Psychological therapy is the process of understanding, treating, and maintaining a healthy psyche. Psychological therapy comes in many shapes and sizes. Different methods of therapy include but are not limited to cognitive behavioral therapy, psychodynamic therapy, psychoanalytic therapy, group therapy, and humanistic therapy. Most of these major therapeutic options fall under the umbrella of “talk therapy”. Although talk therapy is effective, practicing talk therapy exclusively limits not only the capabilities of therapy, but also potential clientele who would benefit from alternatives to talk therapy. Because each psyche is as unique and individual as fingerprints, each person seeking therapy should be able to create a personalized therapy program. Generating unique combinations of various therapy methods that are catered specifically to the client is a way to achieve this lofty goal. This research intends to better understand whether this proposal of combining various therapeutic techniques and methods in order to achieve individualized therapy programs will increase the effectiveness of the therapy being administered. In this meta analysis, the focus will be on animal therapy and poetry therapy used in conjunction theoretically as an example of potential applications for various combinations in conjunctive therapy. Conjunctive therapy is the main idea being piloted in this thesis and is a new form of therapy that involved the usage of two therapeutic techniques together while maintaining and equal prevalence and importance between them.

The following creative project defends that, whether intentionally or not, mental illness and substance abuse are inevitably romanticized in young adult media and discusses the dangers of this romanticization. This project is divided into three parts. The first part consists of psychological evaluations of the main characters of two popular, contemporary forms of young adult media, Catcher in the Rye by J.D Salinger and Euphoria by Sam Levinson. These evaluations use textual evidence and the Diagnostic and Statistical Manual of Mental Disorders, Fifth Edition (DSM-5) to determine what symptoms of psychopathology the characters appear to display. The second part consists of a self-written short story that is meant to accurately depict the life of a young adult struggling with mental illness and substance abuse. This story contains various aesthetic techniques borrowed from the two young adult media forms. The final part consists of an aesthetic statement which discusses in depth the aesthetic techniques employed within the short story, Quicksand by Anisha Mehra.

When discussing gay literature in the French, contemporary sphere, one of the most up
and coming and prominent authors is Édouard Louis. His works’ focus on the realism and
violence of the working class offers a critical and necessary perspective of the gay experience in
modern-day France. While recent in their creation, Louis’ works follow a connecting thread that
is inseparable from other autofiction novels that have a narrator with same sex attractions such as
Annie Ernaux’s Ce qu’ils disent or rien and Didier Eribon’s Retour à Reims. Often commonly
discussed as French LGBT literature, these autofictional works that extend from Gide to Eribon
to now Louis demonstrate how the proposed societal dualities, limitations, and hierarchies
described by philosophers like Michel Foucault and Judith Butler affect homosexual
performativity. Louis’ first novel En finir avec Eddy Bellegueule, published on January 2, 2014,
offers another illustration of this analysis. It specifically describes the metaphysical
(metaphysical being the relationship between the outer stimuli and internal perspective) effects
and constraints of current poverty on homosexual performativity. By analyzing En finir avec
Eddy Bellegueule through this theoretical framework of power and poverty, this thesis adds a
theoretical and intersectional nuance to the narrative voice that current literature focusing on the
novel’s landscape mentions but does not reflect on. I argue that it is important to attach an
autofictional timeline that is necessary to promote and apply future ontological doctrines to this
genre.