Thesis (M. A.)--Ohio State University, 2008. / Title from first page of PDF file. Includes bibliographical references (p. 77-81).

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.

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.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1963. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 82-83).

Diss.--Psychologie--Saarbrücken, 1980. / Bibliogr. p. 247-266.

Thesis (Ph. D.)--University of Wisconsin-- Madison, 1975. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 60-62).

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.

No description available.

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 novatrice. / In 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.

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 féodale. / This 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.