This thesis proposes that the ancient Greek novels theorize their readers from within themselves. The novels self-consciously promote and construct a reader who is curious, or polypragmôn, and lead this reader towards a recognition of that fact. The reader becomes aware of his or her experience of reading as a process. Drawing on Plutarch's suggestion that the best way to turn curiosity into a force for good is to turn it on oneself, this thesis puts forward the idea that the novels lead a curious reader to engage with his or her encounter with the text, to identify him or herself as curious, and in so doing come to a position of self-analysis. Attention is drawn to the experience of reading, and the lessons that can be learnt from it, by the embedding of narratives within the novels. Embedded or partial narratives can suggest alternative storylines and encourage the curious reader to pry and collaborate with the narrator. The experience of interior space maps the reader's encounter with the novel, constructing him or her as curious as s/he is encouraged to peep through gaps in doors, follow the narrator through doors, and think about his or her status as voyeur and eavesdropper. Deceptive narratives lead the reader to follow suggested storylines and to interrogate the text to try to discover the 'truth' that may lie behind the narrative. Finally, the presence of female characters incites the curious reader to find out what s/he can about them, pushing the narrative to its limit. In going through this process of interrogating the text and actively striving to find out more by reading between the lines, the reader becomes aware of reading as a process, and of his or her curiosity, thus becoming able to analyse him or herself. The novels thus promote a theory of how their readers approach them.

The study of emotional language use and production within UK adolescent therapeutic populations has received relatively little attention compared to other client-, process- and outcome factor research. In recent years, novel and distinct methods of delivering therapy that rely on the production and interpretation of language are increasing in popularity, compared to traditional therapeutic models that use non-verbal aspects of communication in the therapeutic process. In order to explore how aspects of emotional language production may inform clinicians about therapeutic interventions with a UK adolescent population, two studies were designed to analyse how adolescents use written emotional language to indicate their psychological wellbeing, identity and agency development through receipt of psychological intervention. A quantitative study was designed to measure therapeutic and non-therapeutic adolescents’ production of positive and negative emotional word frequency through free-response narratives. Positive and negative emotional word frequencies were assessed for relationships with measures of trait emotional intelligence (TEIQue-ASF; Petrides et al., 2006) and psychological wellbeing (18-item PWBS; Clarke et al., 2001). Multiple regression analyses determined that trait emotional intelligence significantly predicted psychological wellbeing, but positive and negative emotional word production and therapeutic experience did not. A qualitative study using Parker’s (2005) methods of narrative analysis of limited narratives focused on exploring how adolescents who have experienced therapy construct narratives. The analysis illustrated the construction of agency in developing adolescent identities and accounts of helpful and unhelpful events in therapeutic interventions, which became the primary narrative genres. Emotional contexts were highlighted in exploring the functions of emotional language in constructing stories of adolescent agency and identity in therapy. The results of both studies, their contributions to, and implications for clinical practice and counselling psychology are discussed in relation to novel or modern methods of delivering therapeutic interventions tailored to this developmental population, and in the wider socio-political context.

Submitted by ANA KARLA PEREIRA RODRIGUES (anakarla_@hotmail.com) on 2017-09-20T16:52:49Z No. of bitstreams: 1 arquivototal.pdf: 1102587 bytes, checksum: dbec301f34c93ddb21f782fa9e19a428 (MD5) / Made available in DSpace on 2017-09-20T16:52:49Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 1102587 bytes, checksum: dbec301f34c93ddb21f782fa9e19a428 (MD5) Previous issue date: 2016-08-31 / This work intents to analise Maria Carolina de Jesus' two books, Quarto de Despejo (1960) and Casa de Alvenaria (1961), both consisting of diaires from the author between 1955-1961. The first one was written during the time she lived in the Favela do Canindé - São Paulo. Continuation of the first, the second was written after the successful sales of her first book, after witch Carolina goes on to live in a middle class neiborhood and mingle amongst intelectual circles. Based on the reflection of narrative and experience, these two Works are interpreted as significant elaborations about the historical processes in witch they are inserted into. Both naratives offer an interesting way to investigate the transformations happening in Brazil at the time, from the perspective of a singular individual, nevertheless, she faced some of the main issues of her time: the economical and social transformations in a city witch was center of industrialization, the cultural dinamics and the apropiations of a popular culture that renews itself whithin the context of these transformations, the possibilities of survival and of social insertion of folk layers in the urban world, the raising of new manners of social participations and their limits . / Este trabalho pretende analisar duas obras da escritora Carolina Maria de Jesus, Quarto de Despejo (1960) e Casa de Alvenaria (1961), ambas constituídas de diários escritos entre 1955 e 1961. A primeira foi escrita durante o tempo em que viveu na favela do Canindé – São Paulo. Continuidade da primeira, a segunda foi escrita após o sucesso de venda de seu primeiro livro, quando Carolina passa a viver num bairro de classe média e a circular nos meios intelectuais. A partir da reflexão sobre narrativa e experiência, interpretam-se essas duas obras como elaborações significativas sobre os processos históricos em que estão inseridas. As duas narrativas proporcionam um caminho para investigar as transformações vividas no Brasil no período, sob a ótica particular de um sujeito de uma mulher pobre, mas que se defrontou com algumas das principais questões de sua época: as transformações sociais e econômicas vividas na cidade que foi centro da industrialização brasileira, as dinâmicas culturais e apropriações de uma cultura popular que se refaz no contexto dessas transformações, as possibilidades de sobrevivência e de inserção social de camadas populares no mundo urbano, a emergência de novas formas de participação social e seus limites.