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Denzler, Markus [Verfasser]. "Cathartic effects revisited : the impacts of goals on aggressive thoughts and aggressive behavior / Markus Denzler." Bremen : IRC-Library, Information Resource Center der Jacobs University Bremen, 2008. http://d-nb.info/1034894455/34.
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Regele, Hildegard C. "Kunstkrankheiten und Heilkünste : kathartische Dynamiken durch Samuel Hahnemanns Homöopathie und Bertolt Brechts episches Theater = [Art(ificial) illnesses and healing arts : cathartic dynamics through Samuel Hahnemann's homeopathy and Bertolt Brecth's epic theater] /." view abstract or download file of text, 2005. http://wwwlib.umi.com/cr/uoregon/fullcit?p3190541.
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Thesis (Ph. D.)--University of Oregon, 2005.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 518-539). Also available for download via the World Wide Web; free to University of Oregon users.
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Halonen, Daniel. "“Too ridiculous to be believed” – an Analysis of Fairy Tale Violence in Roald Dahl’s Children’s Fiction." Thesis, Stockholms universitet, Engelska institutionen, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-194669.
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The aim of this essay is to examine several categories of violence in Roald Dahl’s children’s fiction, with the background of fairy tale theory. Roald Dahl’s children’s fiction has raised criticism, and the grounds of it are reconsidered in this essay. Violence is a declining feature of children’s literature, and the sometimes-excessive use of it in Dahl’s fiction is conspicuous, therefore. If Dahl’s children’s fiction is located in the genre of fairy tales, however, and the violence analysed as a device inherited from this tradition, its function and effect become clear, as shown in this essay. In a study of Charlie and the Chocolate Factory (1964), The Witches (1985), and Matilda (1988), I find that violence in Dahl’s fiction has three main effects; cautionary, entertaining, and cathartic effects. I also find that the burlesque quality of violence in Dahl’s work makes the charges of criticism less meaningful.
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Hawkins, Peter John. "Catharsis in psychotherapy." Thesis, Durham University, 1986. http://etheses.dur.ac.uk/6884/.
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The historical context of catharsis in psychotherapy is discussed, with particular reference to drama and ritual. The 'cathartic technique' of Freud and Breuer is then presented as part of the continuing development of approaches that advocate feeling-expression as a way of promoting personal change. The contemporary approaches considered include Reichian therapy, bioenergetics, primal therapy, and reevaluation counselling. Heron's theory of catharsis in human development is emphasized, and is central to the two experiential research inquiries presented later. The evidence for the efficacy of catharsis is reviewed from the perspective of the various 'schools' of emotionally-expressive therapy, and reference to the psychosomatic and bereavement literature is also made. Two research inquiries are presented which investigate the effects of catharsis on human functioning. A new paradigm experiential approach was adopted in which co-researchers engaged in a collaborative inquiry. 'Inside’ measures of subjective experiencing, contingent upon emotional catharsis, were gathered through self-report, as well as 'outside' measures of blood pressure, pulse rate, and personality functioning. Results suggest that physiologic tension decreases following somatic emotional catharsis, but that longer term changes in psycho-somatic functioning require the development of insight into the genesis of the 'symptom', as well as complementary therapeutic strategems. It is further suggested that the development of insight is contingent upon historical somatic catharsis. The results also show that where cognitive catharsis occurs without affective release, an increase in psycho-physiologic tension is effected, as shown in both the physiological measures and subjective experiencing. Finally, the implications of catharsis for therapeutic practice are discussed.
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Fortin, Jean-Pierre. "S'éveiller à la catharsis." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/MQ57862.pdf.
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Fortin, Jean-Pierre. "S'éveiller à la catharsis." Master's thesis, Université Laval, 2000. http://hdl.handle.net/20.500.11794/40700.
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L’existence d’un besoin d’art éprouvé encore aujourd’hui en dépit d’un contexte culturel nihiliste, ainsi que la portée universelle des œuvres d’art classiques nous permettent de renouveler le questionnement sur la nature de l’art et de la relation qu’il établit avec la nature humaine. En fait, nous nous demanderons : Qu’est-ce que la catharsis? Nous éluciderons partiellement la nature humaine et l’art, car la catharsis est, selon Aristote, l’effet produit par l’art sur nous. Nous établirons en un premier temps la méthode appropriée pour aborder notre question. Deuxièmement, il s’agira pour nous de poser les difficultés principales auxquelles nous devrons répondre par notre enquête. Viendra ensuite le traitement de la question en tant que telle, en considérant ce qu’est l’art: une imitation. Puis son effet propre: les passions; le beau comme sa condition nécessaire et enfin l’éducation, car nous verrons que la catharsis existe par-delà les beaux-arts. Par cette étude, nous constaterons que la catharsis se rapproche intimement de l’acte même d’apprendre.
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Meier, Lori T. "On Regret: Currere as Catharsis." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etsu-works/5895.
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Kirk, David A. "Ecological separation of small cathartid vultures in South America." Thesis, University of Glasgow, 1988. http://theses.gla.ac.uk/5375/.
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During three field seasons, totalling 20 months between 1984-87, the ecological separation of four species of small Cathartid vultures was investigated at Hato Masaguaral in the flat savannas or Llanos of central Venezuela, South America. The focus of the study was an analysis of the role of migrant Turkey Vultures Cathartes aura meridionalis, in the scagenging guild of resident vultures, particularly in relation to a resident subspecies of Turkey Vulture C. a. ruficollis. Ecological separation between different taxa was achieved by differential habitat use by foraging vultures, feeding on different types of carcases and at different times. Where mixed-species flocks fed at carrion, social dominance mediated competition; heavier taxa were not necessarily dominant. During the dry season, migrant Turkey, Lesser Yellow-headed Cathartes burrovianus and Black Vultures Coragyps atratus foraged at highest densities in open savanna habitats. By contrast, resident Turkey and King Vultures Sarcor amphus papa foraged almost entirely in closed gallery forest. In the wet season, the numbers of Cathartes vultures declined by 6 fold in the absence of migrant Turkey Vultures which returned to North America. There was a distinct habitat shift in resident Turkey Vultures at the end of the dry season from gallery forest to open savanna habitats; conversely at the end of the wet season birds moved back into the gallery forest. Some residents may themselves have been migratory, moving into the ranch area at the end of the dry season, but this did not explain the decrease of Cathartes vulture density between seasons. The changes coincided with the departure of the majority of migrants in the spring and with the influx of migrants in the autumn, respectively. The core areas used by radiotragged resident Turkey Vultures shifted seasonally from gallery forest to open savanna. Most marked migrant Turkey Vultures were not resighted, suggesting that they passed through the study area on their way further south or that they had large home ranges. Compared to migrant Turkey Vultures a larger proportion of resident Turkey and Black Vultures were resighted. Comparative observations at bait sites in gallery forest and open savanna showed that carcases were detected more quickly, group sizes of migrant Turkey Vultures were greater, and agonistic encounter rates were higher in the open. Both migrant and resident Turkey Vultures occurred at similar densities over the forest but most carcases were first located by residents. Migrants won almost all agonistic encounters initiated against resident Turkey Vultures. The feeding rate of resident Turkey Vultures was significantly and negatively affected by the numbers of migrant Turkey and King Vultures, but not by other residents present at carcases. While the body condition of migrant Turkey Vultures was low after autumn migration from North America, the condition of birds trapped in subsequent months improved. However, the body condition of residents was below average throughout the dry season when migrants were present. By contrast, in the wet season when migrants were absent, the body condition of residents was above average. The wing-loading of different taxa was related to their foraging strategies; low wing-loading enabled some taxa (e.g. resident Turkey Vultures) to fly at low altitude over vegetation and forage using olfaction. Others, with higher wing-loading depended on sight for foraging (directly by observing carcases in the open or by watching the activities of other vultures) and on thermals to remain aloft (e.g. Black Vultures). Results suggested that, although there may be seasonal changes in food supply which may explain wet season changes in foraging behaviour, resident Turkey Vultures were forced to forage in gallery forest during the dry season to reduce interference competition from migrants.
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Borg, Erika. "Catharsis in Yvonne Vera's Butterfly Burning." Thesis, Växjö University, School of Humanities, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-482.
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SILVA, CHRISTIANI MARGARETH DE MENEZES E. "CATHARSIS, EMOTION AND PLEASURE IN ARISTOTLES POETICS." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2009. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=15172@1.
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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIORA presente tese de doutorado trata da catarse, da emoção e do prazer na Poética de Aristóteles. O filósofo não define o que entende por catarse trágica na obra; no entanto, ele nos diz que a trama trágica suscita duas emoções dolorosas – piedade e temor – e, além disso, surte um prazer que lhe é próprio. A questão é entender como estes dois opostos, prazer e dor, relacionam-se entre si e se no esclarecimento dessa relação encontramos também pistas para interpretarmos a catarse.
The PHD thesis presented here is a reflection on the problems of catharsis, emotion and pleasure on Aristotle’s Poetics. In his work, the philosopher does not define what he understands as tragic catharsis; nevertheless, he tells us that the tragic framework arouses two painful emotions - pity and fear - besides originating an inherent pleasure. The arising questions are: how can pleasure and pain, being converses, relate and if on the event of this issue being clarified will we provide hints for interpreting catharsis.
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McTague, Brian. "Revisiting "Hapworth": The Catharsis of Buddy Glass." VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/287.
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J.D. Salinger's "Hapworth 16, 1924," his last published work, is notorious for the initial critical silence it received, as well as the subsequent general consensus that it was a text to revile if not avoid. This thesis proposes that while "Hapworth" is a difficult and perplexing piece, there is a good deal about it that deserves if not outright praise, then a close critical re-examination. Assuming the "author" of the story is not the seven-year-old version of "A Perfect Day for Bananafish" suicide Seymour Glass, as the story purports, but his grieving younger brother Buddy, who has spent the years since his brother's death trying to come to terms with it. "Hapworth" is Buddy's final--and perhaps finally successful--attempt to do so.
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Lawrence, Andy Richard James. "Confusion and catharsis in filmmaking for fieldwork." Thesis, University of Manchester, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.664565.
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This thesis provides a commentary on three films that I have made on the subjects of childbirth and death; Born (Lawrence 2008); The Lover and the Beloved: A Journey into Tantra (Lawrence 2012); The One and the Many (Lawrence 2013). I discuss these films as practice-based research within the discipline areas of anthropology, media and performance in order to suggest an innovative way in which intersubjectivity may be explored and evoked through a method of ethnographic filmmaking. After a brief summary of the content of each film, I present my research methodology and associated techniques of filmmaking for fieldwork. I identify these as being different to those employed by Robert Gardner in his much discussed film about death, Forest of Bliss (1985). I elaborate on the methodological importance of intersubjectivity in filmed fieldwork by using two words, ‘confusion’ and ‘catharsis’, borrowed from reviewers of my film, Born. I argue that these words help to explain how the dual processes of perception and expression operate for all parties involved in the filmic encounter, including here the filmmakers, the subjects and the audiences. Drawing on ideas about how subjective experience is narrated by Turner (1986); intersubjectivity in ethnographic story telling by Jackson (2002; 2012); the conditions under which a film might provoke a cathartic response from a viewer by Scheff (2001); I consider how a filmmaking method can focus on the confusion in human experience, to become a new but related experience for the audience of a film. The objective of this methodology is to understand how subjective confusion becomes narrative coherence through the empirical lenses of childbirth and death. These ideas provide a basis to explain four areas of filmmaking technique that I use to produce anthropological films. The first relates to proximity: here I describe how I become a participant as well as an observer in action as it is unfolding and thus also a part of the story myself. The second looks at ways in which camera and microphone movement produce an “expression of experience by experience” (Sobchack 1995, p. 37). Thirdly, I outline a technique for the close examination of field experiences as they unfold and before they are fully comprehended that can also facilitate the production of high quality recorded material from which to craft a film. Lastly, I look at how reflexivity enhances the role of all the film’s subjects, including myself, to develop a useful context by which viewers of a film can engage with the protagonists of a story. In conclusion, I evaluate the success of these techniques in realising the methodological objectives of the work.
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Marshall, Chris. "Dramatic catharsis : Barack Obama's rhetoric of redemption." Thesis, Swansea University, 2016. https://cronfa.swan.ac.uk/Record/cronfa37298.
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The 2008 election of Barack Obama as America’s first African American president was popularly held to represent a fulfilment of Martin Luther King’s Dream and led to speculation about the implications of an Obama victory for a post racial America. This thesis argues that race was a recurring theme of Obama’s election campaign, and that his rhetoric referred frequently to America’s history of racial inequality. It explores how Obama constructed a racial identity that connected him to the African American struggle for civil rights and which placed him within a national progress narrative, and it argues that an important feature of Obama’s campaign was the articulation of a rhetoric of redemption. Academic debates focussing on Obama’s racial identity and the extent to which he spoke about race have been supported either by textual analysis of his speeches or by applying a historical perspective to the campaign. This thesis incorporates both approaches as it combines discourse analysis of a reference corpus of 172 speeches with intertextual and extralinguistic analyses facilitated through contextual knowledge of African American history and culture. The methodology embraces Ruth Wodak’s Discourse-Historical Approach, consideration of Obama’s appropriation of the Exodus narrative, and the application of Kenneth Burke’s dramatistic pentad to explore the construction and representation of racial identity in Obama’s rhetoric. The approach identifies an analytic corpus of 41 speeches which focus on race. This is used to identify how Obama presented his personal history within the context of the civil rights struggle and how he positioned his campaign to neither confront nor accommodate white America about racism and inequality. The results reveal Obama’s desire for a national catharsis in repudiation of America’s history of racial injustice; a redemptive moment made possible through unity, atonement and the collective effort encapsulated in the campaign slogan, “yes, we can”.
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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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Kallemeyn, Rebecca. "ESCAPIST CATHARSIS: REPRESENTATION, OBJECTIFICATION, AND PARODY ON THE PANTOMIME STAGE." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1211920375.
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Zaugg, Gary. "The Trial of Alice Clifton: Judicial Catharsis in Institutional Bias." Diss., North Dakota State University, 2017. https://hdl.handle.net/10365/27457.
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This is a critical introduction and rhetorical analysis of a moment of criminal crisis at a time of profound institutional bias: the 1787 infanticide trial of a young Philadelphia slave and rape victim named Alice Clifton. A dramatistic view of the case?in the tradition of Kenneth Burke?reveals the law?s inherent symbolic action in shaping social reality and its cathartic potential when resolving conflict and judging conduct. Judicial catharsis?the official apparatus for channeling the manifold cathartic pathways that converge upon a criminal crisis?is the procedural and ritualistic dramatism of the law. It provides the serial victimage necessary to feed the insatiable appetite of symbolicity?s categorical guilt. Accused persons stand for, or stand in for, generalized fears and tensions on the assumption that labeling and punishing them somehow remediates past events or external conditions. In that sense, the community treats criminals for its own benefit. Whether convicting or acquitting, punishing or pardoning, acting upon a defendant tends to purify the group. But ritual-induced unity is more of a temporary diversion of collective attention than a persistent change in collective attitudes or social conditions. Institutional bias?such as slavery or disparate treatment of unwed mothers?politicizes judicial catharsis by creating underlying circumstantial guilt that cannot be directly discharged through criminal adjudication. Nor is catharsis through judgment the same thing as justice; the ritualistic sacrifice of a scapegoat can bring a false sense of redemption to the community by masking bias and social division. Thus, the rhetoric of the law is compensatory, not curative?a perpetual cleansing of what can never be made clean. In the case of Alice Clifton, the law required a criminal scapegoat and the privileged hierarchy required a political scapegoat. To serve as both, the respective burdens had to be reshaped to match the scapegoat?s back. By condemning and then pardoning?symbolically taking her to the edge of death and then restoring her to life?the process hybridized the resolution, staking claim to the awesome power of justice and mercy to reaffirm the existing social order.
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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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RODEN, ROBERT BRIAN. "TWO TECHNIQUES FOR ELICITING EMOTIONAL AROUSAL: AN ANALOG STUDY OF CATHARSIS." Diss., The University of Arizona, 1986. http://hdl.handle.net/10150/183890.
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Interest in cathartic psychotherapy in which emotions are experienced and expressed has dramatically increased over the past few decades. Dozens of therapies currently exist which rely on emotional arousal and catharsis as important therapeutic devices. It is generally taken for granted that emotional arousal is required in order to facilitate catharsis. However, it is not clear which of the many techniques of eliciting arousal are most effective in leading to both arousal and catharsis. There is scant experimental evidence to back up the therapeutic effectiveness of catharsis or the techniques currently used for eliciting arousal. One technique used by therapists to elicit arousal and catharsis involves the patient actually experiencing emotional events (past, present and future) in the present situation. Many therapists utilize this technique yet the literature does not reveal any experimental attempt to validate its efficacy at eliciting arousal or catharsis. This study examined whether experiencing emotions in the present situation is more effective at eliciting arousal than talking about emotions. The hypothesis that experiencing emotions in the present situation is more effective at eliciting arousal than talking about emotions was for the most part confirmed. Some dependent variables provided strong evidence for this hypothesis while others failed to give it support. Although the evidence is not conclusive, it is strong. These results would tend to support the many therapists who encourage their clients to experience, re-live, and express their emotions in the present.
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Reinisch, Peter, and Sven-Christian Weber. "The Arts: An Experience : What Leaders Can Learn From Artistic Catharsis." Thesis, Linnéuniversitetet, Institutionen för organisation och entreprenörskap (OE), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-26320.
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Creativity and innovation are attributes that are important in business and leadership today, perhaps more than ever. The recent economic crisis has shown that relying on pre-established business patterns is not enough anymore. Art has always been visionary and creativity is one of its major characteristics. This thesis looks into the possible impact the arts can have on leadership. We ask ourselves what it is that we can learn from the arts, what they can teach us that is relevant for leaders and leadership. We have used the grounded theory and the methods suggested by Corbin and Strauss. We have conducted conversations with 12 leaders coming from different occupations who share at least one characteristic; they are all engaged in the arts. Through their experience, and through secondary data we used from studies concerning the impact the arts have on communities, we have constructed a theory. This shows that through their interaction with art, people are affected in their well-being, their personal development and their cognition. This phenomenon we have identified as the leader's catharsis. We conclude our work by showing a map to show where in leadership research our substantive theory is useful. Further we also discuss how our findings can contribute to future leadership research. Our thesis might contribute to the discussions of aesthetics and leadership, the influence art has on the well-being of followers and how leaders can effectively form frames. Further, we suggest that the arts can be seen as a school for leadership development.
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HAY, GAIL SCHMOOKLER. "CATHARSIS IN PSYCHOTHERAPY: AN ANALOG STUDY WITH COUPLES (ANGER, EMOTIONS, COMMUNICATION)." Diss., The University of Arizona, 1985. http://hdl.handle.net/10150/188090.
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In this study the controversial issue of whether to express or not to express anger was investigated. Three different approaches to dealing with anger in an experimental setting with couples were examined. The results support the notion presented by Holt (1970) and Deutsch (1969) that there may be constructive and destructive ways of dealing with anger in an interpersonal relationship, and argue against the conclusions of Berkowitz (1970) and Ellis, (1976) that the expression of anger is so dangerous that it should be avoided. Following role-play of vignettes of typical marital conflicts, subjects in one condition made I-Statements to their partners about their feelings, subjects in a second condition made You-Statements, and subjects in the No-Expression condition listened to a lecture. On outcome measures designed to tap anger, happiness, emotional closeness and distance from partner, liking for partner, other positive and negative feelings, and empathy for partner, I-Statement subjects consistently reported more positive change in their feelings than did You-Statement subjects, and rated their partners as having significantly more empathy in paraphrasing their positions, feelings, beliefs, and wishes. The No-Expression condition did not differ from the I-Statement on variables which measured feelings on anger, happiness, and other "good" and "bad" feelings. However, the No-Expression condition was more like the You-Statement condition in failing to decrease emotional distance or increase measures of empathy, agreement, and feeling understood. Neutral activity which involves time out from interaction with the partner may help to dissipate anger, but seems not to enhance "intimacy," as indicated by lack of change on the variables which involve mutuality and exchange. The I-Statement condition is viewed as superior to either the No-Expression condition or You-Statement condition in conflict resolution, as the I-Statement condition brings about both the dissipation of anger and the restoration of intimacy. It is concluded that there is no evidence from this study, which involves moderate emotional arousal, that avoiding expression of feeling in a conflict situation is superior to talking about the feelings engendered by the conflict. However, I-Statements lead to more constructive changes in feelings and in one's capacity to empathize than do You-Statements.
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O'Neil, Esther Margaret. "British World War Two films 1945-65 : catharsis or national regeneration?" Thesis, University of Central Lancashire, 2006. http://clok.uclan.ac.uk/9730/.
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Major differences in British Second World War films produced in wartime 1939-45 (idealising the 'People's War') and post-war versions produced between 1945-65 (promoting the return of elite masculinity) suggest a degree of cultural re-conditioning concerning the memory of war, by Britain's middle-class film-makers attuned to national and international concerns. Therefore, the focus and main aim of this thesis is to identify and examine previously ignored or inadequately scrutinized themes within the post-war genre to explain how, and why, film-makers redefined the Second World War and its myths, tapping deeply into the national psyche, stimulating and satisfying a voracious, continuing, British appetite. In examining the genre, and as established by historians such as John O'Connor, Pierre Sorlin and Jeffrey Richards, this thesis employs contextual analysis, using feature film as a primary historical documentary source. This involves close reading of the films in their historical and political context and the social situation which produced them - backed-up by empirical data, analysing what film-makers were saying at textual and sub-textual levels, and exploring structure, meaning and iconography as conveyed by script, image, acting and direction. The production, content and reception of these films have been evaluated and attention directed towards dialogue and language. In support of this, a wide variety of sources have been scrutinized: articles; fan magazines; novels; biographies; autobiographies; memoirs, film histories and wider historical and political works. The BFI Library and Special Collections Archive have been extensively mined with particular emphasis on press and campaign books and cinema ephemera. Newspapers and journals such as the Times, the New Statesman, the Daily Mirror and the Daily Worker have provided a range of perspectives. A sense of British ownership of this war pervades the genre. Accordingly, this thesis identifies four over-arching themes through which to explore it: the fusion of class, masculinity and national identity; women and femininity; reconciliation with the enemy; and the process of personal and national redemption and regeneration through the war experience. The study's fundamental originality rests in its approach. In offering a "political" (in its widest sense) reading of the films and an untried level of detailed analysis, it presents the genre's first full conceptualisation, challenging criticisms and assumptions that the genre was either a nostalgic replay of the Second World War, a recruitment vehicle or a catharsis. Several key findings have emerged from this thesis: Elite masculinity was used, not to devalue the 'People's War', but as exemplar of national identity, regeneration and British leadership. Recognizable through his metamorphosis from literature's well-loved pre-1914 imperialist hero, the officer hero was now a democratised master of the technology provided by Britain's brilliant, unthreatening scientists. Through them, Britain's unrivalled experience as a world leader was promoted at a time of international tensions and challenges to national supremacy. This study offers the first in-depth analysis of the prisoner-of-war sub-genre, and recognizes film-makers' efforts to ensure that serving homosexuals were also credited with fighting the Second World War. Crucially, far from being airbrushed from the genre, women were very definitely present and active in war films post-1945. Previously unsuspected balances, continuities and cross-overs between the 193945 films and of those of 1945-65 have been identified. Received wisdom that, with Cold War political pragmatism, the genie offered only revisionist depictions of Germany is also challenged. Evidence of film-makers' Janus-faced ambivalence towards German brutality and collective guilt has emerged and, whilst the Italians were redeemed, Japanese barbarism was vehemently expressed. Through its exploration of war's dysfunctional residue, this thesis has shown that combat dysfunction acted as 'heroic reinforcement', yet another way to praise, whilst allowing modest fallibility. Further insights into reactions to war were provided by depictions of malingers, revellers and those redeemed by war. British cinema offered a rare level of social comment with the homecoming legacy, as dysfunction embraced disaffected officers, crime and the failure of the 'New Jerusalem'— although it offered little on failed repatriation. In the late 1950s and early 1960s, film-makers also showed that middle-class hegemony, always pragmatic, was elastic enough to offer critiques of officer elite heroics with the decline of deference, and to be more open in its depictions of women. These findings demonstrate that as a collection of primary documents, the genre's films reveal much about contemporaneous issues. Significantly, although its target audience was British youth, it reached global audiences.
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Othman, Juliana Binti. "Comic catharsis and Catholicism : Evelyn Waugh, Muriel Spark and David Lodge." Thesis, University of Newcastle Upon Tyne, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.413003.
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Pieterse, Andries Daniel. "Understanding Trauma and Catharsis in Ovid's Metamorphoses 10 : A Fantacy Reading." Thesis, University of Pretoria, 2020. http://hdl.handle.net/2263/75556.
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Notwithstanding the extensive research done on Ovid’s Metamorphoses, only a few scholars have attempted to discuss the frequent presence of trauma and catharsis in the episodes of the Metamorphoses. The hypothesis in this thesis is that the reader can participate in the cathartic responses of the characters to traumatic experiences in the episodes of Ovid’s Metamorphoses 10, through entering the sub-created world in the narrative. The hypothesis is tested by reading Ovid’s Metamorphoses, and especially Book 10, through a fantasy perspective based on Tolkien’s concept of sub-creation. The method to be used in the investigation of the Latin text is a combination of an intratextual and a narratological analysis. Episodes with a traumatic theme from Book 10 are used to identify three traumatic themes: the trauma caused by the loss of love or a lover, the trauma caused by the loss of someone or something other than a lover and the trauma caused by forbidden or unnatural love. Episodes which share the same traumatic themes from other books of the Metamorphoses are also selected and discussed. Each episode is discussed by means of Tolkien’s elements of sub-creation, namely recovery, escape and consolation, as focal points. The research concluded that it is possible for the reader to identify with the characters in their experiences of trauma and catharsis by means of participation in the sub-created world. The participation of the reader is made possible by the narrator’s use of defamiliarisation, the use of Tolkien’s aspects of sub-creation and narratological elements.Thesis (DLitt)--University of Pretoria, 2020.
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Smith, Joshua Ryan. "Dick Grayson: Relatability, Catharsis, and the Positive Development of a Superhero." Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1605268454563874.
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Boersma, Nicholas Neal. "Natural weed controls potential of the invasive shrub Rhamnus cathartica and improvement of corn gluten meal /." [Ames, Iowa : Iowa State University], 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:1481846.
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Klein, Caronia. "It's not catharsis, it's cognition : a new approach to emotion in composition /." View online, 2010. http://repository.eiu.edu/theses/docs/32211131524472.pdf.
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Clark-Phinney, Marcia. "Effect of group foraging size on vigilance by turkey vultures (Cathartes aura)." Virtual Press, 2001. http://liblink.bsu.edu/uhtbin/catkey/1217395.
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Turkey vultures were observed foraging alone and in groups of up to 16 individuals. Vigilance behavior was quantified by monitoring 4 aspects of vulture foraging behavior (proportion ofhead up time, number of head raises per minute, time interval between head raises, and proportion of time spent foraging during foraging bouts). Although solitary foragers spent 91% of their foraging bouts actively foraging, a greater proportion (47%)of their foraging time was spent with their heads up compared to individuals occurring in groups (<29%). Similarly, individuals in small groups (2-3 and 5-7) were more vigilant than individuals in large groups (8-16). Solitary foraging vultures raised their heads at a significantly higher rate than those foraging in groups of 5-7 or 8-16 and had significantly shorter intervals between head raises than group foragers. Large group foragers were able to minimize their vulnerability to predation because at least one head was up during the entire foraging bout. Results of this study were consistent with the 'many-eyes, hypothesis that individuals in a foraging group can feed at a faster rate by reducing vigilance time as the number of individuals scanning for predators increases (Pulliam, H. R. 1973. J. Theor. Biol. 38: 419-422).Key Words: turkey vulture, vulture, vigilance, foraging behavior, group size, Indiana.Department of Biology
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Mongenais, Catherine. "La violence de vivre : suivi de Catharsis, création et propagation de l’espoir." Thesis, Université d'Ottawa / University of Ottawa, 2017. http://hdl.handle.net/10393/36612.
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Cette thèse en création littéraire comporte d’abord un roman jeunesse : La violence de vivre centré sur Katharos, un jeune homme tourmenté par son passé. Au fil des pages, ce personnage principal vivra une chute morale. Le roman narre un destin semblable à celui de toute autre personne ayant traversé l’humanité : c’est l’histoire de la rencontre d’une âme avec la douleur, des choix qui résulteront de cette rencontre et de leurs effets. Néanmoins, c’est également un roman qui montre les fréquentations, les amitiés ainsi que les liens familiaux du personnage et à quel point ces gens qui l’entourent peuvent ajouter à ses souffrances ou alors faire germer en lui force et espoir.
Le deuxième volet de la thèse porte sur la question de l’écriture en tant qu’instrument pour produire une catharsis chez le lecteur. Cette deuxième section est divisée en deux chapitres : le premier portant sur la théorie aristotélicienne de la catharsis, le second analysant La violence de vivre sous la lunette de la catharsis. Ainsi, ce volet théorique cherche, d’une part, à définir la catharsis selon Aristote et les éléments qui participent à la construction de cette notion; d’autre part, à déterminer si La violence de vivre parvient à déclencher ou non une catharsis pour ses lecteurs.
Somme toute, il n’y a qu’une énigme au cœur de cette thèse. Comment peut-on, en création, employer l’écriture pour transformer le lecteur? Plus particulièrement, peut-on diriger cette catharsis du lecteur de manière à lui prodiguer de l’espoir?
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Argo, Jessica. "Immersive soundscapes to elicit anxiety in exposure therapy : physical desensitization and mental catharsis." Thesis, Glasgow School of Art, 2017. http://radar.gsa.ac.uk/5330/.
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There is a wide range of sensory therapies using sound, music and visual stimuli. Some of these established therapies focus on soothing or distracting stimuli as an analgesic (such as natural sounds or classical music), while other approaches emphasize active performance methods of producing music as therapeutic. Instead, this thesis proposes immersive soundscape exposure therapy, inviting people suffering from anxiety disorders to react to densely detailed ambisonic composition. In this work, soundscapes are composed to include the users’ own idiosyncratic anxiety triggers to facilitate habituation, and to provoke psychological catharsis, as a non-verbal, visceral and enveloping exposure. In this research, the participants’ vital signs are recorded during exposure, to accurately pinpoint the most effective sounds that alter the participant’s resting state, which informs an optimal construction of future soundscapes. Across psychology and neuroscience literature, it is widely agreed that sound is a major trigger of anxiety, and auditory hypersensitivity is an extremely problematic symptom. In this project, it is hypothesized that these dense, anxiety-eliciting soundscapes will progress future immersive therapies for various psychological conditions. Results from this study indicate that exposure to stress-inducing sounds can free anxiety sufferers from entrenched avoidance behaviors, teaching physiological coping strategies whilst simultaneously encouraging resolution of the repressed psychological issues agitated by the sound.
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Gordon, Caroline. "A juice of quality most rare : catharsis and the semiotics of stage blood." Thesis, University of Kent, 2009. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.504665.
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Conway, Mary Suzanne. "Achieving Catharsis: The Impact of Theatre on Lesbian, Gay, Bisexual, and Transgendered Youth." University of Akron / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=akron1302459493.
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Kuntz, Hélène. "Poétiques de la catastrophe dans les dramaturgies modernes et contemporaines." Grenoble 3, 2000. http://www.theses.fr/2000GRE39033.
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Gill, Zachary Whitman. "Soldiers performing/performing soldiers spectacular catharsis, perpetual rehearsal, and theatricality in the US infantry /." Diss., [La Jolla] : [Irvine] : University of California, San Diego ; University of California, Irvine, 2009. http://wwwlib.umi.com/cr/ucsd/fullcit?p3359846.
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Thesis (Ph. D.)--University of California, San Diego and the University of California, Irvine, 2009.Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 239-249).
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Bacalski, Cherise Marie. "Towards a Consummated Life: Kenneth Burke's Concept of Consummation as Critical Conversation and Catharsis." BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3931.
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Consummation was the one term about which Kenneth Burke wasn't particularly long-winded - odd considering his claim that it was the apex of his theory of form. Perhaps Burke never explained exactly what consummation was because he himself was never clear on the subject, as he told John Woodcock in an interview toward the end of his career. Burke began conceptualizing his theory of form early on - in his 20s - and published it in his first critical book, Counter-Statement, in 1931. At that time, Burke's theory of form had already taken one evolutionary step - from self-expression, with the focus on the artist, to communication, with the focus on the psychology of the reader. Communication was to Burke an "arousing and fulfilling of desires." However, by the 60s, Burke introduced us to a new term which he only used a handful of times in his entire corpus: consummation. This paper attempts to define consummation by exploring Burke's theory of form and looking to his correspondences with friends and scholars. It offers two answers: first, consummation is the act of a reader responding to a writer in critical conversation; second, consummation is the ultimate cathartic achievement. Both play an important civic role. Using current science regarding the gut in connection with emotional purgation, this paper treats seriously Burke's essay "The Thinking of the Body (Comments on the Imagery of Catharsis in Literature)" and his ideas regarding the "Demonic Trinity": micturition, defecation, and parturition, explaining Burkean catharsis as it differs from, deepens, and extends Aristotelian catharsis. What can we learn from what Burke meant by consummation? That the symbolic world is much more significant to our survival than we may realize. As the world of scientific motion advanced rapidly during Burke's lifetime, he began to lose hope that symbolic action could keep up with it. We can see how important poetry and the symbolic motive was for him; he seemed to think it was a matter of life and death. This paper explores what it meant for Burke to seek a consummated life, and the implications that held for him and for us. In the end, the paper posits the importance of catharsis to society in terms of war and peace.
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Silva, Kathryn Ana Bortolini Simão da. "Caracterização dos efeitos do Plumerídeo, um iridóide isolado de Allamanda cathartica L. (Apocynaceae), em modelos de inflamação e dor." Florianópolis, SC, 2007. http://repositorio.ufsc.br/xmlui/handle/123456789/90504.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Ciências Biológicas. Programa de Pós-Graduação em Farmacologia.Made available in DSpace on 2012-10-23T11:36:55Z (GMT). No. of bitstreams: 1 239808.pdf: 474707 bytes, checksum: 761bb2234f6b2c2bdf2190586ac0376d (MD5)
Este estudo investigou a influência do plumierídeo (PL), um iridóide isolado da espécie vegetal Allamanda cathartica, em inibir as respostas inflamatória e nociceptiva em diferentes modelos experimentais. Uma única administração oral do PL (0,0001-1 µg/kg) inibiu o edema de pata induzido por carragenina em e em ratos, com efeito prolongado. Quando administrado por via s.c. (0,1-100 µg/kg), o PL foi efetivo em inibir o edema induzido por carragenina, dextrana, zimosano e formalina, em camundongos. Estes efeitos foram similares aos produzidos pela dexametasona (0,5 mg/kg; s.c.). O PL demonstrou-se ainda eficaz em inibir o edema de orelha induzido por óleo de cróton, ácido araquidônico e PGE2 em camundongos, e por carragenina, bradicinina e anafilotoxina C5a em ratos. O iridóide PL também inibiu o aumento da atividade da MPO, bem como a migração de neutrófilos induzidapor carragenina na cavidade pleural. Contra a resposta inflamatória persistente induzida pela injeção i.pl. de CFA, o PL foi eficaz em inibir o edema, nos dois esquemas de tratamento realizados (pré e pós-CFA), demonstrando um efeito duradouro. Surpreendentemente, apesar de não interferir com a dor referida induzida por formalina, o PL inibiu a hipernocicepção neuropática orofacial térmica observada após a constrição do nervo infraorbital, bem como a hipernocicepção inflamatória mecânica induzidana pata por CFA. O conjunto de resultados sugere que estas ações do PL possam decorrer de sua interferência com mecanismos de sinalização celular mediadas por bradicinina, PGE2 e/ou C5a, bem como de potente efeito inibitório sobre mecanismos de migração de leucócitos. Entretanto, os resultados conduzidos até o momento são ainda insuficientes para esclarecer os verdadeiros alvos de ação deste composto. Estudos adicionais que venham determinar seus mecanismos de ação podem resultar no desenvolvimento de uma alternativa terapêutica nova e importante para o tratamento da inflamação e dor.
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Longhi, Blandine. "La peur dans les chansons de geste (1100-1250) : poétique et anthropologie." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040129.
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L’étude explore les différentes composantes, anthropologiques aussi bien que littéraires, du rapport entre l’émotion du public et l’émotion des personnages. Cette problématique est au cœur du fonctionnement des chansons de geste qui reposent sur un paradoxe : susciter la peur par la description de faits violents et de protagonistes terrifiants, tout en célébrant l’intrépidité de leurs héros. La distance entre le public et les personnages relève en partie de raisons idéologiques : la représentation de figures inquiétantes cristallise l’angoisse collective sur des cibles désignées par les institutions dominantes, tandis que le déni de la peur par les héros participe à la construction d’une image idéalisée de la chevalerie. Par ailleurs, au-delà du lien entre les œuvres et leur contexte historique, la recherche d’un effet de peur procède d’une poétique spécifique. Ce sentiment soude l’auditoire dans l’inquiétude et dans l’admiration, permettant l’exaltation épique et la glorification du courage héroïque. La sublimation de la peur tient à une esthétique de la terreur qui transforme les motifs effrayants en objet de contemplation et la répulsion en attraction. Grâce à cette transfiguration du réel, le public peut opérer un transfert psychique qui confère aux textes une dimension cathartique. Les actions des héros impavides jouent ainsi le rôle d’exutoire pour les pulsions refoulées, et les poèmes contribuent à conjurer l’anxiété liée aux tensions et aux crises de la société féodaleThis work explores the various components, from an anthropological as well as a literary point of view, of the relationship between the emotions of the public and the emotions of the characters. This problem is at the heart of epic texts, which are based on a paradox: to create fear through the depiction of violent events and frightening characters, while celebrating the fearlessness of their heroes. The distance between the audience and the heroes is due to ideological reasons: on the one hand, the representation of disturbing figures crystallizes collective dread on targets designated by the dominant institutions, on the other hand, the heroes’s denial of fear by heroes allows the construction of an idealized image of chivalry. Moreover, beyond the link between the texts and their historical context, the search for a fear effect proceeds from a specific poetics. This emotion enables the epic exaltation and glorification of the hero’s courage by bringing the audience together in the same feelings of worry and admiration. The sublimation of fear depends on an aesthetics of terror which turns the reasons for fear into an object of contemplation and the attraction into repulsion. With this transfiguration of reality, the audience can make a psychic transfer which gives the texts a cathartic dimension. The feats of intrepid heroes are an outlet for repressed instincts, and the poems help to exorcise the dread related to tensions and to the crisis of feudal society
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Wood, Robin. "Acute dichromate poisoning following the use of toxic purgatives." Master's thesis, Faculty of Health Sciences, 1990. https://hdl.handle.net/11427/31755.
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During the last ten years, several patients have presented to the Renal Unit of Groote Schuur Hospital with acute renal failure following the use of traditional (N'anga or Gqirha) medication. The history together with abnormal liver-function tests and renal failure was thought to be suggestive of a toxic aetiology. The specific toxin however remained unknown, until during the admission of one patient, a relative brought in the medication, analysis of which revealed a high concentration of potassium dichromate. Subsequently elevated levels of chromium were demonstrated by atomic absorption spectrometry in the blood and urine of this patient. Following this case there have been six further cases of acute renal failure resulting from use of dichromate containing traditional remedies. These remedies were obtained from a variety of sources including street-hawkers, herbal chemists, and traditional healers. Clinical and laboratory data relating to these seven patients will be presented.
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Davenport, Jennifer Tish. "Crisis and Catharsis: Linear Analysis and the Interpretation of Herbert Howells' "Requiem" and "Hymnus Paradisi"." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248387/.
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Hymnus Paradisi (1938), a large-scale choral and orchestral work, is well-known as an elegiac masterpiece written by Herbert Howells in response to the sudden loss of his young son in 1935. The composition of this work, as noted by the composer himself and those close to him, successfully served as a means of working through his grief during the difficult years that followed Michael's death. In this dissertation, I provide linear analyses for Howells' Hymnus Paradisi as well as its predecessor, Howells' Requiem (1932), which was adapted and greatly expanded in the creation of Hymnus Paradisi. These analyses and accompanying explanations are intended to provide insight into the intricate contrapuntal style in which Howells writes, showing that an often complex musical surface is underpinned by traditional linear and harmonic patterns on the deeper structural levels. In addition to examining the middleground and background structural levels within each movement, I also demonstrate how Howells creates large-scale musical continuity and shapes the overall composition through the use of large-scale linear connections, shown through the meta-Ursatz (an Ursatz which extends across multiple movements creating multi-movement unity). Finally, in my interpretation of these analyses, I discuss specific motives in Hymnus Paradisi which, I hypothesize, musically represent the crisis of Michael's death. These motives are initially introduced in the "Preludio," composed out on multiple structural levels as Hymnus Paradisi unfolds, and, finally, I argue, are transformed as a representation of the process of healing, and ultimately, catharsis.
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McKenzie, Laura Elizabeth. "Great War, white goddess, and translation as catharsis : a study of Robert Graves and Ted Hughes." Thesis, Durham University, 2018. http://etheses.dur.ac.uk/12503/.
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The First World War played a critical role in shaping the poetic consciousness of both Robert Graves and Ted Hughes. The combat trauma from which Graves suffered following his front line service confronted him with ‘baffling emotional problems’ on which the ‘pathology of poetic composition relied’, a mental conflict that–following the advice of W. H. R. Rivers–he repeatedly attempted to ‘write out’. For Hughes, whose father returned from Gallipoli profoundly shell shocked, the war was Britain’s ‘number one national ghost’, a phantom that he tried desperately to exorcise through his poetry. Yet although critics including D. N. G. Carter and Keith Sagar have utilised trauma theory to produce psychological readings of Graves’s and Hughes’s poetry that locate them as sites of catharsis, the field of modern literary studies has yet to scrutinise the theoretical relationships articulated in the poets’ interpretations of classical texts, such as Graves’s rendering of Homer’s Iliad and Hughes’s translation of Seneca’s Oedipus. Does the medium of classical translation offer, in any unique way, an opportunity for catharsis? How do the poets’ experiences of combat-related trauma affect the transmission of these classical texts? Profoundly interdisciplinary, this project attempts to answer these questions while remaining centrally cognisant of Graves’s mythopoetical influence on Hughes’s oeuvre. Throughout this thesis, I examine the extent to which the mythopoetical framework proposed by Graves in The White Goddess, a text shaped by the freight of Graves’s war experience, was embraced by Hughes, whose own formative years were dominated by the narrative of the First World War. The relationship between traumatic experience and the poets’ shamanic approach to translation is delineated and tested within this discourse: their idolatrous adherence to–and in Hughes’s case, fear of–the primacy of an archetypal matriarchal force, and their attempts to access the primitive nature of myth by stripping it of its patriarchal palimpsests of scholarship, are revealed as literary manifestations of a struggle to apprehend the meaning of their respective combat-related traumas, both direct and secondary, which remain ineluctably disrupted.
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Roma, Vanessa. "Théâtre, thérapie et troubles du comportement alimentaire : pratiques scéniques à partir de fragments d'Enfance de Nathalie Sarraute." Thesis, Toulouse 2, 2012. http://www.theses.fr/2012TOU20045.
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En matière d’art-thérapies, si la littérature permet de relever les effets positifs de la pratique du théâtre en thérapie, elle reste peu référencée à une psychopathologie spécifique et/ou à des indications susceptibles de démontrer la relation supposée entre théâtre, psychologie et effets cathartiques. La médiation théâtrale a pourtant la particularité d’amener à un travail conjoint avec le corps, la voix, l’expression du regard et de l’émotion, référée à une palette de techniques éprouvées, à même de conduire à la construction de dispositifs spécifiques adoptés à tels ou tels symptômes et/ou pathologies. Dans ce contexte, un dispositif spécifique a été développé avec 30 personnes hospitalisées pour troubles des conduites alimentaires (TCA). Celui-ci s’étaye principalement sur le livre de Nathalie Sarraute Enfance ainsi que sur les techniques du travail de l’acteur. Une évaluation des représentations et des processus a été réalisée en procédure test/re-test avec une grille d’observation théâtrale et clinique. Les résultats permettent de voir, sur le plan artistique, clinique et statistique, que pour l’ensemble de ces personnes le théâtre aide à la construction et à l’affirmation de l’image de soi. Par ailleurs, il leur permet de ressentir, percevoir, de reconnaître et exprimer leurs émotions et de développer ainsi des stratégies de coping théâtral. Globalement, il se produit une certaine interpénétration : si le théâtre est une médiation pertinente pour les personnes TCA, elles apportent de leur côté une monstration symbolisante singulière et enrichissante aux différents dispositifs théâtraux. L’important est de créer, ou recréer, dans un aller-retour, le passage du corps au je(u) et du je(u) au corps par le biais de la catharsis, tant psychologique qu’esthétique et théâtrale des deux côtés de la scène. In fine, la catharsis apparaît comme le processus fondamental réunissant thérapies médiatisées et théâtre dans une démarche novatriceIn art-therapy, although literature can raise the positive effects of Theatre practice in therapy, it is little referenced to a specific psychopathology and/ or indications which may demonstrate the hypothesised relationship between Theatre, psychology and cathartic effects. However, theatrical mediation is unique in that it joins together work with body, voice, gaze and emotional expression, referring to a range of proven techniques, and allowing the construction of specific devices adapted to such and such symptoms and/ or pathologies. In this context, a specific device was developed with 30 people hospitalised for eating disorders (ED). It is based mainly on the book “Childhood” by Nathalie Sarraute, and on the technical work of the Actor. An assessment of the shows and processes was conducted by following a test/ re-test procedure, with an observation grid including both theatrical and clinical aspects. The results allow us to see that for all involved, Theatre helps artistically, clinically and statistically in the construction and affirmation of self-image. Moreover, it allows them to feel, perceive, recognise and express their emotions and develop theatrical coping strategies.Overall, there is some inter-penetration: if Theatre is a mediation relevant to people with ED, they bring their own particularly symbolising and uniquely enriching monstration to said various theatrical devices. The key is to create, or recreate through an exchange, the journey between body and JE(u) (I/play) and JE(u) (I/play) to the body through psychological, aesthetical and theatrical catharsis on both sides of the stage. In fine, catharsis appears as the fundamental process uniting mediated therapies and Theatre in an innovative approach
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Kuroiwa-Lewis, Nathalie Marie. "Oedipus, Runaway Planes, and the Violence of the Scapegoat: A Burkean Analysis of Catharsis in the Rhetoric of Tragedy." Diss., The University of Arizona, 2007. http://hdl.handle.net/10150/193741.
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In this dissertation, I develop a theory of rhetorical catharsis and apply this theory primarily to George W. Bush's rhetoric of the War on Terror in Iraq. Contrary to the standard Aristotelian perspective of catharsis as the "purging of pity and fear" that brings relief and resolution to an audience, I turn to Kenneth Burke's claim that catharsis is tied to the scapegoating process and argue that catharsis is the purging and projection of one's trauma to a victim who serves as the sacrificial vessel for one's pain. I thus redefine catharsis as the purging of trauma that plays a key role in catharsis and leads to the victimage and scapegoating of the Other in language and public life.To explore how rhetorical catharsis functions in language use, I analyze the concept of a rhetorical catharsis through literature, presidential rhetoric, and print media and show how catharsis operates in the rhetoric of war, particularly that of President Bush's war on terror in Iraq. In addition to Kenneth Burke, I draw on scholars such as Rene Girard, Deborah Willis, Terry Eagleton, Robert Ivie, Allen Carter, Robert McChesney, and Bartholomew Sparrow, among many others. I argue that communities experiencing tragedy use language to name people and entire nations as the scapegoat for their ills.By understanding how language makes possible the victimage and scapegoating of vasts groups of people and even entire nations in times of national trauma, I offer ways of speaking about trauma that may help redirect the violent impulse of catharsis.
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El, Yahchochi Léa. "La guerre comme révélateur et catharsis de la société libanaise : trois figures de la production romanesque contemporaine." Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030177.
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Le roman libanais prend son essor pendant la guerre civile de 1975. Ce roman s’attache à pointer les failles les plus intimes de l’individu. Appelé à tort, roman de guerre, celle-ci n'est alors que le révélateur des mécanismes mortifères qui empêchent l'émergence de l’individu en souffrance. Servant également de catharsis, la guerre crée les conditions d’une liberté d'expression, en bannissant tabous et non-dits. Notre analyse se développe autour de trois oeuvres situées durant la première période de la guerre. La démarche est basée sur l’exploitation d’outils narratifs et psychanalytiques. Elle permet d’identifier bon nombre de ces «mécanismes de mort » en dévoilant une autre vision de l’individu et du monde, au travers d’une fiction et de personnages « embourbés dans» des conflits internes et externes. Ces conflits figent le récit et les personnages qui paradoxalement sont incités à se relever d'entre les décombres du fait même qu'ils existent dans la fiction par leur cortège d'émotions et de sentiments. Ils se pérennisent sous la plume de l'écrivain, en défiant par là même toute finitude. Le tout au travers d’une approche narrative jusqu’alors inéditeThe Lebanese novel writing soars up during the civil war of 1975. It attempts to point out the flaws and the deepest weaknesses of the individual. Mistakenly called war novel, it only grants little importance to the subject of war itself. The war becomes hence the revealer of lethal mechanisms that prevent the individual’semergence. Serving also as a catharsis, it fosters freedom of speech by breaking taboos and the unsaid. Our study opts for an analysis of three works of the first period of the war, mainly based on the use of narrative and psychoanalytic tools. It identifies several of these “death mechanisms” by revealing another vision of the individual and the world. The characters are incited to rise from the rubble, as the eruption of their emotions and feelings allow them to perpetuate thanks to the word power of the novelists, thereby reaching the audience and challenging all finitude through a previously unseen narrative approach
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Whitaker, Jodi L. "Attraction to Violent Video Games: A Mood Management Perspective." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1385838921.
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Zmijewski, Kirk A. "Connecting the dots: Remote sensing of Glossy and Common Buckthorn (Frangula alnus and Rhamnus cathartica) in the Oak Openings Region of Northwest Ohio." University of Toledo / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=toledo1365076682.
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Reille-Baudrin, Emmanuelle. "Reconversion professionnelle, l’espace d’une transition : d’une clinique de l’expérience à l’expérimentation clinique de l’activité transitionnelle : la méthode des instructions au sosie." Thesis, Paris, CNAM, 2011. http://www.theses.fr/2011CNAM0781/document.
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Cette recherche sur les transitions professionnelles dans le cadre de reconversions part du constat empirique suivant : l’analyse de l’activité professionnelle réalisée avec la méthode des instructions au sosie provoque, dans cette période particulière de transition, des manifestations émotionnelles fortes et l’expression de sentiments intenses et contradictoires. Ce fait nous a conduit à soutenir la thèse suivante : l’usage de cette méthode d’analyse clinique du travail, dans ce cadre spécifique où l’activité analysée se déploie dans un métier que l’on souhaite quitter, provoque, organise et supporte un conflit de sentiments qui, poussé jusqu’à un point culminant, peut s’avérer résolutoire et permettre de dégager pour le sujet des voies de développement. Ce travail propose de repérer et étudier ce point cathartique lié à la méthode afin d’analyser l’activité transitionnelle qui s’y déploie et sa fonction dans le processus de développement en cours de reconversion professionnelleThis research on vocational transitions within the framework of reconversions is based on the following empirical observation: the analysis of occupational activity realized with the method of the instruction to the double provokes in this special transition moment, strong emotional demonstrations, and reveals intense and contradictory feelings. This fact leads us to support the following thesis: the use of this method of clinical analysis of work in this specific frame, where the analysed activity refers to a job that will be quit, produces, organises and supports a strong conflict of feelings. When this conflict reaches its climax it turns out to be resolutory and can allow the subject to open paths of development. This research aims to focus this cathartic point linked to the method, in order to analyse the transitional activity that unfolds here, and its function in the development process during occupational retraining
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Muller, Teresa. "The attainment of personal catharsis through the realisation of the dislocation between the internal and external expressive forms of the self." Thesis, Stellenbosch : University of Stellenbosch, 2010. http://hdl.handle.net/10019.1/4115.
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Thesis (MDram (Drama))--University of Stellenbosch, 2010.ENGLISH ABSTRACT: This study is aimed at establishing what personal catharsis is, specifically defining what it is and under what conditions it may occur. During the creation and execution of an autobiographical solo, I had gone through a process of attaining what has since been labelled personal catharsis and recognition of the other, which gave arise to me finding confidence and discovering my creative voice of identity. However, it was not known when or how these processes took place. In addition I was not certain exactly what personal catharsis was in the context of me and my identity. An investigate was also needed into the possibility of generalising personal catharsis as a process that could guide people towards gaining confidence and finding their creative voice of identity. In this thesis, the process of the creation of the autobiographical solo is deconstructed. In doing so the journey of the discovery of the other is highlighted and the role of recognition between the inner expressive form and the external expressive form. Through the means of a source study the concepts of behaviour and the other in reference to identity construction and performance of everyday self are discussed. Then personal catharsis is explored in comparison to the traditional use of the term. Using performance-based research methodologies in conjunction with a questionnaire, a 12-week series of workshops was held to explore the generalisation of personal catharsis and the issues that arose during the study. The workshops were aimed at investigating the possibility of creating a process to attain personal catharsis. It was found that personal catharsis is a subjective process that takes place through the recognition of the external expressive form. It is through this recognition that the dislocation of self can be reconnected and the other can become more transparent to the internal expressive form. This process is readily attained through the exploration of the character of self. However, although new behaviour can result from personal catharsis, the individual needs to choose the internal expressive form as the dominant part in expressive behaviour.
AFRIKAANSE OPSOMMING: Die doel van hierdie studie is om te bepaal en te beskryf wat presies persoonlike katarsis is en hoe dit as proses verloop. Tydens die skepping en uitvoering van ʼn outobiografiese solo het ek die bereiking van persoonlike katarsis – soos ek dit sedertdien gedoop het – en herkenning van die ander beleef. Dit het daartoe gelei dat ek selfvertroue en die skeppende stem van my identiteit gevind het. Tog het ek nie besef wanneer of hoe hierdie prosesse plaasgevind het nie. Daarby was ek nie seker wat presies persoonlike katarsis in die konteks van my wese en identiteit was nie. Ek wou ook die moontlikheid ondersoek om persoonlike katarsis as proses te veralgemeen sodat dit mense daartoe kon lei om selfvertroue en die skeppende stem van hul identiteit te vind. In hierdie tesis dekonstrueer ek die skepping van die outobiografiese solo as proses. Daardeur werp ek lig op die ontdekkingsreis na die ander en die rol wat herkenning tussen die interne ekspressiewe vorm en die eksterne ekspressiewe vorm speel. Die begrippe gedrag en die ander in verhouding tot die konstruksie van identiteit en die uitvoering van die alledaagse self word deur middel van ʼn literatuurstudie bespreek. Daarná word persoonlike katarsis in vergelyking met die tradisionele gebruik van die term ondersoek. Tydens ʼn 12 weke lange werkswinkel is performance-gebaseerde navorsingsmetodologieë tesame met ʼn vraelys gebruik om die veralgemening van persoonlike katarsis en die kwessies wat tydens die studie na vore gekom het, te verken. Die werkswinkels was daarop gemik om die moontlikheid van die skepping van ʼn proses om persoonlike katarsis te bereik, te ondersoek. Daar is gevind dat persoonlike katarsis ʼn subjektiewe proses is wat deur middel van die herkenning van die eksterne ekspressiewe vorm plaasvind. Deur middel van hierdie herkenning kan die ontwrigting van die self herstel word en kan die ander deursigtiger vir die interne ekspressiewe vorm word. Hierdie proses word maklik deur verkenning van die karakter van die self behaal. Alhoewel persoonlike katarsis nuwe gedrag tot gevolg kan hê, moet die individu egter die interne ekspressiewe vorm as die dominante deel in ekspressiewe gedrag kies.
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Harris, Chad E. "Determination of species-specific primers for minisatellite variation analysis among and between populations of turkey vultures (Cathartes aura)." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1138301.
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What is the genetic relatedness between and among populations of turkey vultures? By determining genetic relatedness, foraging and roosting behaviors of vultures may be better understood. Also as a result of this research, a system of determining genetic relationship will be developed ultimately allowing evolutionary behaviors of vulture populations including altruism and/or group selection to possibly be uncovered. The purpose of this research was to obtain sequence information in order to design species-specific primers for future comparisons of minisatellite variation among and between populations of turkey vultures. Two different methods for DNA isolation from blood were compared for their ability to produce high quantities of amplifiable DNA. The Rapid Method (Lahiri et al., 1993) yielded 5.6 ug of DNA from 500 ul ofblood with a purity ratio [A260/A2S0] of 0.926, while the protocol using IsocodeTM Stixyielded 4.3 ug DNA from 15 ul of blood and had a higher purity ratio of 1.365. Although both methods yielded amplifiable DNA, better amplification was attained using the IsocodeTM Stix, which was used for the rest of the project. The polymerase chain reaction, using RAPD (Random Amplified Polymorphic DNA) primers (Operon Technologies, Alameda, CA), was performed to obtain DNA regions containing minisatellites. Fragments generated by the OPB 08 primer hybridized to a pool of labeled minisatellite core sequences by Southern hybridization. This minisatellitecontaining fragment (800 bp) was excised from a gel and cloned into a plasmid vector (pCR®2.1-TOPO) producing a recombinant plasmid. The recombinant plasmids werereplicated in E. coli, plasmid DNA was isolated, and the cloned fragment was sequenced for determination of the flanking sequences around the minisatellite core. Multiple colonies (pTpvul 1-4) were picked from the cloning/transformation stages but only one brightly hybridizing colony was chosen for sequencing (pTpvul 1). Sequencing and sequencing analysis proved difficult and no minisatellite core sequences could be located. This could be attributed to extensive secondary structure in the DNA sequence or to recombination within the fragment when grown in E. coli. These flanking sequences, thought to be identical at each locus of the minisatellite in a genome, were to be used as species-specific primers in future minisatelhte-PCR DNA fingerprinting.Department of Biology
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Lopes, Marco A. F. "Hydration of Colonic Ingesta and Feces in Horses Fed Large Grain Meals or Treated with Enteral Fluid Therapy, Saline Cathartics and Intravenous Fluid Therapy." Diss., Virginia Tech, 2002. http://hdl.handle.net/10919/29338.
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Systemic hydration, plasma electrolytes, ingesta and fecal hydration and gastrointestinal passage of cobalt (after CoEDTA administration via nasogastric tube) in horses fed large grain meals or treated with enteral fluid therapy, IV fluid therapy and enteral laxatives were investigated. In the first study, 0.9% NaCl (10 L/h/8h) was administered slowly via a small-bore nasogastric tube or as 10 L boluses via a large-bore nasogastric tube to four normal horses. In the other studies, horses with a right dorsal colon fistula were used. To create the right dorsal colon fistula, a cannula with 5 cm internal diameter was implanted 2 to 6 weeks after a right dorsal colopexy had been created. Six horses with the right dorsal colostomy were alternately used to test three feeding regimes for 48 h: 1- hay free choice; 2- hay free choice plus 4.5 kg of sweet feed twice daily after a period of 5 days of adaptation; 3- sudden change from hay to hay plus sweet feed. Seven horses with the right dorsal colostomy were alternately used to test 6 experimental conditions while fasted for 24 h: 1- control (no treatment), 2- enteral MgSO4 (1 g/kg), 3- enteral Na2SO4 (1 g/kg), 4- IV lactated Ringer's solution (5 L/h/12 h), 5- enteral water (5 L/h/12 h), 6- enteral electrolyte solution (5 L/h/12 h). In the last study, four horses with the right dorsal colostomy were alternately treated with enteral electrolyte solution (10 L/h/6h) and enteral MgSO4 (1 g/kg) plus IV fluid therapy (10 L/h/6h). Despite the administration regimen, enteral administration of 0.9% NaCl produced diarrhea, hypernatremia and hyperchloremia. Colostomy allowed serial collection of large ingesta samples. Grain ingestion did not change PCV or plasma protein, but affected plasma electrolytes and produced dehydration of ingesta and formation of frothy ingesta. Fasting delayed gastrointestinal transit. Enteral fluid therapy was the most effective treatment in promoting ingesta hydration. Enteral water, MgSO4, Na2SO4, IV fluid therapy and enteral MgSO4 plus IV fluid therapy were either ineffective in promoting ingesta hydration or produced marked plasma electrolyte imbalance. These findings support the use of enteral fluid therapy in horses with gastrointestinal impaction.Ph. D.
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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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Brun, Patrick. "Poétique du cinéma sonore." Paris 1, 2002. http://www.theses.fr/2002PA010538.
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A partir de la Poétique d'Aristote et du livre Le Poétique de Dufrenne, nous avons commencé par construire deux poétiques dans les théories du cinéma. Des formalistes aux sémiologues, une poétique cognitive cherche à comprendre comment un monde possible se construit chez le spectateur selon les représentations produites par le langage au cinéma alors qu'une poétique phénoménologique considère, dès les années 1920, que le langage cause une expérience esthétique, une présence-au-monde du regard, au-delà de la représentation cinématographique. Or, le cinéma de Duras a laissé supposer que, dans toute oeuvre d'art cinématographique, le langage viserait non pas un au-delà originaire mais l'impossible à représenter. Montrer que le discours de la psychanalyse peut seul nous aider à fonder une telle hypothèse fut l'objet de notre seconde partie. Si la sémiologie, comme discours scientifique, ignore l'impossible à représenter comme elle écarte la question de l'art, la phénoménologie de l'art ne peut vraiment articuler la présence sensible du regard au travail de la figure sans en passer par la découverte psychanalytique de la castration. Le regard se présente comme l'objet insaisissable de l'analyse esthétique de la figure, car il est une part libidinale, irreprésentable sous l'effet du langage, que la figure au cinéma a pour visée de montrer. Portés par cette critique, nous avons cherché à fonder une " autre poétique " du cinéma dont la visée serait l'impossible à représenter. Si cette visée poétique éclaire, par le renversement de la position subjective du spectateur, l'expérience esthétique au cinéma, Histoire(s) du cinéma de Godard a permis de montrer que le procès poétique - la création de figures de l'impossible à représenter - peut aussi, à partir d'une éthique relative à la shoah, relever la question de l'art au cinéma. C'est ainsi qu'à partir du concept de catharsis et du film Shoah de Lanzmann nous avons conclu que 1'oeuvre d'art poétique crée un éclat ou un semblant de jouissance qui relève, au-delà du plaisir, du symptôme.