This essay consists of a fragmental process and collection of different theories and inspirational hangups from different academics, artists and my own thoughts and memories from my childhood. The essay also consists of my own poetry and collection of words I have found describing for my own practice. My ambition is to understand why I have always been a sculptor. The research is mainly about my own relationship to Cathrene Malabous writing about destructive plasticity and how it's connected to the brain. What happens to a body and mind when you've been traumatized? And how do I connect that knowledge with my own artistic practice? The research also touches on questions relevant to our historical and contemporary society to think about when it comes to solutions for how to cure the image we have of bodies that suffer from mental illness.

The present study examined the role of emotion regulation (ER) in individuals who endorsed social anxiety symptoms found in taijin kyofusho (TKS) and social anxiety disorder (SAD) in a young adult sample. More specifically, the study sought to examine the role of self-conscious emotions of shame and embarrassment with respect to TKS and SAD. Participants were administered a series of questionnaires during the first phase of the study and, during the second phase, a diagnostic clinical interview and additional questionnaires were administered along with an experimental social evaluative task and recording of electrical cardiac impulses. Descriptively, social anxiety symptoms were expected to be associated with less adaptive ER strategies. Additionally, differences between individuals who endorsed TKS and SAD symptoms were expected such that TKS would be associated more so with shame and SAD with embarrassment. It was hypothesized that ER would mediate the relationship between embarrassment and shame and their hypothesized anxiety counterparts (SAD or TKS). Findings revealed an association between shame and TKS, and embarrassment and SAD. However, less adaptive ER strategies were not related to social anxiety symptoms and ER did not mediate the relationship between self-conscious emotions and social anxiety. The present findings suggest that shame and embarrassment can play a role in the clinical manifestations of SAD and TKS. Implications regarding the role of these emotions and ER were examined. / Ph. D.

Made available in DSpace on 2016-04-26T18:15:33Z (GMT). No. of bitstreams: 1 Willy Nielsen Patane.pdf: 551179 bytes, checksum: a1d8c8f6d6f7b2084b16e701c31a1216 (MD5) Previous issue date: 2016-02-25 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The present research aims to explain, based on humor theories, the reasons why the embarrassing scenes on the British television sitcom The Office can be considered funny. The show, which did not have a big amount of jokes, became a hit around the world, showing extremely embarrassing situations occurred inside a (fictitious) paper company factory office. Describing the peculiarities of the show and the writer s creative choices has also been one of the research s purposes. Therefore, the study was based on themes such as: sitcoms, humor and embarrassment. The hypotheses were that portray the silence and explore the characters reactions would be one of the show s features. The relief felt by the viewers, once they're not on the characters shoes, and the shock they might feel watching the awkward scenes and actions captured by the camera were some of the reasons that might make the audience find funny the embarrassing situations. Methodologically, the research has been a qualitative, descriptive and documental study. Episodes and scripts of the series, as well as materials and testimonials about the show, have been analyzed. The methodological basis has been composed of works by: Mills (2008; 2011), Evans (2001), Fox (2014) and Helitzer and Shatz (2005) about sitcom and comedy writing; Berger (1993), Propp (1992), Fox (2014) and Mills (2011) about humor; Lewis (1995) and Miller (1987; 1995) about embarrassment. The conclusion is that creating a "painful" show and making it seems like a real documentary have been some of the choices made by the sitcom's writers. It has also been found that the conflicts portrayed on the scenes, the main character s flaws, the incongruity between what people expect from an office's boss and the misplaced attitudes of this character, added to the sense of superiority experienced by the viewer, were some of the details that might explain why the office can be considered a funny show / O presente estudo teve como objetivo explicar, com base em teorias sobre o humor, por que as cenas embaraçosas retratadas na sitcom televisiva inglesa The Office podem ser consideradas divertidas. O programa, que não continha muitas piadas, fez grande sucesso ao redor do mundo retratando situações extremamente constrangedoras ocorridas dentro do escritório de uma empresa (fictícia) fabricante de papel. Descrever particularidades e escolhas criativas feitas pelos roteiristas da série foi também uma finalidade da pesquisa. Para isso, o estudo se apoiou em temas como sitcoms, humor e constrangimento. As hipóteses levantadas foram de que retratar o silêncio e explorar a reação dos personagens seriam algumas das particularidades do programa. O alívio por não estar na pele dos personagens e a surpresa diante das falas e ações absurdas captadas pela câmera seriam alguns dos motivos que levariam o telespectador a achar graça nas situações embaraçosas. Em relação à metodologia, a pesquisa semiótica foi qualitativa, descritiva e documental. Foram analisados episódios e roteiros da série, além de matérias e depoimentos falando sobre o seriado. A base metodológica foi composta de obras de: Mills (2008; 2011), Evans (2001), Fox (2014) e Helitzer e Shatz (2005) sobre o gênero sitcom e escrita de comédia; Berger (1993), Propp (1992), Fox (2014) e Mills (2011) sobre humor; Lewis (1995) e Miller (1987; 1995) sobre constrangimento. Verificou-se com o estudo que fazer um seriado "doloroso" de ser visto e semelhante a um documentário real foram algumas dentre outras escolhas feitas pelos roteiristas da sitcom. Concluiu-se ainda que os conflitos retratados em cena, os defeitos do personagem principal e a incongruência entre o que se espera de um chefe de escritório e as atitudes descabidas do mesmo, somados ao sentimento de superioridade experimentado pelo telespectador, seriam aspectos capazes de explicar a graça do programa

<p>The present dissertation is concerned with the social organization of emotions in talk-in-interaction. Conversation analytic procedures were used to uncover the practices through which participants in social interaction convey, understand, enact, and utilize emotions that are made relevant to the interaction. The central aim is to describe such practices and the contexts in which they are deployed, and to link emotions to the social actions that they perform or contribute to performing within situated activities. Conversation analytic work has generally not addressed emotions explicitly for reasons discussed in the dissertation, and a second aim was therefore to test the applicability of conversation analysis to emotion research, to theoretically bring together separate fields of inquiry, and to discuss advantages and limitations of a talk-in-interactional approach to emotions. Furthermore, the analytic approach to emotions is restricted to displays and orientations that are made relevant by participants themselves.</p><p>Data consists of video recordings of six graduate school seminars at a large university in the United States, as well as interviews with all 22 participants. From the analyses, three themes emerged; "frustration", "embarrassment", and "enjoyment", and within each, an assortment of practices for doing emotions were found. Frustration was primarily located in the context of violations of activity-specific turn-taking norms. Embarrassment was found to do multiple interactional work; for example, in contexts of repair, teasing, and culturally delicate matters. Enjoyment was found to be collaboratively pursued between and within institutional activities; for example, through reported speech dramatizations, utilization of activity-transitional environments, and playful 'mock' emotions. Timing of gaze aversion, laughter, and gestures were also found to be key to the display and perception of emotions.</p><p>The findings indicate that emotion displays can be viewed as transforming a situated action, opening up alternative trajectories for a sequences-in-progress, and also function as actions in themselves. Furthermore, it was concluded that conversation analysis is indeed a fruitful empirical route for understanding emotions and their role in social interaction.</p>

The present dissertation is concerned with the social organization of emotions in talk-in-interaction. Conversation analytic procedures were used to uncover the practices through which participants in social interaction convey, understand, enact, and utilize emotions that are made relevant to the interaction. The central aim is to describe such practices and the contexts in which they are deployed, and to link emotions to the social actions that they perform or contribute to performing within situated activities. Conversation analytic work has generally not addressed emotions explicitly for reasons discussed in the dissertation, and a second aim was therefore to test the applicability of conversation analysis to emotion research, to theoretically bring together separate fields of inquiry, and to discuss advantages and limitations of a talk-in-interactional approach to emotions. Furthermore, the analytic approach to emotions is restricted to displays and orientations that are made relevant by participants themselves. Data consists of video recordings of six graduate school seminars at a large university in the United States, as well as interviews with all 22 participants. From the analyses, three themes emerged; "frustration", "embarrassment", and "enjoyment", and within each, an assortment of practices for doing emotions were found. Frustration was primarily located in the context of violations of activity-specific turn-taking norms. Embarrassment was found to do multiple interactional work; for example, in contexts of repair, teasing, and culturally delicate matters. Enjoyment was found to be collaboratively pursued between and within institutional activities; for example, through reported speech dramatizations, utilization of activity-transitional environments, and playful 'mock' emotions. Timing of gaze aversion, laughter, and gestures were also found to be key to the display and perception of emotions. The findings indicate that emotion displays can be viewed as transforming a situated action, opening up alternative trajectories for a sequences-in-progress, and also function as actions in themselves. Furthermore, it was concluded that conversation analysis is indeed a fruitful empirical route for understanding emotions and their role in social interaction.

The purpose of this study is to approach the understanding of viewing of reality television with the intention to explore emotional responses in the reception since emotions are crucial part in the emotionalized television genre of reality television. The German adaption of the format The Farmer Wants a Wife was chosen for this case study to examine tendencies of portraying contestants in unpleasant situations. Humiliation, embarrassment or discrediting the contestants creates a balancing act between fun and ridicule. The protagonists are located between the status of (temporary) cult figures and/or figures of fun. The thesis’ main aim is to find out which emotions are perceived and addressed in the watching experience of the format being named in the context of ‘fremdschämen’. The winged German word for vicarious or empathic embarrassment was thereby addressed beyond its descriptive metaphor for current programs. Emotional responses in connection with shame and embarrassment were previously predominantly neglected in research on reality television. Its relevance and occurrence in media is insofar important, as the concept of ‘fremdschämen’ found the way into German mainstream language use. The thesis delivers qualitative approaches to capture the mediation of emotions in reality TV: In a narrative analysis, the question on how emotions actually are staged was approached. Subsequently, four focus group discussions with overall 18 German-speaking discussants were conducted to understand individual and social watching preferences, emotional involvement, attachment styles and positioning in the reception. The study’s findings suggest that the contestants’ ordinariness is challenged by mainly focusing on extraordinarity in the docusoap. Thereby, new opportunities of audience positioning, identification and anti-identification and constructions of appealing figures are encouraged. Gentle mockery in the style of presentation contains furthermore self-criticism of the genre and expresses a critical stance of viewing. Emotions are performed on different levels to increase entertaining values in the program. Especially embarrassment can be connected to its function of ridicule and the maintenance of social order.

No description available.

published_or_final_version / Social Work and Social Administration / Doctoral / Doctor of Philosophy

Cette thèse étudie le rôle de la religion et du scepticisme vis-à-vis de la publicité dans l’évaluation par les consommateurs de visuels publicitaires sexuellement choquants. L’étude qualitative 1 a pour objectif d’explorer les questions éthiques et culturelles contribuant au développement du scepticisme envers publicités sexuellement choquantes. La méthodologie choisie s’est composé 22 entretiens semi-directifs auprès de consommateurs indonésiens. Les publicités à contenu sexuel choquant sont perçues comme trompeuses et irritantes et que les consommateurs développent fréquemment une forme de scepticisme face à ces visuels. L’étude qualitative 2, une netnographie montrent que les consommateurs ont la capacité de juger le motif de l'utilisation du contenu sexuel créé par le marketing que nous avons identifié comme le symptôme du scepticisme publicitaire. Enfin, l’étude quantitative a poursuivi une méthode quasi-expérimentale afin d’étudier le rôle du scepticisme, de la religiosité et des exécutions publicitaires sur les réactions des consommateurs envers les publicités sexuellement choquantes et les conséquences pour la marque. 1024 réponses de consommateurs indonésiens ont été recueillies au moyen de questionnaires en ligne. Les sceptiques expriment non seulement une attitude négative envers les publicités, ils sont aussi moins intéressés par la marque qui est mise en avant. Les résultats suggèrent également que les facteurs de religiosité influencent l'effet d’exécution de la publicité (congruence de publicité) sur l’irritation perçue, l’attitude envers la publicité, et l’embarras ressenti. / This doctoral thesis aims to understand the role of religion and advertising skepticism in shaping consumers’ perspective and behavior regarding sexually appealing advertising. The first qualitative study explores the ethical and cultural issues regarding sexually appealing advertising with 22 semi-structured interviews among Indonesian consumers. Results show that sexually appealing advertising is perceived as deceptive and irritating and that ad skepticism is a frequent response to the excessive use of sexual content in ads. The second qualitative study is a netnography which aims to better understand the characteristics of skepticism toward sexually appealing ads and identify its consequences on consumers’ attitude and behavior. Results show that consumers have the capability to judge the motive behind the use of sexual content created by the marketer that we identified as the symptom of the ad skepticism. Finally, the quantitative study was performed with a quasi-experiment method in order to investigate the role of skepticism toward sexually appealing advertising, religiosity, and advertising executions on consumers’ ad reactions and brand consequence. 1024 responses from Indonesian samples were collected through web-based questionnaires. The skeptics not only express the negative attitude toward the ads, they are also less interested in the brand being advertised. Results also suggest that religiosity influence the effect of ad-execution construct (i.e. ad congruity) on perceived ad irritation, attitude toward the ad, and embarrassment.

Abstract This dissertation studies emotional displays in talk-in-interaction, especially focusing on conversational argument, storytelling and teasing. The aim is to understand how verbal expressions, prosodic cues, and embodied actions interact with each other in emotional expression. The main analytic approach and methodology is conversation analysis and multimodal interaction analysis, applied to interactional sequences from everyday conversations. The research data comes from three different video recordings and their transcripts. First, the dissertation reveals two broad types of frustration in conversational argument. The findings suggest that combined verbal and nonverbal expression of frustration involves a complex interplay of prosodic cues and embodied actions. Nonverbal expression of frustration is displayed by embodied actions alone. Second, the dissertation shows how shared joy is conveyed between storytellers and recipients in storytelling. They can achieve shared joy because the recipients express willing participation and active recipiency in two main ways: they display verbal appreciation of the story, or they join in the storytelling through laughter, smiles, head nods, and gaze exchanges. The recipients may also offer summaries or interpretations of events in the story by comparing their own experiences to events in the story. Third, the dissertation analyzes playful teasing activity, showing how teasing activity can bring about a shared experience of amusement for both teasers and their “targets.” The study argues that recipients of teasing are active contributors in the social interaction. The transient embarrassment felt by the teased participants does not prevent the exchange from reaching a shared experience of amusement. / Tiivistelmä Väitöskirja tutkii tunteiden osoittamista arkisissa keskustelutilanteissa ja erityisesti väittelyn, tarinankerronnan ja kiusoittelun kuluessa. Tutkimusmetodi on pääasiassa keskustelunanalyysi, jonka avulla tutkitaan, miten kielelliset ilmaukset, prosodiset vihjeet sekä keholliset toiminnot yhdessä tuottavat tunneilmauksia. Tutkimusaineiston muodostaa kolme videoitua keskustelua ja niiden litteraatiot. Tutkimus osoittaa arkikeskusteluissa esiintyvissä väittelyissä ilmenevän kahtalaista turhautumisen tyyppiä. Ensimmäisessä puhujat tuottavat rinnan kielellisiä ja ei-kielellisiä turhautumisen ilmauksia, toisessa turhautumista osoitetaan vain ei-kielellisin keinoin. Tuloksien mukaan edellisessä tyypissä prosodia ja keholliset toiminnot ovat monimutkaisessa vuorovaikutuksessa keskenään. Jälkimmäisessä tyypissä turhautumista ilmaistaan pelkästään keholla. Toiseksi väitöskirja osoittaa, miten jaettu ilon tunne syntyy puhujien ja vastaanottajien välisenä toimintana. Tarinankerronnassa saavutetaan ilon hetkiä, koska vastaanottajat ovat halukkaasti mukana kerronnassa ja osoittavat aktiivista vastaanottoa kahdella tavalla: he osoittavat arvostusta kertomusta kohtaan verbaalisin keinoin, tai he liittyvät kerrontaan mukaan nauramalla, hymyilemällä, nyökkäilemällä, vaihtamalla katseita keskenään, referoimalla ja tulkitsemalla kertojan aiempaa puhetta formulaatioillaan ja vertailemalla omia kokemuksiaan tarinan tilanteeseen. Kolmanneksi tutkimus analysoi leikkisää kiusoittelua, joka saadaan aikaan liioittelevilla kielellisillä ilmauksilla sekä liioittelevilla prosodisilla vihjeillä ja eleillä. Tutkimus näyttää, että kiusoittelun kohteet aktiivisesti myötävaikuttavat kiusoittelutoimintaan. He voivat olla siinä mukana liioittelevilla vastausvuoroilla, nauramalla tai toimimalla mukana pelkästään eleiden avulla. Empiirinen analyysi näyttää, että kiusoittelutoiminta tuottaa yhteisen huvittuneisuuden kokemuksen keskustelun kuluessa. Kiusoittelijan ja kiusoittelun kohteen kokema ohimenevä nolous tai kiusaantuneisuus ei estä tämän yhteisen huvittuneisuuden kokemuksen saavuttamista.