Conflict experiences of long-distance dating relationships versus geographically close dating relationships Abigail Hammonds, Department of Communication and Performance, College of Arts and Sciences, East Tennessee State University, Johnson City, Tn. Interpersonal relationships inherently involve conflict. Previous research has examined conflict in romantic relationships, but few studies have compared the experiences of long-distance partners and geographically close partners. This study was designed to examine whether individuals in long-distance dating relationships and geographically close dating relationships would differ in their use of conflict strategies and experiences of conflict intensity. Participants were recruited from Facebook, Instagram, and Reddit.com. Participants completed a survey including the 39-item Romantic Partner Conflict Scale designed to measure six subscales of conflict management strategies; as well as a new 7-item measure of conflict intensity that was developed for this study. The items were derived from previous research and the measure was tested for reliability. This study found that individuals in long-distance dating relationships and individuals in geographically close dating relationships have extremely similar experiences of conflict and conflict management styles. These results indicate that conflict management styles alter more based on the individual members in the relationship and are unlikely to be changed due to the nature of the relationship. Feature research should be completed to explore determinants of conflict style.

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Psychopathy is a rare and unique disorder, primarily associated with an emotional deficiency and an inclination towards violent antisocial behavior. Among the various symptoms, the affective experience of the incapacity for love has received little empirical attention, despite having been established as one of Cleckley's 16 classic characteristics. Moreover, the role of physiological responding in their romantic experiences has yet to be examined. The proposed study examined physiological reactivity (i.e., heart rate, HR; skin conductance, SC) as a mediator and moderator in the relationship between psychopathic features and romantic experiences (i.e., passionate love, companionate love, Ludus love, relationship satisfaction, relationship history) in college men. As hypothesized, physiological reactivity mediated and moderated the relationship between psychopathic features and romantic experiences. Specifically, low physiological arousal for the partner partially mediated the relationship between psychopathic features and passionate love. Also, it was found that the interaction between low physiological arousal for the significant other and high physiological arousal for the opposite-sex friend moderates the relationship between psychopathic features and deficient romantic experiences. By gaining a better understanding of the impact on their romantic experiences, this study is intended to contribute to improved identification and assessment of psychopathic men. / Ph. D.

How did Romantic poets react to Wordsworth's preoccupation with immateriality, an illusion of poetic experiences in which the form of poetry itself becomes ironically unnecessary? To what extent is Romantic poetry involved with a counter-tradition of self-exposure, with an awareness of literary experience and meaning as essentially inseparable from its physical form? To address these questions, my dissertation looks in three directions: first, at the evidence of contradictions in Coleridge's lyric poems and, second, at Keats's reflexive alertness to the techniques that Wordsworth often uses to achieve the lyric effects of immediacy and, third, at the changing nature of the Romantic notions of the self and the materiality of text in the wake of Charlotte Smith's experiment with paratext. Chapter I explores the critical implications of Wordsworth?s emphasis on the mind and individual subjectivity, which involves a myth of Romanticism that genuine poetry can be attained when its production and existence in the material world become paradoxically invisible. Examining the publishing history of Coleridge's poems of poetic failure, and his conflicting motives for re-writing them, Chapter II argues that Coleridge's self-conscious poems have been considered, erroneously, in terms of a deeply private genre in which the poet describes a moment of personal crisis involved with the breakdown of his creative power. In Chapter III, I show how Keats debunks Wordsworthian notions of solitary authorship in the Hyperion poems via his persistent references to the act, artifice and materiality of writing. Reading Beachy Head as a challenge to the Romantic fiction of a unified self, Chapter IV argues that Smith's preoccupation with print apparatuses and discursive modes highlights her refusal to integrate the competing voices and styles she displays in the poem, preventing readers from easily associating the hybrid poetic persona with her earlier lyric ethos. Chapter V builds on the concept of hypermediacy, an awareness and artistic representation of mediation, in order to argue that the ways in which Coleridge, Keats and Smith represent the act, process and materiality of writing indicate a counter-tradition in Romantic literary culture that challenges the predominant Wordsworthian logic of immateriality.

Romantic relationships (RR) regarding attachment styles and theory have been widely studied, whereas platonic relationships (PR) have received comparatively less attention in research. This study aims to explore two hypotheses: (1) individuals exhibit more avoidant behavior in platonic relationships rather than anxious behavior, and more anxious behavior in romantic relationships than in platonic ones; (2) attachment styles in platonic relationships manifest uniquely and can exist independently of romantic attachment. This research aims to better understand the way that attachment differs between both relationship types. Through a quantitative study involving a survey with a 5-point Likert scale measuring attachment, administered to college-aged students and others, the data analysis supported the prediction that anxiousness is higher in RR than in PR and avoidance is higher in PR than in RR. As for the second hypothesis, the data did not fully support that attachment styles exist uniquely in both relationship types. This research helps contribute to a better understanding of how attachment differs between RR and PR.

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The thesis offers an interpretation of Shelley's poetry which focuses on his treatment of external nature. Its main argument is that a subject-object dialectic lies at the basis of his thought and style. Manifesting itself as a tension and oscillation between dualist and monist tendencies, this dialectic underlies the opposing strains of thought associated with his sceptical idealism; it informs the relationship between various contraries with which he is recurrently concerned, such as reason and feeling, necessity and freedom, language and thought; and it accounts for some major characteristics of his style--for example, its self-reflexiveness, indeterminacy, and restless forward momentum. Nature is found to play a complex dual function in this dialectical process: first, as the circumference to the circle of which mind is the centre, it provides the material of thought and poetry; secondly, through its cyclic processes, it serves as an emblem of the mind's dynamic relationship with that material. In finding the characteristic thought-pattern of his poetry to be constituted of a creative-destructive interplay of contraries, the thesis contends that Shelley is a significant exponent of Romantic irony. Such a reading of his work mediates between an earlier tradition of interpreting him as a Platonising poet of nature and the more recent emphasis that has been given to his philosophical scepticism and political radicalism. Throughout, attention is given to the interacting influences of his direct experience of nature (as recorded mainly in his letters) and the representations of nature he encounters in his reading. The following poems, chosen for their importance in Shelley's canon and as clear illustrations of his treatment of nature, are discussed chronologically in successive chapters: Queen Mab, Master, the 1816 odes, Prometheus Unbound, Adonais, and The Triumph of Life.