Parents play an important role in socializing children's emotion understanding. Previous research on parents' conversations with their children shows that parents emphasize different aspects of emotion contexts depending on the emotion depicted. However, there is limited research on how parents and children discuss self-conscious emotions, such as embarrassment, guilt, and shame. The current study explored the socialization of self-conscious emotions in parent-child conversations during a storybook task. One hundred and sixty-six children between the ages of 24 and 36 months were observed reading a storybook with their parent. Analyses of parent-child conversations revealed that while parent and child utterances were highly correlated, only parents differentially discussed different aspects of each self-conscious emotion. Additionally, the frequency of parents' causality and knowledge-based questions directed towards their children differed by self-conscious emotion. Whether parent communication of emotion serves as a framework for child understanding and interpretation of self-conscious emotions will be discussed.

In modern times, there is an increasing tendency to use "us versus them" rhetoric in the political realm. Motivated reasoning literature offers a solution as to how group conflict contributes to outgroup bias. People may develop negative feelings towards outgroups in order to reduce cognitive dissonance and feel better about their judgments. Nevertheless, this is not the situation for everyone. My research aims to understand how peoples’ predisposed tendencies may affect the level of their out-group bias. Drawing from the distinction between shame (a negative sense of identity) and guilt (a response to a specific behavior) in psychology, I hypothesized that self-conscious emotions would moderate the relationship between information about in-group transgressions and out-group bias. To test this, I conducted a survey experiment with three different groups: Men/Women, White/Black people, and Democrats/Republicans. Participants were randomly assigned to watch videos depicting misbehavior from their respective group. Results showed that the proneness to self-conscious emotions did moderate the relationship to some extent, although the connection between shame and guilt proneness was more complex than anticipated. Criticizing one's in-group generally caused people to experience cognitive dissonance and reinforced out-group bias, particularly among those who were highly prone to both shame and guilt. The three-way interaction between treatment, shame proneness, and guilt proneness varied across and within the different identity categories, suggesting that there is no single theory that can entirely explain the degree of out-group bias. / Political Science

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.

Esta tese trata do romance de Machado de Assis e da reflexão sobre o gênero do romance e suas possibilidades narrativas ficcionalizadas em sua obra. Pretende-se analisar as diferentes propostas narrativas empregadas pelo autor que, após encaminhar discussões sobre a literatura brasileira, intervindo criticamente e propondo alternativas de abordagem aos autores de sua geração, em ensaios como \"Notícia da atual literatura brasileira instinto de nacionalidade, de 1873, e \"A nova geração, de 1879, passou a ficcionalizar a sua reflexão sobre o gênero romanesco em seus romances, sendo o conjunto de obras pós-1881 o que mais radicaliza o processo. A Crise do título se refere ao período da década de 1870, quando Machado buscou uma espécie de conciliação com o gênero romanesco, uma conciliação conflituosa em busca de um público e em desacordo com os modelos adotados; Destruição se refere à série de romances iniciada com Memórias Póstumas de Brás Cubas. Pretende-se analisar a obra romanesca em contraste e sintonia com a produção ficcional da década de 1870, por meio de um recorte sincrônico ao momento de publicação dos romances. O objetivo é apreender, a partir disso, a sua visão problematizadora do gênero. / This dissertation refers to Machado de Assis novel, his reflection on the novel genre and the fiction narrative presented on his work. It seeks to analyze the writer`s different narrative proposals. Machado de Assis led the discussions about the Brazilian literature through critical interventions and offered alternative approaches to the author from his generation on his essays Notícia da atual literatura brasileira instinto de nacionalidade (1873) and A nova geração (1879). Afterwards, the author began to render into fiction his reflections about the novel genre, especially on his opus after 1881. The Crisis on the title denotes the 1870s when Machado sought to come to terms with the novel genre, though a conflicted conciliation seeking an audience and disagreeing with the set models. Destruction refers to the novel series beginning with Posthumous memoirs of Bras Cubas. This study analyzes the novel comparing and contrasting the production of fiction in the 1870s using a synchronic frame from the novels publishing times. Based on that, the aim is to learn his problematizing perspective on the genre.

Esta tese trata do romance de Machado de Assis e da reflexão sobre o gênero do romance e suas possibilidades narrativas ficcionalizadas em sua obra. Pretende-se analisar as diferentes propostas narrativas empregadas pelo autor que, após encaminhar discussões sobre a literatura brasileira, intervindo criticamente e propondo alternativas de abordagem aos autores de sua geração, em ensaios como \"Notícia da atual literatura brasileira instinto de nacionalidade, de 1873, e \"A nova geração, de 1879, passou a ficcionalizar a sua reflexão sobre o gênero romanesco em seus romances, sendo o conjunto de obras pós-1881 o que mais radicaliza o processo. A Crise do título se refere ao período da década de 1870, quando Machado buscou uma espécie de conciliação com o gênero romanesco, uma conciliação conflituosa em busca de um público e em desacordo com os modelos adotados; Destruição se refere à série de romances iniciada com Memórias Póstumas de Brás Cubas. Pretende-se analisar a obra romanesca em contraste e sintonia com a produção ficcional da década de 1870, por meio de um recorte sincrônico ao momento de publicação dos romances. O objetivo é apreender, a partir disso, a sua visão problematizadora do gênero. / This dissertation refers to Machado de Assis novel, his reflection on the novel genre and the fiction narrative presented on his work. It seeks to analyze the writer`s different narrative proposals. Machado de Assis led the discussions about the Brazilian literature through critical interventions and offered alternative approaches to the author from his generation on his essays Notícia da atual literatura brasileira instinto de nacionalidade (1873) and A nova geração (1879). Afterwards, the author began to render into fiction his reflections about the novel genre, especially on his opus after 1881. The Crisis on the title denotes the 1870s when Machado sought to come to terms with the novel genre, though a conflicted conciliation seeking an audience and disagreeing with the set models. Destruction refers to the novel series beginning with Posthumous memoirs of Bras Cubas. This study analyzes the novel comparing and contrasting the production of fiction in the 1870s using a synchronic frame from the novels publishing times. Based on that, the aim is to learn his problematizing perspective on the genre.

La figure de lecteur, prégnante dans les romans britanniques des XVIIIe et XIXe siècles, est porteuse de sens pour l’histoire du roman. Intimement liée à l’histoire du livre et à la discontinuité de lecture qu’impose la publication des romans en plusieurs volumes ou épisodes, elle s’impose aussi comme une représentation plus ou moins fidèle du lectorat. La figure de lecteur reconstruit ainsi l’histoire complexe que le roman entretient avec ses lecteurs. Derrière une bienveillante volonté d’inviter le plus grand nombre à la lecture romanesque se cache en réalité une tendance à la définition du lectorat par exclusion. Pour aussi paradoxal que cela soit, le roman a peur de ses lecteurs. Mus par la volonté de dissocier le genre des vulgaires « romances », les auteurs ne vont avoir de cesse de repousser en marge de leur texte tant de lecteurs indésirables susceptibles de faire échouer l’édifice littéraire aux préceptes encore très classiques qui se met en place. Au-delà, la figure de lecteur ne saurait être qu’une simple affaire de représentation : elle est aussi un double narratif, une sorte de miroir érigé au narrateur-auteur qui met à profit ce reflet inversé pour construire l’instance narrative encore bien peu légitime qu’il représente. Figure de lecteur et narrateur-auteur sont indissociablement liés. Ainsi les variations d’apparition de la figure de lecteur dans le texte n’ont d’égal que la fragilité de la voix auctoriale et l’expression de l’angoisse de réception que trahit une très symptomatique rhétorique de dépréciation. / Pregnant as it is in 18th and 19thC British novels, the reader in the text is potent with meaning for the history of the novel. Related to the history of the book and the discontinuous act of reading imposed on readers by the publication of novels in different volumes or episodes, the reader figure may also be seen as a more or less faithful representation of actual readers. The reader figure thus retraces the complex history of the relationship between the novel and its readers. Behind what appears as a complacent will to invite the widest audience to the reading of novels, a more systematic tendency to define readership by exclusion can hardly be concealed. Paradoxical as this may be, the novel has much to fear from its readers. Moved by their will to have the genre clearly distinguished from vulgar romances, the authors will repeatedly push those unwelcome readers likely to lead the whole literary edifice to a collapse back to the margins of their texts. But the reader cannot just be a matter of representation: it also is a narrative double, a sort of mirror erected to the self-conscious narrator who uses it to build up the hardly legitimate literary authority he stands for. Thus the reader figure and the self-conscious narrator are linked by an indissolvable bond. The variations in number of reader figures only reverberate the frailty of the authorial voice and the anxiety of reception expressed in a highly symptomatic text-undermining rhetoric.

The aim of this study is to discover nonverbal, bodily gesture and contextual cues indicating self-conscious emotions and use these clues to examine personal differences and psychopathological symptoms. Moreover, possible effects of cultural differences on self-conscious emotions&rsquo / recognition and their relation to psychopathology are meant to be discussed. To achieve aforementioned goals, the study is partitioned into three separate but interdependent phases. The aim of the study is scale adaptation for which the State Shame and Guilt Scale, Test of Self-Conscious Affect-3, Guilt- Shame Scale, State-Trait Anxiety Inventory, and Beck Depression Inventory are applied to a group of 250 university students. The second study&rsquo / s objective is to determine the nonverbal expressions used in recognition of self-conscious emotions. To meet this goal, 5 TAT cards, whose compatibility with the research questions is verified, are applied to 45 university students in separate sessions by using close ended questions. In the third part of the study, 9 TAT cards, which include clues about recognition and nonverbal expressions of self-conscious emotions, adapted corresponding scales, and a psychopathological symptoms measuring scale (SCL-90) in self-report format are applied on a group of 250 university students. Factor and correlation analyses done in the first part reveal that adapted scales are reliable and valid, while group comparisons and measurements of the second part indicate differences in emotions. Findings reveal that shame can be recognized by nonverbal expressions whereas for guilt contextual clues are facilitated. In the third part, group comparisons and regression analyses, which are done in order to reveal self-conscious emotions&rsquo / recognition and their significant relationships with psychopathology, display that state self-conscious emotions and shame-proneness have very important roles on psychopathology. All these findings are discussed in the light of cultural effects.

This study aimed at revealing and differentiating the emotions of shame and guilt felt by the adolescents with maternal cancer. In order to reveal and differentiate these emotions, a sentence completion task and interviews were used. The study was conducted on 10 adolescents in age range of 16-20. With each participant, four private sessions were made. In the first session, the participant&rsquo / s knowledge of his/her mother&rsquo / s condition was evaluated through the Sentence Completion Test. In the second session, Pandora&rsquo / s Box, a film by Yesim Ustaoglu was watched with the participant to understand if the film evoked the targeted emotions and the second format of Sentence Completion Test was given. In the third session, 20 minute interviews were conducted with the participant, privately. These interviews were called &ldquo / interventions&rdquo / because they aimed to intervene to the process of feeling guilty and ashamed and replace them with a positive self-conscious emotion, pride. The fourth and final session was conducted after one week and aimed to check if the anticipated affect of film and interventions lasted. Only 3 participants out of 10 returned for the fourth session, so the fourth session was left out of the analysis. Two main analyses were conducted in the current study. The frequencies of shame and guilt were examined in the Sentence Completion Test analysis and the interviews were analysed qualitatively. The outcome resulted that in both Sentence Completion Test and interview analysis, the adolescents with maternal cancer revealed emotions of shame and guilt. Furthermore, in the Sentence Completion Test analysis, it was tested whether the frequency of emotions of shame and guilt increased or decreased by the intervention of the film and interviews and the outcome yielded that neither the film Pandora&rsquo / s Box nor the interventions made any significant effect. The results were evaluated and the implications were discussed. Finally, limitations of the study and recommendations for future research were explained. Keywords: Cancer, breast cancer, adolescents, self-conscious emotions, Cinematherapy, Interventions Technique, Qualitative Study.

This study aimed at revealing and differentiating the emotions of shame and guilt felt by the adolescents with maternal cancer. In order to reveal and differentiate these emotions, a sentence completion task and interviews were used. The study was conducted on 10 adolescents in age range of 16-20. With each participant, four private sessions were made. In the first session, the participant&rsquo / s knowledge of his/her mother&rsquo / s condition was evaluated through the Sentence Completion Test. In the second session, Pandora&rsquo / s Box, a film by Yesim Ustaoglu was watched with the participant to understand if the film evoked the targeted emotions and the second format of Sentence Completion Test was given. In the third session, 20 minute interviews were conducted with the participant, privately. These interviews were called &ldquo / interventions&rdquo / because they aimed to intervene to the process of feeling guilty and ashamed and replace them with a positive self-conscious emotion pride. The fourth and final session was conducted after one week and aimed to check if the anticipated affect of film and interventions lasted. Only 3 participants out of 10 returned for the fourth session, so the fourth session was left out of the analysis. Two main analyses were conducted in the current study. The frequencies of shame and guilt were examined in the Sentence Completion Test analysis and the interviews were analysed qualitatively. The outcome resulted that in both Sentence Completion Test and interview analysis, the adolescents with maternal cancer revealed emotions of shame and guilt. Furthermore, in the Sentence Completion Test analysis, it was tested whether the frequency of emotions of shame and guilt increased or decreased by the intervention of the film and interviews and the outcome yielded that neither the film Pandora&rsquo / s Box nor the interventions made any significant effect. The results were evaluated and the implications were discussed. Finally, limitations of the study and recommendations for future research were explained.

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.