Feelings Of Desire Research Articles

Reliability and Validity of the Overeating Tension Scale

This study presents the development and testing of the Overeating Tension Scale. Overeating tension was defined operationally as the total discrepancy score resulting from differences between subjects' ratings of actual and desired feelings before overeating. The 32-item Overeating Tension Scale, derived from Apter's Reversal Theory, measures reported overall tension and motivation-specific tension. The scale initially included 48 items, six items for each of eight motivational states. After two instrument development studies (N = 373, N = 208), items were refined and reduced to a total of 32, or four for each of eight motivational states. The final version of the instrument was tested in two additional studies (N = 330, N = 130) that provided evidence to support the internal consistency reliability of the Overeating Tension Scale. There was support for construct validity using contrasted groups (overweight and normal weight subjects), convergent validity, and factor analysis.

Relationship of Components of an Alcohol Interoceptive Stimulus to Induction of Desire for Alcohol in Social Drinkers

The ability of a low (0.2 g/kg) oral dose of ethanol to provide a drug discriminative stimulus was studied in young healthy human volunteers, who were social drinkers. Seventeen of 24 subjects acquired the discrimination following 10 trials in which they received aliquots of ethanol or of placebo drink (tonic water mixed with Tabasco sauce). In generalization studies, in which the dose of ethanol was varied, discrimination performance was dose dependent; doses greater than 0.05 g/kg gave rise to significant ethanol-appropriate responding. Concurrent estimates of the subjective effects of doses administered as discriminative stimuli revealed that two factors—taste and light-headedness—were associated with discrimination; at the training dose, 0.2 g/kg, although both the factors taste and light-headedness were significantly increased, only taste predicted discrimination performance. At lower doses, taste did not contribute to discrimination, but the subjective rating light-headedness correlated significantly with discrimination accuracy. Post hoc analyses of the influence of the amount of alcohol regularly drunk by the volunteers, on discrimination performance suggested light-headedness correlated with discriminative performance only in social drinkers drinking more than 20 units per week. In a second experiment, groups of “high” (mean 40 units per week) and “low” (mean 10 units per week) social drinkers were prospectively identified. Discrimination performance of 0.2 g/kg ethanol in orange juice vs. orange juice vehicle indicated that both groups were able to perform the discrimination following a single training trial, and that generalization curves over the range 0.05–0.2 g/kg were dose dependent, and not different between the groups. At the lowest dose, discrimination performance was predicted by taste, stimulation, and light-headedness in the “high” group, but not in the “low” group. The ability of these ethanol doses to induce feelings of craving for ethanol were assessed in parallel, using the Desire for Alcohol Questionnaire (DAQ). “High” drinkers showed higher desire for ethanol on all factors of the DAQ except the “positive negative reinforcement” factor, and sampling ethanol tended to increase desire in these measures. However, at each dose, the induction of feelings of desire for ethanol showed a negative correlation with discrimination performance. These findings are discussed in the context of the ability of animals and humans to use several components of drug-induced stimuli in the performance of drug discrimination, and the role of such discriminative stimuli in priming of ethanol drinking.

Degradation and Forbidden Love in Edith Wharton's Summer

In Edith Wharton's 1917 novel the relationship between the heroine, Charity Royall, and lover, Lucius Harney, depicts a kind of feminine sexual awakening that is profoundly original in literature. As Cynthia Griffin Wolff notes in introduction to the book, Summer is not the first Bildungsroman to focus on this awakening to maturity as it occurs in a woman's life; however, it is the first to deal explicitly with sexual passion as an essential component of that (x). precise way in which this sexual relationship is entered into by these young people has significant psychoanalytical ramifications. Specifically, need for a certain degradation of Charity to occur before he can find sexually accessible, his subconscious need to separate feelings of sexual desire and attraction from feelings of genuine tenderness and high esteem, and Charity's own need to experience as a forbidden pleasure, constitute driving forces in the revelation of their relationship within the novel. Freud's 1912 essay The Most Prevalent Form of Degradation in Erotic Life proves insightful in a close analysis of the relationship between Charity and Harney - particularly with regard to the factors that contribute to perspective and involvement. assumption that Wharton knew Feud's work is almost inevitable. Like Freud, Wharton exhibited great appreciation for the works of Arthur Schnitzler (Lawson 46, 129), the late-nineteenth-century Vienna-born Jewish doctor who is known for epitomizing Viennese impressionism in his literary works (Johnson 171-72), and whose stories, novels, and plays revealed a perceptiveness with which they laid bare the inner, mainly the sensual, world of their characters (Gay 130) As well, both Freud and Wharton admired the works of Goethe and Schiller. Freud could quote [them] by the hour (128), while Wharton reaffirmed her loyalty to the older German literature and the German language by immersing herself in the correspondence between the two (Lewis 394) 'Goethe always schillered when he wrote to Schiller, didn't he?' she observed (394). Even more persuasive is the fact that Wharton often mentioned and discussed Freud among friends during excursion to Germany in 1913, as well as after return to Paris that same year (352, 355). Freud's influence on Wharton then, though not unequivocally documented, is apparent in that they often expressed similar concerns about cultural expectations and restrictions, and in that they were both interested in critiquing the attitudes to premarital and extramarital sexual experience, [and] the precarious relation between parents and children that they perceived in the societies in which they lived (134). tells the story of the romance that develops between Charity Royall, a relatively inexperienced young girl of humble beginnings, and Lucius Harney, an ambitious young man from the city. Charity is living with guardian, Mr. Royall, in North Dormer, Massachusetts, when Harney comes to stay with his cousin, Miss Hatchard, for the summer. After their coincidental meeting in the library where Charity works part-time, Harney and Charity begin to see more and more of each other until their friendship evolves into a torrid affair. romance of this seemingly mismatched couple breaks, or stretches, many conventions of romantic love stories and in the process creates a new picture of female sexuality (French xlii). First of all, the relationship has only progressed so far as giving Charity first real kiss when Charity is publicly degraded by Mr. Royall. scene of the first kiss is in itself a foreshadowing of the sexual ecstasy that is soon to follow for the young couple. Having spent the day together in Nettleton, Charity and Harney are sitting in the bleachers at a Fourth of July fireworks display when the kiss takes place. As Charity leans back to view the display, she feels Harney's knees against head (100). …

More alike than meets the eye: Perceived gender differences in subjective experience and its display

This research investigated perceived gender differences in subjective experience and its outward display. Subjects imagined a female friend or a male friend in a series of brief situations, each of which was said to elicit a particular subjective experience in the friend. After each situation, they estimated the extent to which the friend would experience the feeling, and also the extent to which the friend would display the feeling to others. Results confirmed two related predictions, both based on attribution research: First, perceived gender-related differences in the outward display of an experience were generally greater than perceived gender-related differences in the subjective experience itself. Males and females, that is, were generally viewed as more alike in their internal feelings than in their overt behaviors. Second, perceived female/male differences in outward display varied more with the feeling elicited by the situation than perceived female/male differences in subjective experience. Specifically, subjects estimated that females would display communal, socially desirable feelings more than males and self-oriented, less desirable feelings less than males, but that females would experience both categories of feelings somewhat more intensely than males would experience them. In addition to confirming these two predictions, our results also indicated that the sex viewed as having greater hidden feelings—operationalized as the amount by which estimations of subjective experience exceeded estimations of display—also varied with the situation. With communal, highly desirable feelings, males were viewed as having greater hidden feelings, but with self-oriented, less desirable feelings, females were viewed as having greater hidden feelings. This pattern did not interact with gender of perceiver. The data, however, indicated that female perceivers tended to rate both males and females higher on measures of both experience and display than males did, and that male perceivers tended to perceive greater gender differences than females did.

A Framework For Developing An Effective Mission Statement

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The Many Hells of August Strindberg

Hell was a significant and recurring theme in both life and eclectic works of the bedeviled Viking, August Strindberg.1 Although many of autobiographical subjects of this playwright have been focus of critical study, this particular topic has not received much attention. That Strindberg drew heavily upon his own rich experiences for literary materials is a well-known fact; yet, whereas theatrical echoes of his continual marital chaos are familiar enough, dramatic reflections of his prolonged preoccupation with notion of hell have not been generally recognized. But Strindberg had much to say about his lifelong personal inferno, which in fact he made subject and title of one of his many autobiographical volumes, and, more important, he objectified his speculations into a series of theatrical images of hell. Since his concepts of hell, like most of his attitudes, changed radically at different stages of his life, as we look at his plays we find not one hell, but many hells. My concern here is with three discrete versions of hell in plays of August Strindberg: Swedenborgian hell of Crime and Crime; existential hell of Dance of Death; and Biblical hell of The Great Highway. Crime and Crime was written early in 1899, shortly after terrible ordeals described in Inferno. It had been preceded by a mystical play, Advent, which Strindberg had called a Swedenborgian drama, for it embodied some of ideas that he had recently discovered in philosopher's book Of Heaven and Its WTonders and Hell.3 But it is rather in boulevard play Crime and Crime that Swedish playwright fully develops Swedenborgian theory of expiation that had sustained his own troubled spirit through its crisis. It is this play which represented for its author he light of understanding after t e darkness of near insanity,' for it is in this play, puzzling though it is to readers unaware of its personal implications, that he attempts to clarify his own psychological state and to endow with moral significance his own feelings of guilt and desire for punishment. Like perverse heroine of Crime and Crime, Strindberg had dabbled in black magic during Inferno period. He believed that he had once caused t e illness of one of his children, alth ugh he did not go so far as his hero in wishing life out of child. This incident, along with other painful episodes, racked Strindberg's co science, and he tortured himself with inward condemnation. In his state of profound self-abasement he discovered in Swedenborg a satisfying formula for interpreting his destructive feelings. The mystical philosopher's strange study of heaven and hell offers a theory that allows for expiation of guilt through identification of crime with its punishment. According to Swedenborg, hell is simply existence in a state of evil, which, in turn, always coexists with its own punishment. The relationship is not sequential but simultaneous; every evil act carries in its very commitment burden of its own punishment. This equation is true only psychologically in world of living; it is also true physically in

Irony in Franz Werfel's Expressionistic Drama Bocksgesang

IRONY IN FRANZ WERFEL'S EXPRESSIONISTIC DRAMA BOCKSGESANG Defeat and failure of the Pan-German "Drang nach Osten" intensified the emergence of the new drama in Germany and Austria now characterized as "expressionism." It can be said to have been well under way by 1910 and finished by 1924, when the Ruhr was occupied. In the latter year, this drama was defined as "Das Ekstatische Theater" by Felix Emmel in his book of that title. Bernhard Diebold described it as a drama of intense emotional insight in his Anarchie im Drama (1925). In that same year, a survey of the elements of expressionism appeared in Das Deutsche Drama by Julius Bab and others. One of its most recent appraisals can be found in "Das Drama des Expressionismus " by Otto Mann.1 So far, however, scant attention seems to have been paid to one of Franz Werfe!'s most typical expressionistic plays, Bocksgesang, a neglect that has occasioned this essay. All critical opinion generally supports the view that this new form of drama is derived from Ibsen's Peer Gynt tradition and from such August Strindberg dramas as To Damascus.2 Some of its characteristic features include revolt against naturalistic-realistic modes and values; reliance upon characters as types rather than as individuals; presentation of emotional states reaching heights of ecstasy; resort to "der Schrei," so that characters in the throes of great emotion cry and exclaim wildly; emphasis upon the worth of man and need of spiritual brotherhood; occupation with symbols as means of making the subjective dramatically objective; and reliance upon dream-like distortion and incoherence to approximate the inner states of conflict. On the whole, the expressionistic drama has as many ramifications as does its concomitant German cultural phenomenon, expressionism in art, from which this drama took its name, if not its impulse.3 Bocksgesang displays these elements, but its strength as a play does not depend upon them. Its power and impact grow rather out of its basic, ironic perceptions and representations. Among these are the five considered herein: the character and role of the Jew, Feiwel, the filial piety ,of Mirko Milie::, the strength of the unconventional woman in the 1. Hennann Friedmann and Otto Mann, eds., Expressionismus: Gestalten Einer Literarischen Bewegung (Heidelberg, Wolfgang Rothe Verlag, 1956), pp. 213-239. 2. Carl E. W. L. Dahlstrom's Strindberg's Dramatic Expressionism (Ann Arbor, University of Michigan, 1930) is the first authoritative study devoted to this new kind of Strindberg drama. 3. Several recent books attest to the current interest in Gennan Expressinnism, e.g., Hans Konrad Roethel, Modern German Painting (New York, Reynal & Company, 1957). 410 1960 FRANZ WERFEL'S EXPRESSIONISTIC DRAMA 411 person of Stanja, the failure of the deluded scholar-rebel Juvan, and the revitalization of the elder Milics through disaster. Irony is a term as complex in its meanings as it is varied in its guises. In general, one associates it with the classical "recognition" and "reversal" that arouse in the audience such desired feelings as laughter or tragic pity. As considered in this essay, irony is that element of dramatic art whereby in both the characters and the patterned action of his dramatis personae the dramatist creates an illusion or promise of well-being that the audience either mow or fear will not be sustained through the end of the play. When he creates an introductory situation or state of affairs that promises one result but ends with a denouement that reverses the initial premises, the dramatist can be said to be presenting irony. It springs thus from skillful deception or dissimulation practiced by the artist. He· begins with dramatic situations that, though appearing simple and innocent, soon take unexpected turns. He tries to confound the confident or disconcert the hopeful as his characters reveal that, as in life, few actions tum out as one might anticipate. As soon as dissimulation enters the course of a dramatic action, a degree of irony must result. Such dissimulation and reversal give Bocksgesang its great tensile strength and dynamism.4 As Franz Werfel's widow has now revealed, the origin of Bocksgesang is itself the outgrowth of an ironic situation. For four years before their...