This study examined the potential psychosocial benefits of writing about one's best possible emotional connectedness with a romantic partner for male college students with varying levels of restrictive emotionality. One hundred and fifty-eight male college students were randomly assigned to either an experimental or a control writing condition. Experimental participants wrote for 20 minutes each day for three days about how their lives would be different if they had the best possible emotional connectedness with a real or imaginary romantic partner while control participants wrote about impersonal topics. Before and after the writing intervention (on the last day of writing and four weeks after the writing), participants completed self-report measures of their restrictive emotionality, psychological distress, positive relations with others, and personal growth. Participants also completed a questionnaire on their expression of emotional intimacy to their romantic partners/significant others four weeks after the writing intervention. It was hypothesized that experimental participants would report better psychosocial health than control participants. Further, among high restrictive emotionality participants, the experimental group was expected to benefit more from the writing intervention than the control group, although among low restrictive emotionality participants, both conditions were expected to produce equivalent results. The results indicated that the only significant difference between the experimental and control groups on the main outcome variables was change in psychological distress. Experimental participants reported a significantly greater decrease in psychological distress than did control participants four weeks after the writing intervention. None of the hypothesized condition by restrictive emotionality interactions were confirmed. In addition, the expressive writing intervention produced approximately equal results for men who were in romantic relationships and men who were not. Further, a multiple regression analysis of the main pretest outcome variables indicated that participants' restrictive emotionality was positively associated with not being in a romantic relationship and negatively related to their positive relations with others.

Orientador(a): Luiza Helena da Silva Christov / Banca: Gloria Mercedes Valdivia de Kirinus / Banca: Margaret Maria Chillemi / Banca: Rita Luciana Berti Bredariolli / Banca: Lucia Castello Branco / Acompanha um caderno de frases sem título e uma caderneta em branco / Possui anotações à lápis que fazem parte da concepção da obra / Resumo: Este trabalho nasce da necessidade de circunscrever a experiência de uma poeta educadora que atua com aulas de escrita no campo da arte-educação, realizando oficinas para jovens e adultos alfabetizados, no contexto de disciplinas de pós-graduação, de curso de extensão universitária e também de ateliês literários em bibliotecas públicas e instituições culturais, predominantemente no estado de São Paulo, desde 2008. Considerando que escrever é arriscar-se ao que ainda não se sabe, e que a palavra risco é o movimento de traçar, de marcar com algum instrumento uma superfície, como também o gesto (gerere) de correr risco, de arriscar-se, narrar a experiência dessa escrita foi se convertendo numa escrita-experiência. Mas, para quê? Em que medida compartilhar experiências de um processo de criação em escrita pode ativar o desejo de escrita do outro? O caminho escolhido para responder a essa pergunta foi escrever, expor os assombros, encontros e os desconfortos de um processo que transita entre escrever e dar aulas (e, portanto, viver), a partir de referências, registros e memórias inventadas e inventariadas, e que foi se organizando em torno de três eixos: Referenciar-se, relatos e ensaios que circunscrevem o lugar "de alguém que escreve"; Inventar(iar)-se, textos que convidam a olhar e habitar as microescritas já presentes no cotidiano; Partilhar-se, situações vividas em aula em que um desejo-escrita se produziu. Acredita-se que cada escrita é um... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: This work emerges from the need to circumscribe the experience of a poet and educator who has been teaching writing classes in the field of art education, conducting free courses to educated adults and young people in the environment of postgraduate programs, in university extension courses as well as in literary workshops (in public libraries or other cultural institutions) mainly in the state of São Paulo (Brazil), since 2008. Considering that part of writing is risking yourself in the unknown, and that the word "risk" has its roots in the meaning of tracing a movement, of drawing by using some instrument, narrating this experience became a new experience itself, the writing experience, which raised the following question. To what extend does the creating process of writing activate the will of others to write also? The chosen path for answering that question is, again, writing to get into the fears and discomforts of playing the roles of writing, teaching and, consequently, living on invented (or even inventoried) memories, references and records - that have been organized in three themes: "Making reference", compositions that express the place which the writer speaks from; "Invented or inventoried texts", that invite us to both face and inhabit the micro-writing present in everyday life; and "Sharing yourself", about situations lived in the classroom in which the act of writing took place as a phenomenological phenomenon. Each piece of writing is a... (Complete abstract click electronic access below) / Doutor

published_or_final_version / Psychology / Master / Master of Philosophy

published_or_final_version / abstract / Education / Doctoral / Doctor of Philosophy

This thesis is designed to invite scholars, writers, and teachers of rhetoric and composition pedagogy to re-evaluate the revision process as a means of inspiring and supporting first-year writers to become acquainted with their “writer’s voice.” This study explores students’ resistance towards revision and argues that recognizing and developing revision habits will help students revise independently. Self-directed revision not only strengthens a writer’s ability to engage in the writing process more astutely, but it is also a fundamental component to the self-identification process from which the writer draws inspiration. This thesis is structured into four main sections: (1) Introduction, referring to aim and methodology; (2) Chapter 1, addressing the importance of “self-directed” revision; (3) Chapter 2, a case study presenting first-year student responses to writing and revision; (4) Conclusion, discussing the relevance of implementing a strategic and shared value approach to first-year composition revision assignments. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2015. / FAU Electronic Theses and Dissertations Collection

Written in the form of a narrative, this thesis explores the phenomenon of voice in writing, and what the development of an awareness of the multiplicity voices while writing and reading can mean for language learners. This thesis is also a personal reflection of depression, and a recollection of individual, family and life events. One chapter takes the form of a unified narrative, while another presents anecdotal recollections. It is, in this sense, an exploration of voices through an analysis of available academic and public writing, and a personal inquiry into how the concept of voices in writing has affected my development as an individual and as a writer. The first section reviews some of the academic and public literature on writing and voice, and reveals that early writing on the issue of voice reflected a monolistic theory of voice. That is, that there is one voice that as writers we must find within ourselves, or there is a voice of the author that we must seek out. However, views of the multiplicity of voices in writing are increasingly common. While philosophical tradition since Plato has mistrusted writing and viewed it as secondary to speech, philosophy has nevertheless employed writing to further its own inquiries. Re/viewing the issue of voice in writing may be one way to deal with this long-standing schism between speech and writing. There is a need to further problematize the field of writing, not searching for ways to simplify the process but seeking ways to celebrate the inherent complexity, ambiguity, and paradoxical nature of writing. The thesis concludes with a reflection on the need to seriously consider the significance of voices in writing in first and second language instruction.

The state of writing abilities throughout the United States presents an urgent issue. Low student achievement in English Language Arts (ELA) exams and standardized English assessments persist (National Center for Education Statistics, 2012), while businesses spend billions of dollars on remedial writing instruction (Dillon, 2008). Technology is increasingly cited as a potential solution to these issues. Evidence for this is limited, as is existing research into the basis of the issues that technology might address. On account of that context, this thesis turns to a basic distinction between digital and non-digital writing: the writing surface and implement, or pen and paper - screen and keyboard. Conceptualizing such artefacts through a view of writing as a way of thinking raises the following question, which is this study's guiding inquiry. Might we use digital implements and surfaces to support the ways of thinking involved in composing written works of semantic cohesion? Building on research into writing as thinking, the study presented in this document analyses how uses of writing surfaces and implements relate to ways of thinking while writing, and which contextual factors influence those relationships. Drawing on a neuro-anthropological approach, the study focuses on the writer's mind as the driver and source of the lived experience of writing. Expert writers, therefore, are considered to be those who exhibit the ways of thinking while writing to which other writers aspire. To examine a range of uses of writing surfaces and implements with reference to expert writers' ways of thinking, the study was conducted in two parts. Part 1involved a content analysis of published interviews with professional writers. This generated a framework through which to conduct in-depth qualitative research with college student writers - part 2. This thesis is as much about thinking while writing as it is about the different tools available for writing. As such, the study refutes the hyperbolic and deterministic claims about technology and writing, and finds that technology is not leading to new ways of thinking while writing. Instead, surfaces and implements available allow writers to change how they practise their ways of thinking while writing. By considering this distinction and developing understandings of the dynamics involved and their implications, writers may begin to realize the potential of technology for writing. Ultimately, this thesis contributes to existing theories on writing through an informed discussion of how to think about implements and surfaces in ways that support writerly thinking, and by offering fresh ways to think about the lived practice of writing.

Written in the form of a narrative, this thesis explores the phenomenon of voice in writing, and what the development of an awareness of the multiplicity voices while writing and reading can mean for language learners. This thesis is also a personal reflection of depression, and a recollection of individual, family and life events. One chapter takes the form of a unified narrative, while another presents anecdotal recollections. It is, in this sense, an exploration of voices through an analysis of available academic and public writing, and a personal inquiry into how the concept of voices in writing has affected my development as an individual and as a writer. The first section reviews some of the academic and public literature on writing and voice, and reveals that early writing on the issue of voice reflected a monolistic theory of voice. That is, that there is one voice that as writers we must find within ourselves, or there is a voice of the author that we must seek out. However, views of the multiplicity of voices in writing are increasingly common. While philosophical tradition since Plato has mistrusted writing and viewed it as secondary to speech, philosophy has nevertheless employed writing to further its own inquiries. Re/viewing the issue of voice in writing may be one way to deal with this long-standing schism between speech and writing. There is a need to further problematize the field of writing, not searching for ways to simplify the process but seeking ways to celebrate the inherent complexity, ambiguity, and paradoxical nature of writing. The thesis concludes with a reflection on the need to seriously consider the significance of voices in writing in first and second language instruction. / Education, Faculty of / Language and Literacy Education (LLED), Department of / Graduate

This study analyzed the expressive writing of college students. Twenty-two ADHD students and 22 controls were asked to write a story based on a picture story and a personal challenge. The texts were compared based on several qualitative and quantitative parameters. The results show that students in both groups presented similar text quality. Out of six qualitative parameters only one was statistically different between the two groups: ADHD students performed worse in adequacy, but only in the picture task. Students writings were also investigated using corpus based analysis. This analysis showed that ADHD students used less unusually frequent words in the picture story but more in the challenge task. Taken together the findings indicate no significant difference in expressive writing between ADHD and non ADHD college students. An explanation to this result is that college students with ADHD may have passed the filter of prior education.

No description available.