholarship has both undone these misinterpretations and developed the comic theory latent in the Poetics. Ironically, these studies make Jonson’s and Shakespeare’s comedy look much more Aristotelian than do Renaissance ones. So rather than taking the Poetics simply as a possible source for each dramatist, I read it primarily as a literary theory that, when reinvigorated by modern scholarship, can explain structures and effects arrived at practically by these dramatists.
Three recent hypotheses are especially pertinent to Jonson and Shakespeare: that comic hoaxes aim to expose comic error, which is for Aristotle a deviation from the mean of virtue; that “righteous indignation” is the comic emotion equivalent to the “pity and fear” of tragedy; and that catharsis is a clarification, rather than purgation, of reason and emotion. In light of these, I offer detailed readings of four plays that demonstrate these authors’ comic range: from Jonson’s satirical Every Man Out of His Humour to the almost farcical Epicoene, and from Shakespeare’s romantic Much Ado About Nothing to the tragicomic Measure for Measure. These plays demonstrate a variety of ways in which catharsis, the end of drama, results directly from the comic hoax and involves both the audience’s and characters’ experience of indignation and their comprehension of its relationship to the emotions of envy and pity. In each case, Aristotle’s incisive but flexible theoretical framework enables an explanation of the emotional pain present in the these “comedies of affliction” and reveals remarkable similarities between dramatists usually described as direct opposites.
Books on the topic "Catharsis theory"
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Psychoanalysis and cognitive psychology: A formalization of Freud's earliest theory. London: Academic, 1985.
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Wegman, Cornelis. Psychoanalysis and cognitive psychology: A formalization of Freud's earliest theory. London: Academic Press, 1985.
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Freuds Other Theory Of Psychoanalysis The Replacement For The Indelible Theory Of Catharsis. Jason Aronson, 2012.
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Fayek, Ahmed. Freud's Other Theory of Psychoanalysis: The Replacement for the Indelible Theory of Catharsis. Rowman & Littlefield Publishers, Incorporated, 2015.
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Pignato, Joseph. Red Light Jams. Edited by Roger Mantie and Gareth Dylan Smith. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190244705.013.5.
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This chapter considers the transformative power of leisure music making as leisure by examining the lasting impact a series of adolescent jam sessions had on the lives of two participants. Those experiences, which the participants have affectionately dubbed “the Red Light Jams,” offered a formative, potent mix of refuge, catharsis, and transformation of their individual identities, of their friendship, and of their burgeoning musicianship. The chapter draws on autoethnography, structured reminiscence, and narrative reporting to describe those experiences of making rock music. Although the participants lead separate adult lives, they often share memories of those sessions. The author analyzes their recollections through a variety of lenses, including the concept of intentionality, Foucault’s notion of crisis heterotopias, and Lukács’s understanding of artistic activity as catharsis.
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Bitzer, Johannes. Teaching psychosomatic obstetrics and gynaecology. Oxford University Press, 2017. http://dx.doi.org/10.1093/med/9780198749547.003.0002.
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Gynaecologists and obstetricians are confronted with many tasks that require biopsychosocial competence, as explained in Chapter 2. Care for patients with unexplained physical symptoms, and patients with chronic incurable diseases, in various phases of their lives, require patient education, health promotion, counselling, and management of psychosocial problems. To obtain this competency, a curriculum is needed, which, besides gynaecology and obstetrics, includes elements of psychology, psycho-social medicine, and psychiatry, adapted to the specific needs of gynaecologists and obstetricians in their everyday work. A basic part of Chapter 2 shows the curriculum consists of teaching the knowledge, and skills derived from communication theory and practice including physician, and patient-centred communication with active listening, responding to emotions and information exchange as well as breaking bad news, risk-counselling, and shared decision-making. Building on these skills, trainees are introduced into the biopsychosocial process of diagnosis, establishing a 9-field comprehensive work-up using the ABCDEFG guideline (Affect, Behaviour, Conflict, Distress, Early life Experiences, False beliefs, Generalised frustration). The therapeutic interventions are based on a working alliance between the physician and the patient, and are taught as basic elements, which have to be combined according to the individual patient and the presenting situation. The overall technique for gynaecologists and obstetricians can be summarised as supportive counselling/psychotherapy. This includes elements such as catharsis, clarifying conflicts and conflict resolution, cognitive reframing, insight and understanding, stress reduction techniques, and helping in behavioural change (CCRISH).
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Flanagan, Owen. Identity and Addiction. Edited by K. W. M. Fulford, Martin Davies, Richard G. T. Gipps, George Graham, John Z. Sadler, Giovanni Stanghellini, and Tim Thornton. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199579563.013.0051.
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Chapter 51 focuses on the subjective side of alcoholism, specifically about what memoirs of alcoholism teach about alcoholism, and argue that a common theme in many memoirs is that drinking, sometimes heavy drinking, a prerequisite of addiction, was modelled, endorsed, and eventually achieved in a way that involves deep identification, and also argues that alcoholic memoirs, even assuming that they suffer from objectivity problems such as the latter, nonetheless serve an important function, and not just whatever cathartic function they serve for the author.
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Frankfurter, David. The Construction of Evil and the Violence of Purification. Edited by Michael Jerryson, Mark Juergensmeyer, and Margo Kitts. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199759996.013.0035.
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This chapter explores the construction of evil and the strategies of violence in purification. Prurient fascination and righteous revulsion both recreate and repel each other, developing an anxiety of confusion that has resulted in many circumstances in community efforts to cast the subject, the symbol, of that confusion. Erotic prurience into the nature and deeds of Evil may remain as a living genre for centuries without lending itself to societies as legitimation for purge. Dramaturgy and procession can contribute to brutal but cathartic narratives of saints and monsters, martyrs, and their persecutors, into the immediate festival lives of communities. Furthermore, brutality and atrocity are recurrent characteristics of any culture, often aggravated in situations of historical stress independent of religious systems.
Book chapters on the topic "Catharsis theory"
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Scheff, Thomas J. "Catharsis Theory." In Encyclopedia of the Sciences of Learning, 518–20. Boston, MA: Springer US, 2012. http://dx.doi.org/10.1007/978-1-4419-1428-6_573.
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Giacomucci, Scott. "Psychodrama and Social Work Theory." In Social Work, Sociometry, and Psychodrama, 101–24. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-33-6342-7_6.
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AbstractThis chapter includes an overview of foundational psychodrama theories—action theory, catharsis, and surplus reality. The three phases of a psychodrama group (warm-up, enactment, and sharing) and the five elements of a psychodrama (stage, protagonist, director, auxiliary egos, and audience/group) are described. Morenean philosophy and sociometric theory are revisited as they relate to psychodrama. The similar elements of psychodrama theory and social work are underlined including the importance of mutual aid, spontaneity, creativity, empowerment, self-determination, interpersonal skills, relationships, group stages, and roles.
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Spens, Christiana. "Towards a Theory of Scapegoating, Catharsis and Narrative Closure." In The Portrayal and Punishment of Terrorists in Western Media, 37–64. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-04882-2_2.
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"Catharsis." In Greek Aesthetic Theory (RLE: Plato), 129–45. Routledge, 2013. http://dx.doi.org/10.4324/9780203100509-12.
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"Catharsis in the Light of Indian Aesthetics." In Theory of Value, 307–20. Routledge, 2013. http://dx.doi.org/10.4324/9781315053998-26.
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"Secondary emotions, continued: The four antithetical, quaternary dyads – ambivalence, catharsis, frozenness, confusion." In A General Theory of Emotions and Social Life, 118–28. Routledge, 2006. http://dx.doi.org/10.4324/9780203013441-15.
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Avcı, İkbal Bozkurt, and Derya Çetin. "A Feminist Film." In Advances in Media, Entertainment, and the Arts, 295–307. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-0128-3.ch017.
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Feminist film theory evaluates films by some concepts such as subject positions, narrative closures, and fetishism. This theory suggests that the catharsis of popular films is in the service of the male audience. However, many feminist films centered on women are also made, which are outside the mainstream cinema and reach a considerable amount of viewers. This study aims to evaluate Caramel (Nadine Labaki, 2007) by the concepts of feminist film theory. The film expresses a country dominated by taboos through these five women.
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Shibolet, Yotam. "Waltz with Bashir’s Animated Traces." In Metacinema, 271–90. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190095345.003.0014.
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Contemporary documentary practices are strongly challenged by growing suspicions of the cinematic claim to truth by indexical capture—the notion that footage objectively captures traces of the past is becoming increasingly less convincing. Under this light, the chapter re-examines Waltz with Bashir (2008, dir. Ari Folman), a groundbreaking animated documentary, and its unique slew of strategies for making powerful non-indexical truth claims about the reality of war experiences and the creative, post-traumatic ways in which they are remembered. Waltz with Bashir’s final sequence, which cuts from animation to archival footage, grounds the story’s moment of catharsis in solid historical proof and appears to retreat from the film’s creative strategies. The chapter explores the stitches hiding behind this unusual cut and suggests an alternative, subversive reading of the final sequence. It then concludes that the film’s meaningfulness and documentary value are sustained despite skepticism about the objective truth of its cathartic ending.
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Buck, Elisabeth H. "Slacktivism, Supervision, and #Selfies." In Cyber Warfare and Terrorism, 696–711. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-2466-4.ch043.
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Since its original development for use in literary studies by German scholar Hans Robert Jauss in the late 1960s, reception theory has been successfully applied to fields as diverse as media studies, communications, and art history; its efficacy within rhetoric and composition pedagogy, however, has been less fully explored. I argue in this essay that reception theory can provide a meaningful way to understand and discuss social media composing practices, especially as a lens for thinking about why and how we participate in social media as both readers and writers in the 21st century. This essay thus examines the three “aesthetic experiences” of Jauss's reception theory—catharsis, aisthesis, and poiesis— which describe the ways that audiences derive satisfaction from engaging with texts. I apply each aesthetic concept to a corresponding mode of social media composition: practices of social media-based activism, regulation of content on social media, as well as the act of creating “selfies.” These applications stand as potential entry points for classroom discussion about how social media draws its users into producing a response. The “aesthetic experiences” represent ways to look at composing practices on social media cohesively, but they also give language to how individual social media users gain enjoyment from participating with these sites. I offer specific strategies for incorporating reception theory in a classroom context, and conclude that this approach helps students think more specifically about the intricacies and limitations of audience(s)—important recognitions for anyone who produces content in social media environments.
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Robertson, Ritchie. "5. Tragedy." In Goethe: A Very Short Introduction, 84–100. Oxford University Press, 2016. http://dx.doi.org/10.1093/actrade/9780199689255.003.0005.
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Goethe lived in a great age of tragedy-writing. Goethe’s place in this tradition is assured by his most famous work, Faust; its two parts are subtitled respectively the First and Second Parts of the Tragedy. ‘Tragedy’ outlines the tragic themes of Goethe’s work: frequently there is a central character with exceptional gifts, and a charismatic appeal to the people around him, trapped in a world that is too small for him, and brought low by the intrigues of lesser people. Goethe’s Torquato Tasso (1790) is also discussed, which differs from a familiar model of tragedy as it lacks catharsis. In rejecting catharsis, Goethe has brought art dangerously close to reality.
Conference papers on the topic "Catharsis theory"
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"A Comparative Study of Self-expression and Catharsis in Theory of Mystical Journey at Manṭiq-uṭ-Ṭayr (Conference of the Birds) and Biodanza." In June 19-21, 2019 Lisbon (Portugal). Excellence in Research & Innovation, 2019. http://dx.doi.org/10.17758/eirai5.f0619421.
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