Children’s Perceptions of Cohesion

The general purpose of the two studies reported here was to examine perceptions of team cohesiveness in children aged 9 to 12 years. In Study 1, focus groups were used to examine individual perceptions of cohesion from the perspective of group integration – the group as a totality. In Study 2, open-ended questionnaires were used to examine individual perceptions of cohesion from the perspective of individual attractions to the group. The results showed that children as young as nine years understand the phenomenon known as cohesion. They can discuss the group as a totality, the characteristics of cohesive and non-cohesive teams, and identify the major factors attracting them to and maintaining their involvement in the group. Also, the ability to clearly distinguish between task and social cohesion is present. The results provide insight into the world of child sport and emphasise the importance of group cohesion, affiliation, and other social constructs in children’s involvement and adherence to sport groups

The Social Environment in Children’s Sport: Cohesion, Social Acceptance, Commitment, and Enjoyment

The primary purpose of the current study was to determine whether perceptions of cohesion mediated the relationship between social acceptance and individual commitment and enjoyment in children’s sport. A secondary purpose involved the assessment of the temporal nature of cohesion over the course of an athletic season. A total of 209 (Mage = 9.87 years; SD = 1.34) recreational soccer players completed questionnaires at three time points (T1 – social acceptance, cohesion; T2 – cohesion; T3 – commitment, enjoyment, cohesion) during an athletic season. Using structural equation modeling, the results indicated that task cohesion mediated the relationship between social acceptance and commitment and enjoyment, whereas social cohesion did not. In addition, individual perceptions of cohesion did not vary significantly over the course of the season. These results will be discussed in terms of their theoretical and practical implications. As one example, the relative stability in terms of perceptions of cohesion in this population could inform future intervention work aimed at enriching the social environment

Fleshing Out and Losing Flesh: The Decomposing Corpse as Narrative Object in American Hardboiled Detective Fiction

This dissertation examines the corpse as an object in and of American hardboiled detective fiction written between 1920 and 1950. I deploy several theoretical frames, including narratology, body-as-text theory, object relations theory, and genre theory, in order to demonstrate the significance of objects, symbols, and things primarily in the clever and crafty work of Dashiell Hammett (1894-1961) and Raymond Chandler (1888-1959), but also touching on the writings of their lesser known accomplices. I construct a literary genealogy of American hardboiled detective fiction originating in the writings of Edgar Allan Poe, compare the contributions of classic or Golden Age detective fiction in England, and describe the socio-economic contexts, particularly the predominance of the “pulps,” that gave birth to the realism of the Hardboiled School. Taking seriously Chandler’s obsession with the art of murder, I engage with how authors pre-empt their readers’ knowledge of the tricks of the trade and manipulate their expectations, as well as discuss the characteristics and effect of the inimitable hardboiled style, its sharpshooting language and deadpan humour. Critical scholarship has rarely addressed the body and figure of the corpse, preferring to focus instead on the machinations of the femme fatale, the performance of masculinity, or the prevalence of violence. I cast new light on the world of hardboiled detective fiction by dissecting the corpse as the object that both motivates and de-composes (or rots away from) the narrative that makes it signify. I treat the corpse as an inanimate object, indifferent to representation, that destabilizes the integrity and self-possession, as well as the ratiocination, of the detective who authors the narrative of how the corpse came to be. The corpse is all deceptive and dangerous surface rather than the container of hidden depths of life and meaning that the detective hopes to uncover and reconstruct. I conclude with a chapter that is both critical denouement and creative writing experiment to reveal the self-reflexive (and at times metafictional) dimensions of hardboiled fiction. My dissertation, too, in the manner of hardboiled fiction, hopes to incriminate my readers as much as enlighten them.