Submitted by admin tede (tede@pucgoias.edu.br) on 2016-12-13T11:39:26Z No. of bitstreams: 1 Luciane Alberto dos Reis Spirandelli.pdf: 1274133 bytes, checksum: 857c9a00d418990638b40dd2ce25f399 (MD5) / Made available in DSpace on 2016-12-13T11:39:26Z (GMT). No. of bitstreams: 1 Luciane Alberto dos Reis Spirandelli.pdf: 1274133 bytes, checksum: 857c9a00d418990638b40dd2ce25f399 (MD5) Previous issue date: 2005-09-30 / The expression of emotion has been related to physical and psychological quality of life. The present study investigated the effects of expressive writing on the psychological well-being, using Pennebaker’s writing paradigm. Another goal consisted in examining the relation between linguistic style and changes in anxiety and mood. The 94 subjects were randomly assigned to write on 4 consecutives days about either traumatic experiences or plans for the day for. Each participant took part in six individual writing sessions: four on consecutive days, one seven days after the fourth session and the last one, thirty days after the fifth session. Three measures of anxiety and mood was obtained: on the first day before the intervention and on the fifth and sixth session. The control group showed similar results compared with the experimental. In the experimental group, the use of words related to emotions and the narrative in the first person singular was linked to better mood, but not to less anxiety. Results indicate that expressive writing was ineffective for mood and anxiety for most of the participants, although there are characteristics of writing about an emotionally significant topic that influence psychological well-being. / A expressão emocional tem sido associada a implicações na qualidade de vida física e psicológica das pessoas. Este estudo teve como objetivo principal verificar efeitos da escrita expressiva sobre o bem-estar psicológico, utilizando o paradigma de Pennebaker. O outro objetivo foi verificar a relação entre o estilo lingüístico e a mudança do nível de ansiedade e humor. Os 94 participantes foram designados a uma de duas condições: escrever sobre trauma ou planos para o dia. Cada participante realizou, individualmente, seis sessões ao todo: quatro consecutivas, uma, sete dias após a quarta sessão e a última, trinta dias após a quinta sessão.Três medidas de ansiedade e humor foram coletadas: no início da primeira sessão e nas quinta e sexta sessões. O grupo controle apresentou resultados semelhantes ao grupo experimental. No grupo experimental, o uso de palavras referentes a emoções e o relato na primeira pessoa do singular foram relacionados à melhora no humor, mas não na ansiedade. Os resultados indicaram que a escrita expressiva não demonstrou eficácia quanto à mudança de humor e ansiedade para a maioria dos participantes, mas há características da escrita de uma vivência traumática que influenciam o bem-estar emocional.

The aim of this thesis is to analyse certain aspects connecting religion and narration (which is understood here as a common human faculty to think and express oneself in the form of narratives). The first part of the thesis is concerned with methodology; first of all, the issues of defining narrative are introduced and a more elaborate definition is presented. A complete methodology is then formulated with a help of several authors (mainly James W. Pennebaker and Mary Douglas) in order to distinguish particularities and functions of creating narratives in religious contexts. Two main points are stressed here: that the content of the narratives is often concerned with problematic aspects of experience and that the expression of these narratives is beneficial for their creators. The second part focuses on several religious institutions concerned with creation of narratives which are interpreted with the outlined methodology. In this manner, the act of confession in Catholicism, prayer in Christianity and certain healing rituals are described and interpreted. Conclusions of this thesis should help the reader get a basic idea of the way created narratives in religious contexts affect their authors.

Dans la seconde moitié des années soixante naissent aux États-Unis le rock et la critique rock.Les participants de ces deux sphères s'unissent jusqu'à former une camaraderie, mais de cette rencontre surgit aussi un troisième champ. Ni vraiment musical, ni totalement critique, celui-ci est avant tout « littéraire ». Il nous met au défi de parler de critique rock pour mieux discuter de littérature et non de musique. C'est dans ce paradoxe apparent que Lester Bangs évolue par exemple. Génie tutélaire de ce petit groupe d'auteurs formés au sein des premiers fanzines et magazines rock, il ne décrit pas seulement les mythes rock ; il interroge aussi leur écriture. Plus avant, ce qui se dessine dans ses textes est le portrait du jeune écrivain « débutant » issu de la grande tradition du « journalisme littéraire ». Cela crée des liens entre les conditions d'accès à l'écriture dans la presse et le devenir « écrivain » en littérature. De même, trouve-t-on des annonces et des échos de ces discours dans le « cinéma direct » américain de l'époque, ainsi que dans la critique rock française. Le film Dont Look Back de Donn Alan Pennebaker par exemple montre déjà dès 1965 la nécessité de la création d'une critique non-journalistique sur le rock. Puis, Yves Adrien s'inspire de l'œuvre de Lester Bangs. Et enfin aujourd'hui à plus de quarante ans de distance, toujours Nick Tosches, Peter Guralnick, Greil Marcus et Lenny Kaye reconstruisent en paroles cette première expérience d'écriture et de publication. Aussi, cette thèse étudiera la création inattendue d'un champ littéraire au sein de la critique rock sur un plan mythographique : bien qu'éphémère, celui-ci s'avèrera fécond / In the second half of the sixties, rock music and rock criticism emerge in the United States. The protagonists of the two spheres gather to create a sense of camaraderie, but a third field also arises from that encounter. It is first and foremost a literary one, neither really musical, nor completely criticism-oriented. As a result, it challenges us to discuss rock criticism in order to better understand literature rather than music. Lester Bangs in particular dwells within that apparent paradox. As the figurehead of this little group of authors formed in early rock fanzines and magazines, he not only describes the rock myths but also discusses the way they are written. The portrait of the “aspiring writer” originating from the tradition of “literary journalism” also appears in his texts. This links the conditions of writing in the press to the situation of the fresh writer-to-be in literature. Similarly, auguries and echoes of such discourses can be found during the same period in American “direct cinema” and French rock criticism. For instance Donn Alan Pennebaker already underlines in 1965 the need for a non-journalistic criticism on rock in his documentary Dont Look Back. Later, Yves Adrien follows Lester Bangs works. Finally, forty years on, Nick Tosches, Peter Guralnick, Greil Marcus and Lenny Kaye continue today to reshape verbally this initial experience of writing and publishing. This thesis studies the unexpected birth of a new literary field through mythography. Though short-lived, it was nonetheless fecund