Submitted in partial fulfillment of a degree of Master of Arts by Coursework and Research Report at the University of the Witwatersrand, Johannesburg, South Africa 1998 / A combination of written and interview protocols were collected from 4 participants, two men aged 27 and 29, and two women, 24 and 28. The participants responded to questions about their understanding and use of sexual fantasy, giving concrete examples. The data were analysed qualitatively using the phenomenological themes of Space, Time and Being. These themes demonstrated the value of examining sexual fantasy experience as a unique lived experience. The data were then discussed in light of this and also with reference to previous research. The data collected for this study demonstrate the unique way in which fantasy exists in interaction with its fantasiser. It also highlights the change between the fantasy and the retrospective experience of fantasy. / MT2017

Thesis (Ph. D.)--University of North Texas, August, 2008. / Title from title page display. Includes bibliographical references.

Thesis (doctoral)--Universität Hamburg. / Vita. Includes bibliographical references (p. 328-342).

The limited body of research on the emotional tone of women's and men's written sexual fantasies has relied on qualitative and/or subjective measures of affect. In this study, the Dictionary of Affect in Language (Whissell, 1989) was used to obtain two quantitative measures, Activation and Evaluation, of the emotional tone of sexual fantasies written by male (n=71) and female (n=119) university students. It was hypothesized that men would score higher than women on Activation, which is associated with arousal and action, and women higher than men on Evaluation, which is associated with pleasant feelings. Only the latter hypothesis was confirmed. Men scored higher on a measure of erotophilia-erotophobia than did women (although not on a measure of sex guilt), but controlling for erotophilia did not eliminate the observed affective difference in written sexual fantasy. Limitations of the study and other possible uses of the Dictionary in sex research are discussed. / Department of Counseling Psychology and Guidance Services

No description available.

No description available.

Thesis (M.A.)--University of Regina, 1998. / Includes bibliographical references (leaves 76-83).

Thesis (M.A.)--Eastern Illinois University, 2008. / Includes bibliographical references (leaves 25-26).

Thesis (Ph. D.)--Carleton University, 1998. / Includes bibliographical references (leaves 129-142).

Cette thèse se propose de cerner les contours de la généalogie fantasmatique et fantomatique qui nourrit, possède et obsède le cinéma de Rainer Werner Fassbinder. Entre défaut et trop et #8208;plein de visible, le revenant s’y impose, en creux, comme le personnage central d’une oeuvre troublée par les questions hautement mélancoliques de l’absence et du retour. Ainsi, les figures du deuil, de la ressemblance, de l’obsession, de la ruine et du vampirisme s’y manifestent comme autant de symptômes d’une hantise subtile, d’autant plus inquiétante qu’étrangement familière. Les spectres, qu’ils soient psychiques ou plastiques, issus de la mythologie, de la littérature, de la peinture ou du cinéma, traversent et nourrissent les films de Fassbinder, dont l’extrême diversité révèle une étonnante cohérence et dessine une trajectoire fascinante. C’est à l’aide des outils de l’esthétique, de la psychanalyse et de la philosophie, mais aussi de la critique littéraire ou picturale, que nous tâchons ici de dévoiler les visages du fantastique qu’arbore cette filmographie sous influence, où l’anachronisme le dispute à l’éternel retour. Lieu du retour du refoulé et de la survivance plastique, le cinéma de Fassbinder s’affirme en dernier recours comme un véritable tombeau, endroit où l’Absent, inscrit à demeure et pour mémoire, peut enfin trouver le repos et mettre un terme à ses errances lugubres. Ainsi, la hantise, qu’elle soit esthétique ou narrative, plastique ou poïétique, prouve sa capacité à mettre sa puissance, habituellement mortifère, au service de la création artistique. / Fassbinder said that he wanted to build a house with his films. This house is a haunted home inhabited by mythological, pictorial, literary, and cinematographic ghosts who asserts themselves as main characters of a work filled with the Melancholia of Absence and Return. The space created by the Master Architect Fassbinder will collapse into itself to form a Tomb where ghosts may find an end to their gloomy wanderings. This thesis attempts to delineate the genealogy of fantasies which haunt Rainer Werner Fassbinder’s oeuvre with the tools provided by Aesthetics, Psychoanalysis, and Philosophy. It also tries to reveal their functions: as deadly as these fantasies may be, they are not only representational effects but also the necessary conditions for the creation of the films.