THE DETERMINATION OF THE INDIVIDUAL’S UNCONSCIOUS CONCEPTION OF HIS OWN MASCULINITY-FEMININITY IDENTIFICATION

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THE DETERMINATION OF THE INDIVIDUAL’S UNCONSCIOUS CONCEPTION OF HIS OWN MASCULINITY-FEMININITY IDENTIFICATION

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COPYRIGHTED by LEOPOLD CALIGOR 1950

Sponsoring Committee: Professor John G. Rockwell, Chairman, Professor Frederic M. Thrasher, and Professor Lou LaBrant

THE DETERMINATION OF THE INDIVIDUAL'S UNCONSCIOUS CONCEPTION OF HIS OWN MASCULINITYFEMININITY IDENTIFICATION

LEOPOLD CALIGOR

Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the School of Education of New York University

1950

3*

April b, 1050

I, L e o p o l d Gnligor, her eby guarantee that no part of the d i s s e r t a t i b n or document whi c h I hav e submitted for publication has b e e n h er et o f o r e published a n d (or) copyrighted in the United States of America, except in the case of passages quoted f r o m other p u b l i s h e d sources; that I a m the sole author and rroorietor of said d i s s e r t a t i o n or document; that the dissertation or docu­ ment c o n t a i n s no matter which, If oublished, will be libelous or otherwise injurious, or infringe in any way the copyright of other parties; and that I will defend, indemnify and hole har ml es s few York U n i v e r s i t y against all suits and proceedings which, may be brought a n d agai nst all. claims w h i c h may be made against «ew York U n i v e r s i t y by reas o n of the pub li ca tion of said disse rta tion or document.

TABLE OF CONTENTS CHAPTER I

II

PAGE THE PROBLEM AND ITS SCOPE Statement of the Problem................. Sub-problems .... Definitions.................. Delimitations ..... Basic Hypotheses .................. Significance of the Problem. ...... RELATED STUDIES The Concept of Projective Methods......... Historical Development of Important Pro­ jective Techniques Other Than Drawing Techniques ••.................... Validity and Reliability of Current Pro­ jective Techniques Other Than Drawing Techniques....... The Historical Development of Drawing Techniques as an Evaluation of Cultural Differences ..................... The Historical Development of Drawing Techniques as an Evaluation of Intelli­ gence...,........... The Use of Drawings as an Evaluation of Drawing Ability...... The Historical Development of Drawings as an Evaluation of Personality During the Nineteenth Century.......... The Historical Development of Drawings as an Evaluation of Personality During the Twentieth Century....... The Historical Development of Drawings as an Evaluation of Child Personality..... Studies Dealing with Masculinity-Femininity Identification as Seen in Drawing Techniques..................... The Validity and Reliability of Figure Drawings as an Evaluation of Intelli­ gence...... The Validity and Reliability of Figure Drawings as an Evaluation of Personal­ ity................-................ ii

1 1 1 2 3 3 8 9 15 SI 22 27 28 28 37 43 44 46

PAGE

CHAPTER

III

IV

V

The Validity and Reliability of Drawing Techniques as a Measurement of Masculinity-Femininity Identification...... An Overview of Protective Techniques

49 50

PROCEDURE IN COLLECTING DATA Subjects.* .......... Administration of Test Battery........... Description of Test Materials...... Administration of Tests.......

55 55 55 54

TREATMENT OF DATA Statistical Method...................... The Masculinity-Femininity Identification Scale for the 8CRT and the BCTAT .... The Comparison of Scaled Scores by a Per­ centage of Disagreement Method........ The Construction of the Percentage of Dis­ agreement Scale ....... Scoring of the BCTAT Responses........... The Constancy of Story Responses on the BCTAT........... Influence of the BM and GF Cards of the BCTAT............. Determination of the Accuracy of the Meas­ urement of Unconscious M-F Identifica­ tion by the 8CRT .......... ...*..... Individual Records Where Inconstancies Were Noted between Earlier and Later Drawings ......... . Significance of Negative Relationship be­ tween 8CRT and BCTAT Scores............ The Transmutation of MMPIMf Scores.. A Comparison of the Individual’s Uncon­ scious and Conscious Conceptions of His Own M-F Identification....... The Measurement of Conscious and Uncon­ scious M-F Identification of the 8CRT.. Interscorer Reliability of the 8CRT....... Interscorer Reliability of the BCTAT Mode 1-4............ The Retest Reliability of the 8CRT........ The Significance of Inconstant Performance on the Retest of the 8CRT.............

69 69 72 74 74 76 77 77 83 88 91 94 94 97 97 104 104

ANALYSIS OF THE DATA The Nature of the Sampling ...... 114 The Constancy of Story Responses on the BCTAT................................. 115 Influence of the BM and GF Cards of the BCTAT................................. H 5 iii

CHAPTER

PAGE Determination of the Accuracy of Meas­ urement of Unconscious M-F Identifica­ tion by the 8CRT................. *......116 The Tapping of Increasingly Unconscious Levels of M-F Identification by the 8CRT.................................. 117 Individual Records Where Inconstancies Were Noted between Earlier and Later ....... ....... 120 Drawings Significance of Negative Relationship be­ tween 8CRT and BCTAT Scores............ 121 A Comparison of the Individuals Uncon­ scious and Conscious Conceptions of His Own M-F Identification............... 123 The Measurement of Conscious and Uncon­ scious M-F Identification of the 8CRT.. 123 Validity of the 8CRT and BCTAT....... 125 Interscorer Reliability of the 8CRT....... 126 Interscorer Reliability of the BCTAT..126 Objectivity in Scoring andProjection..... 127 The Retest Reliability of the 8CRT........ 127 The Significance of Inconstant Performance on the Retest of the 8CRT. ....... 128 The Increasing Stability of Later Series of Drawings on the Retest of the 8CRT.. 129 The Meaning of 8CRT Scores............ 131 The Clinical Implications of the BCTAT and 8CRT......... ............131

VI

SUMMARY, CONCLUSIONS AND SUGGESTED STUDIES Summary ............. Conclusions ........ Suggested Studies.......... ...

134 139 142

BIBLIOGRAPHY..............................

144

APPENDIX A Three Typical Examples of the 8CRT and the * BCTAT........ 159 APPENDIX B A Typical 8CRT Record Demonstrating Change In the Sex of the Figures Drawn........ 222 APPENDIX C The 8CRT and Personality Evaluation......

240

APPENDIX D A Third Administrationof the 8CRT..........250 INDEX OF NAMES

........................... • •• 254 iv

LIST OF TABLES HUMBER I Ila lib Illb IVa IVb

Va

Vb

Via

VIb

Vila

TITLE Percentage of Disagreement Norms between Scaled Scores................. Percentages of Disagreement between Modes Obtained from BCTAT Stories for Male Subjects .......... ............ ... Percentages of Disagreement between Modes Obtained from BCTAT Stories for Female Subjects... ..... Tabulation of Modes of Those Female Sub­ jects Who Showed Plus and Minus Values in BCTAT Stories 1-4 and 5-8........... Percentages of Disagreement between Modes of BCTAT Stories 1-8 and Medians of Se­ ries of 8CRT Drawings for Male Subjects. Percentages of Disagreement between Modes of BCTAT Stories 1-8 and Medians of Se­ ries of 8CRT Drawings for Female Sub­ jects .......................... Percentages of Disagreement between Modes of BCTAT Stories 1-8 and Medians of Se­ ries of 8CRT Drawings for Male Subjects Who Showed Gain or Loss of One or More Scale Units between the Drawing Series 1-5 and 6-8 or 1-4 and 5-8.............. Percentages of Disagreement between Modes of BCTAT Stories 1-8 and Medians of Se­ ries of 8CRT Drawings for Female Sub­ jects Who Showed Gain or Loss of One or More Scale Units between the Drawing. Se­ ries 1-3 and 6-8 or 1-4 and 5-8......... Percentages of Disagreement between BCTAT Modes and 8CRT Medians in Those Records Showing Negative Relationship between BCTAT and 8CRT Scores (Males)........... Percentages of Disagreement between BCTAT Modes and 8CRT Medians in Those Records Showing Negative Relationship betv/een BCTAT and 8CRT Scores (Females)........ Percentages of Disagreement between MMPlMf and BCTAT Scores (Males)................

v

- PAGE 75 78-7-9 80-81 82 84-85

86-87

89

90

92

95 95

NUMBER Vllb Villa VIHb IXa IXb Xa Xb XIa Xlb Xlla Xllb XIII

TITLE

PAGE

Percentages of Disagreement between MMPIMf and BCTAT Scores (Females) *............. 96 Percentages of Disagreement between MMPIMf Scores and Drawings 1-4 and 5-8 (Males) . 98-99 Percentages of Disagreement between MMPIMf Scores and Drawings 1-4 and 5-8 (Fe­ males) ............................ 100-101 Percentages of Disagreement between 8CRT Drawings 1-4 and 5-8 for Three Raters 102 (Males) ........................... Percentages of Disagreement between 8CRT Drawings 1-4 and 5-8 for Three Raters (Females) . ....... 105 Percentages of Disagreement between BCTAT Modes 1-4 for Three Raters (Males) 105 Percentages of Disagreement between BCTAT Modes 1-4 for Three Raters (Females).... 106 Percentages of Disagreement for the Retest of the 8CRT (Males)..................... 107-108 Percentages of Disagreement for the Retest of the 8CRT (Females).................... 109-110 Subjects Demonstrating Inconstant Perform­ ance on the Retest of the 8CRT (Males) .. Ill Subjects Demonstrating Inconstant Perform­ ance on the Retest of the 8CRT (Fe­ males) .......................... 115 Percentages of Disagreement for Three Ad­ ministrations of the 8CRT for Drawings 1-3 and 6-8........ 252

i

vi

LIST OF FIGURES NUMBER 1 2 3 4 5

PAGE Scale for Determining the Individuals Uncon­ scious Conception of His Own M-F Identifica­ tion on the BCTAT and8CRT.................. 71 A Typical Record with Positively Weighted 8CRT and BCTAT Scores.................. ........ 160 A Typical Record with Negatively Weighted 8CRT and BCTAT Scores.............. . 180 A Typical Record Demonstrating Positively and Negatively Weighted Scores for Both the 8CRT and BCTAT.......... ..................... 201 A Typical 8CRT Record Demonstrating Change in the Sex of FiguresDrawn............ 231

I

vii

CHAPTER I THE PROBLEM AND ITS SCOPE

The Statement of the Problem The problem is to determine the individual1s un­ conscious conception of his own masculinity-femininity iden­ tification, as expressed in body image and as projected into a semi-structured drawing situation, and to compare the In­ dividuals unconscious and conscious conceptions of his own masculinity-femininity identification . Sub-problems 1.

To discover whether this drawing technique ac­

tually measures the individual’s unconscious conception of his own masculinity-femininity Identification. 2.

To determine whether the measurement of the

individual's unconscious conception of his own masculinityfemininity identification can be quantified. 3*

To compare the individual's unconscious and

conscious conceptions of his own masculinity-femininity iden­ tification. Definitions "Conscious" for purposes of this experiment is

— 2 —

defined as "characterizing a response of which the organism is aware. "Unconscious" is defined as

. characterizing

certain dynamic (not merely latent thoughts) which do not reach consciousness in spite of their effectiveness and in­ tensity, and which cannot he brought into conscious experi­ ence by any effort of the will or act of memory."2 "Body image" is defined as "the picture of our own body which we form in our mind."*5 Delimitations The sampling "initially included 121 Brooklyn Col­ lege student volunteers, 59 males and 62 females, between the ages of eighteen and twenty-one.

Complete or nearly com­

plete test records were finally obtained for 111 subjects, 53 of whom were males and 58 of whom were females. College students were used for the sampling since their ability to express themselves in writing permitted a group-administered technique to be used.

All students who

had undergone any psychological testing of a projective na­ ture or who had taken more than a basic course in psychology

1.

H. C. Warren, Dictionary of Psychology, p. 57.

2.

Ibid.! p. 285.

5.

P. Schilder, The Image and Appearance of the Human Body. as quoted by D. Shakow, Psychological Abstracts. December, 1935, Abstract No. 5693, p. 655.

- 3 were eliminated. The subjects were tested for a seventy minute per­ iod each week.

Five testing sessions were administered in

six weeks; the last testing session being administered after a two week time lapse. The groups included from ten to fifteen students of both sexes.

This permitted group administration, but allovred

for individual attention where necessary. Basic Hypotheses The changes which occur in the eight drawings which the individual produces, are representative of the individualfs unconscious conception of his own masculinity-femininity iden­ tification. The results obtained on the Minnesota Multiphasic Personality Inventory, Masculinity-Femininity Scale, are rep­ resentative of the individuals conscious conception of his own masculinity-femininity identification. The Individual’s unconscious conception of his own masculinity-femininity identification, as seen in the drawings produced, can be quantified. Significance of the Problem There is general agreement among clinical psychol­ ogists that figure drawings can be used to investigate person­ ality factors, as well as to measure intelligence. Murphy states: The problem of drawing can best be visualized considering

- 4 first the Draw-a-Man test devised by Goodenough. The original intent was to score such productions in terms of mental age, and the test proved to be serviceable in this respect. Students of projection, however, soon realized that the child 1s conception of what a man is— his understanding of freedom and power, for example, as exhibited in posture, gesture, and facial expression, can make itself known as soon as the sheer problem of making a recognizable man has been solved. It is also clear that, along with his understanding of what sort of a thing a man is, there is some revelation of the kind of man the child admires or fears; . . . From here it is not too far to the study of the child’s identifications. His own conception of himself with respect to size, build, etc., may be assimilated to that of the man portrayed, and his own attributes may be injected bodily into the repre­ sentation of a person fundamentally quite different from himself .1 Machover states: Again we repeat the basic assumption, verified repeatedly in clinical experience, that the human figure drawn by an individual who is directed to "draw a person" relates in­ timately to the Impulses, anxieties, conflicts, and com­ pensations characteristic of that individual. In some sense, the figure drawn is the person, and the paper cor­ responds to the environment.* Studies pertaining to the quantification of person­ ality findings as seen in figure drawings have been conspicuous by their absence.

For example, Machover notes the indicators

of depression to be omissions of the arms ,*5 possible abundance of details,

A

possible head emphasis,

C

mouth emphasis or

1.

G. Murphy, Personality— A BjogocAafl, Ap^roaqh to pjjglas. and Structure, pp. 883-684.

2*

K. Machover, Personality Projection & Human figure, p. 35.

3.

, p . 62.

4.

Ibid.. p. 91.

5.

Ibid.. p. 36.

tl& Drawing of t]&

- 5 omission,1 low placement on the page ,2 possible seating of the figure5 and possible smallness of the figure .4

How to

quantify the amount of depression when one or several of the abovementioned factors are present in various intensities and in various combinations has yet to be determined.

It is

believed that this paper may offer an avenue of approach to the quantification of personality factors as seen in figure drawings. There is a need to determine whether personality factors as seen in figure drawings, can be evaluated through the use of objective scoring criteria, and the drawing tech­ nique discussed herein purports to do this.

Objective scoring

criteria will help to eliminate subjective errors in interpre­ tation, errors which are due to the clinician^ own personal­ ity projections and biases. There is also the need to evaluate the retest reli­ ability of a drawing technique. Then there is the need to determine the validity of a drawing technique by comparing the degree to which it measures the same aspects of personality as do other projec­ tive techniques.

1.

K. Machover, Personality Projection ja the. Drawing o£ the Human Figure, p. 42.

.

Ibid.. p. 89.

5.

Ibid.* p. 65*

4.

Ibid.. p. 91.

2

- 6 That masculinity-femininity identification is an important factor in the determination of the individual^ ad­ justment, and that every individual possesses traits associ­ ated with both sexes, are well-established clinical facts. Richards states: ""Studies of the masculinity or fem­ ininity of interests show consistently and forcefully that in all men there are feminine traits and in all women attributes that are masculine ."1 Although identification is essentially an unconscious process, masculinity-femininity identification is presently measured by "conscious" paper-and-pencil inventories, the best of which Richards 2 states to be the Minnesota Multiphasic Per­ sonality Inventory.

However, because of their "conscious”

nature, such tests may be circumvented by intelligent subjects, or may create an emotional block in disturbed subjects. Richards states: However, because in such tests the patientrs conscious or intentional behavior is involved, the true picture of underlying psychodynamics is usually if not always partly distorted. Not only can the patient deliberately disguise motives by selection of items, but even without intention he reflects in such conscious choices of alter­ natives the very patterns of disguise and repression that it is necessary to penetrate .3 Thus, there is the need for an "unconscious" tool, on which malingering and blocking cannot too readily occur,

1.

T. W. Richards, Modern Clinical Psychology, p. 104.

2.

Ibid.. p. 87.

S.

Ibid.■» p. 89.

- 7 and which will expose the qualitative and quantitative aspects of unconscious masculinity-femininity identification.

It is

hoped that this drawing technique will be a step in that direc­ tion.

CHAPTER II RELATED STUDIES

The Concept of Projective Methods Murphy states: The term projective methods has come into general use in recent years to denote devices that enable the subject to project himself into a planned situation. He sees in it what he personally is disposed to see, or does with it what he is personally disposed to do.1 White states: The general idea behind these [projective] methods is to confront the subject with an unstructured, ambigu­ ous situation - an Ink-blot, paper and crayons, an in­ complete story, or an array of toys - and ask him to do something with it. The subject is thus given several degrees of freedom to organize a plastic medium in his own way, and since little aid is provided from conven­ tional patterns he is all but obliged to give expression to the most readily available forces within himself. It Is further characteristic of projective methods that the subject does not know what kind of inferences the exper­ imenter intends to make; his attention is focused on the play or task in hand, and it is well-nigh impossible for him to guess at its more remote psychological mean­ ing. Favorable conditions are thus created for unselfconscious revelation from the hidden regions of person­ ality .2

1.

G. Murphy, Personality— A Biosocial Approach to Origins and Structure, p . 669.

2.

R. W. White, "Imaginative Productions,11 Personality and the Behavior Disorders. JVMcV. Hunt, Editor, pv 215.

- 9 -

Historical Development of Important* Protective Techniques Other Than Drawing Techniques Frank ,1 in 1959, was the first in the literature to use the term "projective techniques” and gave the latter a scientific status as indirectly revealing personality or­ ganization.

The development and application of the concept

was by then about forty years old. Galton^ constructed the first word-association test in 1885, noting the limited scope of associations given in response to stimulus words.

Cattell and Bryant,^ in their

attempt to derive laws of association, published frequency tables of word-association responses in 1889.

In 1895, Breuer

and Freud^ discovered that repressed memories could be brought back to consciousness.

The test was further studied by Jung^

from 1906 to 1918, who developed the concept of freely asso­ ciated complexes, as seen in the responses to the word-association

1.

L. K. Frank, "Projective Methods for the Study of Person­ ality," journal of Pg^siioiogy, Vol. VIII (July, 1939), pp. 389-413.

2.

F. Galton, Inquiries into Human Faculty and Its Develop­ ment. pp. 155-146.

3.

J. M. Cattell and S. Bryant, "Mental Association Investi­ gated by Experiment," Mind. Vol. XIV (April, 1889), p p . 230-250.

4.

J. Breuer and S. Freud, Studies in Hysteria. pp. 3-4.

5.

C. G. Jung, Studies in Word Association, pp. 8-172.

*

By "Important Projective Techniques" are meant those which are most currently used.

- 10 test*

Kent and Rosanoff-*- further developed the uses of the

word-association test in 1910, to distinguish the sane from the insane* Although the inkblot test was developed and experi­ mented with by Rorschach** between 1911 and 1921, the use of inkblots to stimulate the imagination had long been known* Kerner,

as early as 1857, used inkblots for the purpose of

inducing phantasy.

Stuart and Paine^ utilized one hundred

inkblots with accompanying verses in a game of imagination called "Gobolinks* in 1896.

Binet and Henri* noted in 1895

that individuals respond with varying degrees of imagination when confronted with an inkblot.

Dearborn® concluded in 1898

that the early experience of a subject wields an important influence in his choice of response to an inkblot. 7 Payne first used the sentence completion method as a projective device in the study of personality in 1928.

In

1.

G* H* Kent and A. J. Rosanoff, "A Study of Association in Insanity," American Journal of Insanity. Vol. LXVII (July, October, 1910), pp. 37-96.

S.

H* Rorschach, Psvohodiagnostik*

5*

J. Kerner, Klexographie (1857) as cited by J. E. Bell, Pro-lective Techniques. p. 75.

4.

R. M. Stuart and A. B. Paine, Gobolinks or Shadow-Pictures for Young and Old.

5.

A. Binet and V. Henri, nLa psychologie Individuelle,” L fAnnfee Psvchologique. Vol. II (1895), pp. 411-465.

.

G. V. Dearborn, "A Study of Imaginations," American Jour­ nal of Psychology. Vol. IX (1898), pp. 183-190.

6

7.

A. F. Payne, Sentence Completions: Clinic, (1928).

New York Guidance

- 11 1930, Tendler1- developed the Emotional Insight Test, a form of sentence completion*

Rotter2 reported in 1946 that his

Incomplete Sentences Test was useful both as a screening de­ vice and as a source of diagnostic material.

Rohde5 (1946)

found the Rohde-Hildreth Sentence Completion Blank to be of value in the determination of the individual's needs, Inner tensions, traits, tastes and sentiments.

Symonds4 found that

the sentence completion method gave the unconscious projec­ tions of the individual in the form of loves, fears, hostil­ ities, wishes and general motives. Play techniques and related methods, used for both diagnosis and therapy, were first used by Anna Freud** (1928) and Klein® (1932) in the psychoanalysis of children.

Walder^

1.

A. D. Tendler, "A Preliminary Report on a Test for Emo­ tional Insight,0 Journal of Applied Psychology. Vol. XIV (August, 1930), pp. 122-136.

2.

J. B- Rotter, "The Incomplete Sentences Test as a Method of Studying Personality," American Psychologist. Vol. I (July, 1946), p. 286.

3.

A. R. Rohde, "Explorations in Personality by the Sentence Completion Method," Journal o£ Applied Psychology. Vol. XXX (April, 1946), pp. 169-181.

4.

P. M. Symonds, "The Sentence Completion Test as a Projec­ tive Technique," Journal of Abnormal and Social Psy­ chology. Vol. XLII (July, 1947), pp. 320-329.

5.

A. Freud, "Introduction to the Technique of Child Analy­ sis," Nervous and Mental Diseases Monograph. No. 48 (January, 1928).

6

.

7*

M. Klein, The Psvchoanalysis of Children. R. Walder, "The Psychoanalytic Theory of Play," Psycho­ analytic Quarterly. Vol. II (April, 1933), pp. 208-224.

- 12 found that play helped liberate the child from reality and superego controls as well as being the child's method of elab­ orating experience as a process of assimilation. Morgan and Murray* (1935) were the first in litera­ ture to mention the Thematic Apperception Test, which they observed to be of value in bringing to the forefront basic underlying adjustment issues of which the subject may not be aware.

Masserman and Balken2 (1938) found that phantasies

produced yield interpretations which agree with, and frequently supplement, clinical evaluations of the subject.

Phantasies

were noted to be of occasional value in diagnosis, prognosis, and in the estimation of progress of psychotherapy.

Sanford 5

(1941) determined twenty syndromes of needs and traits on the Thematic Apperception Test which were of use in explaining the interrelationships between personality, physical structure of the organism and environmental factors.

Kendig^ (1944)

suggested that the Thematic Apperception Test may yield in a

1.

C. D. Morgan and H. A. Murray, nA Method for Investigating Fantasies: The Thematic Apperception Test," Ar­ chives of Neurology and Psychiatry. Vol. XXXIV (Au­ gust, 1935), pp. 289-306.

2.

J* H. Masserman and E. R. Balken, "The clinical application of phantasy studies," Journal of Psychology. Vol. VI (July, 1938), pp. 81-88.

3.

R. N. Sanford, "Some Quantitative Results from the Analysis of Children's Stories," Psychological Bulletin. Vol. XXXVIII (October, 1941), p. 749.

4.

I. V. Kendig, "Projective Techniques as a Psychological Tool in Diagnosis," Journal o£ Clinical Psychopathol­ ogy and Psychotherapy. Vol. VI (July, 1944), pp.

101-110.

13 few hours more material than the patient is capable of di­ rectly giving and which might otherwise require months to ob­ tain by free-association.

Rosenzweig* (1948) observed that

the test may also be used as a short cut in therapy by giving the therapist a dynamic insight into the patient's personal­ ity and by encouraging the latter to free-associate from the story-content. Szondi2 (1947) has been investigating since 1930 his empirical findings that a subject's likes and dislikes of photographs of clinical cases reflect his own personality trends.

His rationale posits a genetic basis for personality

and attempts to explain personality structure as determined by heredity and constitution.

Deri3 (1949) uses the test as

a clinical tool, but omits Szondi's genetic theories and at­ tempts to present a rationale based purely on psychological assumptions. The Psychodrama, introduced by Moreno4 in 1934, in which the subjects act out a dramatic plot, is reported to be of diagnostic and therapeutic value.

Fantel5 (1948) found

1.

S. Rosenzweig, "The Thematic Apperception Technique in Diagnosis and Therapy," Journal £ £ Personality. Vol. XVI (June, 1948), pp. 43^-444.

2.

L. Szondi, Szondi Test; Experimentelle Triebdiagnostik: Textband.

3*

S. Deri, Introduction to the Szondi Test: Theory and Practice.

4.

J. L. Moreno, “Who Shall Survive?," Nervous and Mental Dis­ eases Monograph. No. 58 (October, 1934J, pp. 321-331.

5.

£• Fantel, "Psychodrama in a Veteran's Hospital," Sociatry. Vol. II (April-August, 1948), pp. 47-64.

- 14 the technique valuable in giving married individuals an in­ sight into their difficulties and an understanding of the needs of the marriage partner. Rosenzweig* (1945) introduced the Picture-Frustration Test, which is composed of a series of cartoon-like pic­ tures, each portraying a commonly occurring frustrating situ­ ation.

He found the test of value for the eliciting of

expression of aspects of social adjustment. Buck2 (1947) found that a person's drawings of a house, a tree and a person, commonly referred to as the H-T-P Test, could be used to evaluate intelligence and personality integration. Schneidman5 (1947) reported the Make-A-Pieture-Story Projective Personality Test, commonly referred to as the MAPS Test, in which the subject has the choice of background pic­ tures and figures with which to stage a dramatic story, gives the clinical psychologist an understanding of the subject's psychodynamics and is frequently of aid in arriving at a dif­ ferential diagnosis.

1.

S. Rosenzweig, "The Picture-Assoeiation Method and Its Application in a Study of Reactions to Frustration," Journal of Personality. Vol* XIV (September, 1945), pp. 3-23.

2.

J. N. Buck, Thg H-T-P* A Projective. Device of Adult Intelligence.

3.

E. S. Schneidman, "The Make-A-PIcture-Story (MAPS) Projec­ tive Personality Test: A Preliminary Report," Jour­ nal of Consulting Psychology. Vol. XI (NovemberDecember, 1947), pp. 315-325.

& Measure

- 15 Validity and Reliability of Current* Protective Techniques Other Than Drawing Techniques Kerr-*- (1 9 5 4 ) found some agreement between Rorschach results and combined estimate of case history and clinical evaluations for intelligence and emotionality.

Fosberg** (1938)

varied the Rorschach Test instructions four times for two sub­ jects and found that the psychogram remained essentially the same.

He therefore concluded that the test reliably traces

the more basic and permanent aspects of personality.

Fosberg

(1941), in another experiment of retest reliability, again found the Rorschach Test to be highly reliable even with vary­ ing instructions.' The correlation of Rorschach and Binet intelligence quotients computed by Vernon^1 (1935) was .78.

Benjamin and

Ebaugh5 (1938) found the correlation between Rorschach and

1.

M. Kerr, "The Rorschach Applied to Children," British Journal of Psychology. Vol. XXV (October, 1934), pp. 170-185.

2m

I. A. Fosberg, "Rorschach Reactions Under Varied Condi­ tions," Rorschach Research Exchange. Vol. Ill COctober, 1938), pp. 12-30.

3.

I. A. Fosberg, "An Experimental Study of the Reliability of the Rorschach Psychodiagnostic Technique," Ror­ schach Research Exchange. Vol. V (August, 1941), pp. 72-84.

4.

P. E. Vernon, "Recent Work on the Rorschach," Journal Vol. CX ( J u l y , 1949), p. 55.

2*

Ibid.. p* 57.

3

.

L o c . cit.

-

by Beliak.

62

-

He stated: wPro.iection will vary in amount in­

versely with the clearness of the stimulus and also inversely with the exactness of the Instructions concerning the task.” ^ Beliak also expressed the concept from a Gestalt viewpoint.

He stated:

Concepts of the Gestalt school permit one to express the situation rather well. One may say in those terms, that the less structured the field is originally, the more structuration will be done by the ego and vice versa. In an ambiguous picture, personality variables will de­ termine mainly what becomes figure and what becomes ground. This cognitive function is greatly influenced by a tend­ ency toward tension reduction.2 Previous work has demonstrated the inability of the regular TAT cards to indicate clearly the individuals uncon­ scious conception of his own maseulinity-femininity identifi­ cation.

Stimulation came from the card, and made it possible

for the subject to identify with any figure of either sex.

The

TAT cards with personless scenes"similarly did not clearly indicate the individual's unconscious conception of his own maseulinity-femininity identification, since they were fre­ quently found to have the same stimulus value for subjects of both sexes.

For example, a picture of a rowboat on the edge

of a stream elicited stories Involving little boys or men fishing from both male and female subjects in the pilot stud­ ies.

1*

L. Beliak, ”The Concept of Projection,” Psychiatry. Vol. VII (November, 1944), p. 363.

2.

Ibid.. p. 364.

- 63 The first pilot study indicated that stories in response to the blank card did expose the individual's un­ conscious conception of his own maseulinity-femininity iden­ tification.

Due to the completely unstructured nature of the

stimulus, the stories can originate only from stimulation from within. Eight blank cards were therefore interspersed among the regular TAT cards in the second pilot study.

Since the

possibility existed that the sex of the figure in the regular TAT card preceding the blank card would influence the masculinity-femininity identification on it, the TAT was adminis­ tered in two sessions.

The regular TAT cards preceding the

four interspersed blank cards in the first session were all of definite male stimulus value, and were all of definite female stimulus value in the second session.

The cards were

administered in the following sequence: Testing session I:

3BM*, 6 BM, Blank, 8 BM, Blank, 9BM, Blank, 17 BM, Blank.

Testing session II: 3GF*, 6 GF, Blank, 7GF, Blank, 8 GF, Blank, 9GF, Blank. No significant differences in unconscious masculinity-femininity identification for the two series of blank cards were observed for any of the subjects as scored on the same scale.

It was therefore concluded that BCTAT stories

demonstrate a constant measure of the individual's unconscious

•*BM refers to cards to be used with boys and males over fourteen. GF refers to cards to be used with girls and females over four­ teen.

- 64 conception of his own maseulinity-femininity identification, uninfluenced by the sex of the figures in the immediately preceding regular TAT cards* To demonstrate that the BCTAT gets at some constant measure of the individual's unconscious conception of his own maseulinity-femininity identification without the influence of previous cards as described above, the same two series were again administered in this experiment. It Is believed that the demonstration of a constant measure of the individual's unconscious conception of his own maseulinity-femininity identification is of theoretical in­ terest, as well as necessary to this experiment. The TAT instructions used were an adaptation of the instructions for the individually-administered TAT, as recom­ mended by Tomkins1-, except for the added concept of physical description.

This was necessary for the quantification of

data relating to the individual's unconscious conception of his own maseulinity-femininity identification. The instructions for the first regular TAT card for each testing session were as follows: This is a test of imagination, one form of creative in­ telligence. I am going to show you some pictures, one at a time, and your task will be to make up as dramatic a story as you can for each. Write what led up to the event in the picture, describe what is happening at the moment, what the persons are thinking and feeling. Write about specific persons rather than people in general. (Pause.) Include physical descriptions of your persons

L.

S. S. Tomkins, The Thematic Apperception Test, pp. 21-24.

- 65 such as age in years and build. Write your thoughts as they come to mind. Look at the first picture. (Time limit approximately seven minutes.) The instructions for all other than the first regu­ lar TAT cards for each testing session were as follows: Remember, write what led up to the event in the picture, describe what is happening at the moment, what the per­ sons are thinking and feeling. Write about specific persons rather than people in general. (Pause.) In­ clude physical descriptions of your persons such as age in years and build. Write your thoughts as they come to mind. Go ahead. (Time limit approximately seven minutes.) The instructions for the first blank TAT card for each testing session were as follows: Now let's see how good an imagination you really have. See, this card is blank. Imagine some picture there and describe it in detail. Make up as dramatic a story about it as you can. Write what has led up to the event des­ cribed in the picture. Describe what is happening at the moment, what the persons are thinking and feeling. Write about specific persons rather than people in gen­ eral(Pause.) Include physical descriptions of your persons such as age in years and build. Write your thoughts as they come to mind. Go ahead. (Time limit approximately twelve minutes.) The following instructions for all cards (regular and blank) were administered approximately after four and eight minutes, for the regular and blank cards, respectively: Start rounding off your stories. Remember, write what led up to the event in the picture, describe what is happening at the moment, what the persons are thinking and feeling. Write about specific persons rather than people in general. (Pause.) Include physical descrip­ tions of your persons such as age in years and build. The time limits of seven and twelve minutes for regular and blank cards, respectively, allowed sufficient time in which to write an adequate story in response to the blank cards, but at the same time, did not give away the experimental interest in solely the blank cards.

- 66 The number of TAT cards to be used was determined by noting that approximately eighty-five minutes of testing was the limit before fatigue and restlessness set in.

This

allowed sufficient time for four blank and five regular TAT cards• The Instructions pertaining to the rounding-off of stories, read after approximately two thirds of the time limit per card elapsed, made certain that physical description was Included.

"Include physical description" intimated a person

or persons, but did not offer any cues as to any kind of per­ son.

Including the concept of physical description near but

not quite at the end of the instructions, created sufficient emphasis but tended to prevent the subject's suspicions that this was an all-important factor. The concept of "creative intelligence" was included due to the pilot studies having shown that some college stu­ dents became defensive when it was implied that the TAT was related to intelligence. The concepts of "persons" and "specific persons" were stressed since the pilot studies demonstrated that some subjects evasively described nature scenes or impersonal groups . "Age in years" implied a number, which aided in the placement of stories on an age scale and tended to do away with general age descriptions such as "young" or "teen-age." Those subjects who nevertheless gave general age descriptions were interviewed individually and asked to substitute numer-

- 6? leal ages* The group administration of the TAT, as found in two pilot studies, required a friendly, relaxed atmosphere. Smoking was therefore permitted during testing.

The groups

were composed of from ten to fifteen students of mixed sexes seated one seat apart on chairs with writing arms. of TAT cards were used.

Four sets

Identical cards were set up on easels

at four conveniently located points so that each, subject was approximately an arm’s length away from the card.

Nearsighted

students were given the cards individually. The MMPI was group-administered.

Hathaway and Me

Kinley (1943) state: "For college, high school, or professional people, who are used to reading and writing, the results ob­ tained by the use of the booklet form are probably almost iden­ tical with those of the card form ."1 The MMPI, as is the case with all paper-and-pencil inventories, is a test dependent upon the honesty of the sub­ ject.

Hunt^ (1948) reported that 84 per cent of his subjects

with abnormal or borderline profiles produced normal profiles when requested to conceal their personality defects.

Benton

and Probst (1946) state: "It may be, then, that the Femininity

1.

S. R. Hathaway and J. C. McKinley, The Booklet (Group) Form of the Minnesota Multiphasic Personality In­ ventory. p. 1 .

2.

H. F. Hunt, "The Effect of Deliberate Deception on Min­ nesota Multiphasic Personality Inventory Perform­ ance," Journal of Consulting Psychology. Vol. XII (November-Decemher, 1948), pp. 396-402.

- 68 scale, dependent as it is on the honesty and frankness of the subject, is frequently incapable of disclosing a feminine trend apparent to the interviewing clinician.nl Burton^ (1947) derived a retest reliability coef­ ficient of ,70 for the MMPI Masculinity-Femininity Scale, hereafter to be abbreviated MMPIMf, and concluded that the reliability was too low to permit safe individual use of the scale.

Nevertheless, the reliability of the MMPIMf is higher

than for many of the currently used paper-and-pencil masculinity-femininity scales.

Heston*5 (1948) obtained a biserial

correlation of .745 for the correlation of the MMPIMf, Group Form with the sex of the subjects.

This was higher than the

results obtained from correlation of each of the following tests with the sex of the subjects:

the Strong Vocational

Interest Blank for Men, the Kuder Preference Record and the De Pauw Adjustment Inventory.

1.

A. L. Benton and K. A. Probst, nA Comparison of Psychi­ atric Ratings with Minnesota Multiphasic Inventory Scores,” Journal of Abnormal and Social Psychology, Vol. XLI (January, 1946), pp. 75-78.

2.

A. Burton, "The Use of the Masculinity-Femininity Scale of the Minnesota Multiphasic Personality Inventory as an Aid in the Diagnosis of Sexual Inversion,” Journal df Psychology, Vol. XXIV (July, 1947), pp. 161-164.

5.

J. C. Heston, "A Comparison of Four Masculinity-Feminin­ ity Scales," Educational and Psychological Measure­ ment, Vol. VIII (1948), pp. 575-587.

CHAPTER IV TREATMENT OF DATA

Statistical Method Too exclusive a reliance on statistical analysis frequently results in the substitution of numbers for meaning­ ful content. Allport states: "The value of statistical analysis in sorting, comparing, and determining the reliability of accumulated data is unquestionable; but so too is its power for mischief when the psychological aim and-significance of the investigation become obscured in the sheer exuberance of digits."1 ’ However, statistical methods have been utilized in the analyis

of the data.

Tables, figures, etc., are pre­

sented where they aid in the evaluation of pertinent material. The Masculinity-Femininity* Identification Scale for the 8 CRT and the"BCTAT The m-f identification ratings obtained from the

1.

G. W. Alport, Personality— A Psychological Interpreta­ tion. p. 382.

*

"Masculinity-Femininity" is hereafter abbreviated as "M-F."

- 70 8 CRT

and BCTAT were scored on the same scale (Figure l) .

This

was a thirteen point scale ranging from +3 to -3 with inter­ vals of 0.5*

It allowed each subject an equal range in both

positive and negative m-f identification.

The following were

the criteria used to determine the rating to be given to the drawings and stories: Rating

Description

Age of drawn figure or age of story-figure

3.0

Adult identification with own sex

21

2.5

Adolescent-adult identification with own sex

19-20

2.0 1.5 1.0 0.5 0 -0.5 -1.0 -1.5 -2.0 -2.5 -3.0

or over

Adolescent identification with own sex

13-18

Child-adolescent identification with own sex

12

Child identification with own sex Infant-child identification with own sex

4-11 0-3

Sexless infant Infant-child identification with opposite sex

0-3

Child identification with oppo­ site sex

4-11

Child-adolescent identification with opposite sex

12

Adolescent identification with opposite sex

13-18

Adolescent-adult identification with opposite sex

19-20

Adult identification with oppo­ site sex

21

or over

- 71 Rating 3.0 2.5 2.0

1.5 1.0 0.5 0

-0.5 -

1.0

-1.5 —

2.0

-2.5 -3.0 [ _ _________________________________________ _ 1 2 3 4 5 6 7 8 Number of Drawing or Number of Story Figure 1.

Scale for Determining the Individuals Unconscious Conception of His Own M-F Identification on the BCTAT and 8 CRT.

This procedure is believed to be valid for the BCTAT and the 8 CRT, since both were completely unstructured.

Any

persons produced, either in story or graphic-form, must be a function of the individuals own projections and identifica­ tions • The criteria for m-f identification for both the 8 CRT

and the BCTAT were sex and stage of life of-persons iden­

tified with in either graphic or story form.

Stage of life

was determined by the purely physical aspects, such as age,

- 72 sex and physical description of persons in the drawings or stories. Where two persons were drawn on the same sheet or referred to in the same story and the subject1s identification with one was clear, that person was given the weighted score. Where identification was unclear, the drawing ceived a score of (?) on the scale.

or story re­

Where there were two pos­

sible identifications, both were Included on the scale in order to display graphically the possible trends for that drawing or story.

These scores were not included in the sta­

tistical analysis of the data unless the two possible identi­ fications were scored one unit or less apart.

Where the age

of persons was omitted in any story or drawing, the subject was consulted and an age was obtained. Where one story on the BCTAT or one drawing on the 8 CRT

was unscorable, that story or drawing was not used to

determine the mode, median, etc. The records for both the BCTAT and the 8 CRT were scored by a concensus of three clinical psychologists to ob­ tain interscorer reliability. The Comparison of Scaled Scores by §. Percentage of Disagree­ ment Method It is hoped that the results of this experiment will have some clinical applicability.

It was therefore deemed

necessary to make each subject his own control in the treat­

- 73 ment of data, since the individual must always be approached clinically on a unitary basis.

Since the measure of a person­

ality factor can only be approximate, too refined a scale would serve no constructive purpose.

Group data can only be

treated on a gross basis In the light of the grossness of in­ dividual scores.

The comparison of results for each individ­

ual was based upon the percentage of disagreement between scaled scores.

Group data were compared by computing the

mean percentage of disagreement between scaled scores for the males and females separately.* A correlation technique is believed to be inappli­ cable to these data.

The majority of subjects scored from 2

to 3 on both the 8 CRT and BCTAT.

This bunching does away

with the variability of scores and consequently lowers corre­ l a t i o n s . T h e use of a normal sampling again restricts the range of scores.

This coarse grouping also results in de-

1.

J. P. Guilford, Psychometric Methods, p. 224.

2.

C. C. Peters and W. R. Van Vorhis, Statistical Procedures and Their Mathematical Bases. p. 393.

*

The direction of the difference between two scaled scores was ignored in the computation of the mean percentage of disagreement between groups. This use of absolute values considerably increased the mean percentage of group disa­ greement.- For example, the mean percentage of group disa­ greement between the two pairs of scaled scores of 2.5 and 2.0, 2.0 and 2.5 was 8.3 using absolute values. Had the direction of the difference between scores been taken into account, the percentages of disagreement would have been 8.3 and -8.3 which would have resulted In a mean percentage of disagreement of 0. Absolute values were used because they present a more valid comparison of group performance.

- 74 creased variability and lowered correlations.-*• The Construction of the Percentage of Disagreement Scale The difference between scaled scores was used to com­ pare each subject*s results.

This yielded the same scaled dif­

ference between two pairs of similar scores which differed in signs,-as, for example, 2.5 and 3.0, -2.5 and -3.0.

The scale

of 3 to -3 was equated to a 13 point scale with an interval of 1 and a range of 0 to 12.

The score of -5 was equated to 0 ,

that of 3 to 12, -2 to 2, 2 to 10, etc.

Half-point intervals

on the 3 to -3 scale were equated to 1 point intervals on the 0

to 12 scale. The total scale of twelve Intervals was constantly

used as the denominator and the difference between the two scaled scores as the numerator.

This fraction yielded the

percentage of disagreement between any subject’s two scaled scores.

For example, there is 100 per cent disagreement for

scores 3 and -3, 83.3 per cent for scores of 3 and -2, 16.7 per cent for scores of 3 and 2 , 0 per cent for 3 and 3.

In

order to facilitate computations, a percentage of disagree­ ment table of n o r m s was constructed (Table I) • Scoring of the BCTAT Responses The BCTAT stories were scored on the M-F Identifi­ cation Scale (see Figure I) arid modes were obtained for sto-

1.

R. L. Thorndike, Army Air Forces Aviation Psychology Pro­ gram Research Reports. Report No. 3. Research Prob­ lems and Techniques, p. 60.

Percentage of Disagreement lorns lietween Sci led Scores

3.00 2.75 2^50 2.25 2.00,1*75 1.50 1.25 1.00 .75 ,50 .25 3.00 2.75 2.50

17 21 25 29 33 4 :,8 12 17 21 25 29 o 4 8 12 17 21 25

2.00

0

1.25

42

48

33

37

42

50 46

29

33

37

42

8 12 17 21 8 12 17

25 21

29 25

33i 29!

4 8, 12

17

21 17

25 21

12

.

4

1.50

37

a ; 12

2.25

0 -.25 -.50 -.75 rl.00-1,25-l.50-l.75i-2.00-2.25r2.50-2.75 ■3.00

0 4 .8; 12 0

4

8

67

75 71

79, 75:

83 87 79 83

92 87

96 100 92 96

58

62

67

71

75

79

83

87

92

50

54

58!

62

67

71

75

79

83

87

42

41

50

5'

58

62

67

71

75

83

29

37

42

46

5(j

54 58

62

67

71

79

33 29

37 33

42 37

46; 4i

50 46

54 50

58

62

67 62

75

17j

25 21

12

17

25

2

33

37j

42

40| 50

25 21

29 25

33 29

37 33

17

21

25

12

17

62

67

71

50 46 50

58

62

54

37 42

46

33

54

58 54

58

62

67

42 37

46 50 42 46

54 50

58 54

62 58

29

33

37 42

46

50

54

21

25

22j

33

37

42

46

50

12

17

21

28

29

33

37

42

46

12

0.75

8 4

17 21 12 17

25 29 21 25

33 29

37 33

42 37

1.00

0

8 12 17 21 17

25 21

29 25

33 29

4

8 12

17

21

25

0

4

12 _17 Jl_

0,75 0,50 0.25 0.0

0

21

17 21 41il- 8 12 17 12 Q 4 8

'

12

0

4

-0.25 -0.50 -

-1.25 -1.50 -1.75 -

71

54

1.00

-

54 58

2.00

-2.25 -2.50 -2.75

-3.00

0

4

12

4 0

0

4

12 8 4

17 12

- 76 -

ries 1-4, 5-8 and 1-8. Where no mode was obtainable for stories 1-4 or 5-8 and two or more of the scores for the stories fell within one unit of the scale, the arithmetic mean of these two or more scores was used. Where two modes were present but where they were separated by one scale unit or less, the arithmetic mean of the two modes was used. Where two modes were present for either stories 1-4 or 5-8, but where they were separated by more than one scale unit, the series was scored (?). In attempting to calculate the mode for stories 1 -8 , if two modes were found which were one or less scale units apart, the arithmetic mean of the two modes was calculated. Where the two modes were more than one scale unit apart, the mode was scored as (?). Where several subjects did not complete both admin­ istrations of the BCTAT, their mode for stories 1 - 8 was also scored (?). The score of (?) was also used where none of the above scoring criteria applied to any series of stories 1-4 or 5-8. The Constancy of Story Responses on the BCTAT To demonstrate that the BCTAT measure of unconscious m-f identification is highly constant and uninfluenced by the sex of the figures in the Immediately preceding regular TAT

- 77 cards, the percentage of disagreement was computed for each individual1s modes of BCTAT stories 1-4 and 5-8.

Mean per­

centages of disagreement were determined to be 4 per cent for the males and 21 per cent for the females (Tables Ila and lib) . The first four BCTAT cards were preceded by cards of the BM series; the last four by the GF series (see p. 63).. Influence of the BM and GF Cards of the BCTAT The nine females, 20.0 per cent of the female samp­ ling of Table lib, had plus and minus modes in stories 1-4 and 5-8 (Table Illb) .

Minus modes were scored in 55.6 per cent

of the stories 1-4 and 44.4 per cent of stories 5-8.

None

of the male subjects demonstrated this inconstancy' of BCTAT modes.

This enabled the determination of the percentage of

the subjects whose stories in response to the blank cards ap­ peared to be influenced by the sex of the figures in the im­ mediately preceding TAT cards. Determination of the Accuracy of the Measurement of Unconscious M-F Identification by the 8 CRT Evidence has been presented from the literature showing that stories in response to the blank card of the TAT tap unconscious areas of personality.

One of these areas is

the IndividualTs unconscious conception of his own m-f iden­ tification. The accuracy of the 8 CRT in measuring the individ­ ual* s unconscious conception of his own ift-f identification was obtained by determining the percentages of disagreement be-

- 73 TABLE Ila Percentages of Disagreement between Modes Obtained from BCTAT Stories for Male Subjects

Subject Ml4 MS M4 M6 17 M8 M9 M10 Mil MIS M13 M14 M15 M16 M17 M18 M19 MSI MSS MSS MS4 MS5 MS6 MS7 MS8 MS9 M30 M31 '

M3S M33 M34 M36 M37 M38 M39 M40 M41 M4S

Mode of Stories 1-4

Mode of Stories 5-8

3.0

2.5 2.5 3.0 2.5 2.5 3.0 3.0 3.0 3.0 2.5 3.0 3.0 3.0 3.0 3.0 3.0 3.0 3.0 3.0 3.0 3.0

2.75 2.5 3.0 2.5 3.0 3.0 3.0 3.0 3.0 3.0 3.0 3.0 3.0 3.0 3.0 3.0 3.0 3.0 3.0 3.0 3.0

2.0

2.0

3.0 3.0 3.0 3.0 3.0 2.5 3.0 3.0 3.0 3.0

2.5 3.0 3.0 3.0 3.0 2.75 3.0 3.0 3.0 3.0

2.0

2.0

3.0 3.0 3.0 3.0 2.5

3.0 3.0 3.0 3.0 2.75

2.0

3.0 2.5 3.0 3.0 3.0 3.0 3.0 2.75 3.0 3.0 3.0 3.0 3.0 2.5 3.0 2.5 3.0 3.0 3.0 2.5 2.5 3.0 3.0 2.75 3.0 3.0 2.75 3.0 3.0 3.0 2.5 3.0 3.0 3.0 2.0

3.0

Mode of Stories 1-8

(continued)

4

Ml, MS, etc., is the number assigned to each male and will refer to the same subject throughout all tables.

- 79 TABLE U a (Continued)

Subject M43 M44 M45 M46 M47 M48 M49 M50 M51 M52 M53

Mode of Stories 1-4 2.75 3.0 2.75 2.5 3.0 3.0 2.5 3.0 2.5 3.0 3.0

N=49 Mean % Disagreements

Mode of Stories 5-8

Mode of Stories 1-8

3.0

2.75 2.5 2.75

3.0 3.0 3.0 3.0 3.0 3.0 2.5 3.0

2.0

2.0

3.0 3.0

3.0 3.0

2.0

3.0 3.0 1.0

- 00 TABLE lib Percentages of Disagreement between Modes Obtained from BCTAT Stories for Female Subjects

Subject FI* F3 F4 F5 F6 F7 F8 F9 F10 Fll FI 3 F14 F16 F17 F18 F19 F20 F21 F2 2 F23 F24 F27 F28 F29 F32 F33 F35 F36 F37 F39 F40 F42 F43 F44 F45 F46 F48 F50

Mode of Stories 1-4

Mode of Stories 5-8

Mode of Stories 1-8

2.0

2.5 -3.0 3.0 3.0

2.0

1.5

2.5 -3.0 3.0 3.0 -3.0 1.5

2.5 2.5 2.5 2.25

2.0

2.0

2.5

2.5

2.0

2.0

2.5

2.5

2.0

2.0

2.0

-3.0 2.25 3.0 2.5 -2.5 2.5 2.5 2.75 -3.0 -1.0 -2.75 2.5 3.0 3.0 3.0 3.0 2.5

-2.75 2.25 3.0 2.5 -2.75 2.5 3.0 2.75 2.25 2.25 3.0 3.0 2.5 2.5 -3.0 3.0 2.5

-2 . 0 2.25 3.0 2.5 -3.0 2.5 3.0 2.75 2.25

2.0 2.0

2.0

2.0 2.0

3.0 3.0 3.0 -3.0

-2.5 3.0 2.5 -3.0 2.25 2.5 3.0 3.0

2.0

1.5 2.75 3.0 2.0

-3.0 -3.0 2.5 2.0

2.75

9•

3.0 2.75 3.0 2.75 -3.0 3.0 2.5 -3.0 3.0 2.5 -3.0 -3.0 2.5 2.5 3.0 (continued)

*

FI, F2, etc., is the number assigned to each female and will refer to the same subject throughout all tables.

- 81 TABLE lib (Continued)

Subject F52 F53 F54 F55 F56 F57 F58

Mode of Stories 1-4

Mode of Stories 5-8

-3.0 2.5 2.5 3.0 -3.0 3.0 2.0

-3.0 2.5 -3.0 2.5 —3 .0 3.0 3.0

N=45 Mean % Disagreement=21

Mode of Stories 1-8 -3.0 2.5 2.5 2.5 -3.0 3.0 2.5

- 82 -

TABLE Illb Tabulation of Modes of Those Female Subjects Who Shov/ed Plus and Minus Values in BCTAT Stories 1-4 and 5-8

Subject

Mode of Stories 1-4

Mode of Stories 5-8

F3

3.0

-5.0

F6

-3.0

2.0

F23

-3.0

2.25

F24

-

1.0

2.25

F27

-2.75

3.0

F33

3.0

-3.0

F40

-2.5

2.75

F45

2.25

-3.0

F54

2.5

-3.0

$+modes=44.4

$+modes=55.6

^-modes=55.6

$-modes=44.4

N=9

- 83 tween the mode of BCTAT stories 1-8 and the medians of the following five series of 8CRT drawings: 5-8, 6-8, 1-8.

drawings 1-3, 1-4,

The data were treated separately for the male

and female subjects (Tables IVa and IVb) .

The mean percen­

tages of disagreement between BCTAT modes 1-8 and medians of 8CBT series for the males were 12 per cent for drawings 1-3, 11 per cent for drawings 1-4,. 16 per cent for drawings 5-8, 14 per cent for drawings 6-8 and 11 per 'cent for drawings 1-8 (Table IVa) •

Mean percentages of disagreement between BCTAT

modes 1-8 and medians of 8CRT series for the females were 30 per cent for drawings 1-3, 29 per cent for drawings 1-4, 20 per cent for drawings 5-8, 17 per cent for drawings 6-8 and 21 per cent for drawings 1-8 (Table IVb) • This procedure also determined whether later draw­ ings tapped a more unconscious level than earlier drawings by noting if a smaller mean percentage of disagreement was obtained between the medians of later series of drawings and the BCTAT mode than between the medians of earlier series of drawings and the BCTAT mode. To determine whether a reliable difference in un­ conscious m-f identification existed between earlier and laber produced series of drawings, the mean percentages of disagree­ ment between medians of drawings 1-3 and 6-8 and drawings 1 —4 and 5-8 were compared. Individual Records Where Inconstancies Were Noted between Earlier and Later Drawings

- 34 TABLE IVa Percentages of Disagreement between Modes of BCTAT Stories 1-8 and Medians of Series of 8CRT Drawings for Male 1 Subjects

lbject Ml M2 M4 M6 M7 M8 M9 mo. Mil M12 MIS M14 M15 M16 M17 M18 M19 M20 M21 M22 M23 M24 M25 M26 M27 M28 M29 M30 M31 M32 M33 M34 M35 M36 M3 7 M38 M39 M40 M41 M42 M43 M44

BCTAT Mode 1-8 2.75 2.5 3.0 2.5 3.0 3.0 3.0 3.0 3.0 3.0 3.0 3.0 3.0 3.0 3.0 3.0 3.0 3.0 3.0 3.0 3.0 3.0 2.0 2.5 3.0 3.0 3.0 3.0 2.75 3.0 3.0 3.0 3.0 3.0 2.0 3.0 3.0 3.0 3.0 2.75 3.0 3.0

Median of Drawings 1-3

Median of Drawings 1-4

Median of Drawings 5-8

2.0 3.0 3.0 2.0 2.5 2.5 -3.0 3.0 2.5 3.0 3.0 3.0 2.0 2.5 3.G 3.0 3.0 2.5 2.5 3.0 3.0 2.0 3.0 2.5 3.0 2.0 3.0 2.0 2.0 2.5 2.5 2.5 1.5 2.5 3.0 -2 .5 3.0 3.0 2.5 3.0 3.0 2.0

2.0 3.0 3.0 2.0 2.5 2.25 -2.75 3.0 2.75 2.75 2.75 3.0 2.0 2.5 3.0 3.0 3.0 2.75 2.75 3.0 2.75 2.0 3.0 2.75 3.0 1.5 3.0 2.0 2.0 2.5 2.75 2.75 1.75 2.75 2.75 0.0 3.0 3.0 2.5 3.0 3.0 2.0

3.0 -3.0 3.0 3.0 2.75 2.5 -3.0 3.0 2.5 3.0 3.0 3.0 2.5 2.5 3.0 -0.25 2.25 3.0 3.0 3.0 -2.75 2.0 2.5 3.0 2.5 3.0 3.0 3.0 2.25 3.0 3.0 -0.5 2.5 2.75 0.5 2.75 3.0 2.5 2.5 3.0 3.0 2.0

Median of Median c Drawings Drawing 1-8 6-8 3.0 -3.0 3.0 3.0 2.5 2.5 -3.0 3.0 2.5 3.0 ? 3.0 2.5 2.5 3.0 2.5 2.5 3.0 3.0 3.0 -2.5 2.0 2.5 3.0 2.5 3.0 3.0 3.0 2.5 3.0 3.0 2.0 2.5 3.0 3.0 2.5 3.0 2.5 2.5 3.0 3.0 2.0

3.0 -0.75 3.0 2.0 2.5 2.5 -3.0 3.0 2.5 3.0 3.0 3.0 2.0 2.5 3.0 2.75 2.75 3.0 3.0 3.0 0.0 2.0 2.75 3.0 2.75 2.25 3.0 2.5 2.0 3.0 3.0 2.25 2.0 2.75 2.75 2.5 3.0 2.5 2.5 3.0 3.0 2.0 (continued)

- 05 TABLE IVa (Continued)

Subject

BCTAT Mode 1-8

Median of Drawings 1-3

M45 M46 M47 M48 M49 M50 M51 M52 M53

3.0 3.0 3.0 3.0 2.5 3.0 2.0 3.0 3.0

3.0 3.0 -2.5 2.0 3.0 3.0 2.5 3.0 3.0

Median of Median of Drawings Drawings 1-4 5-8 3.0 3.0 -2.75 2.5 3.0 3.0 2.25 3.0 0.0

2.75 2.0 -3.0 3.0 3.0 -0.5 2.5 2.75 2.25

Median of Median of Drawings Drawings 1-8 6-8 2.5 3.0 -3.0 3.0 3.0 -3.0 2.5 2.5 3.0

3.0 3.0 -3.0 3.0 3.0 2.25 2.5 3.0 2.25

N=

51

51

51

50

51

Mean % Disagreement1

12

11

16

14

11

TABLE IVb Percentages of Disagreement between Modes of BCTAT Stories 1-3 and Medians of Series of 8CRT Drawings for Female Subjects

Subject

BCTAT Mode 1-8

Median of Drawings 1-3

Median of Drawings 1-4

Median of Drawings 5-8

FI F2 F3 F4 F5 F6 F7 F8 F9 F10 Fll F12 FI 3 F14 F16 F17 F18 F19 F2Q F21 F22 F23 F27 F28 F29 F30 F32 F33 F34 F35 F36 F37 F39 F40 F41 F42 F43 F44 F45 F46 F47

2.5 2.0 -3.0 3.0 3.0 -3.0 1.5 2.0 2.5 2.0 2.5 -3.0 2.0 -3.0 2.25 3.0 2.5 -3.0 2.5 3.0 2.75 2.25 3.0 2.75 3.0 -3.0 2.75 -3.0 2.75 3.0 2.5 2.0 2.0 -3.0 2.0 3.0 2.5 -3.0 -3.0 2.5 2.5

2.0 2.0 3.0 1.5 2.0 2.0 3.0 2.0 2.0 2.0 2.0 3.0 2.0 2.5 3.0 2.5 3.0 2.0 -2.5 2.0 2.0 -3.0 2.0 3.0 2.5 -2.5 2.0 -2.0 3.0 3.0 -3.0 2.5 2.5 2.5 -3.0 5.0 2.0 -3.0 2.0 2.5 2.0

2.0 2.0 2.5 1.25 2.0 1.5 3.0 2.0 2.5 2.0 2.0 0.0 2.0 2.25 0.25 2.5 3.0 2.0 0.0 2.25 2.0 -3.0 2.0 3.0 2.5 -2.5 -0.5 0.0 3.0 3.0 -3.0 2.25 2.5 2.25 -0.25 3.0 2.25 -3.0 2.25 2.0 2.0

2.0 2.75 -2.0 2.0 2.25 -1.8 2.5 0.75 2.75 2.25 2.5 -2.0 2.0 3.0 2.5 2.25 3.0 2.25 -2.75 3.0 0.5 2.0 2.0 2.5 3.0 -2.75 1.5 -3.0 2.75 3.0 -2.75 2.25 3.0 -2.5 3.0 2.5 2.25 2.5 0.5 2.5 2.25

Median of Median of Drawings Drawings 1-8 6-8 2.0 2.5 -2.0 2.0 2.5 -3.0 2.5 2.5 3.0 2.5 2.5 -2.0 2.0 3.0 2.5 2.5 3.0 2.5 -3.0 3.0 3.0 2.0 2.0 3.0 3.0 -3.0 2.0 -3.0 2.5 3.0 -2.5 2.0 3.0 -2.5 3.0 2.5 2.5 2.0 -1.0 2.5 2.5

2.0 2.25 -1.75 1.75 2.0 0.25 3.0 2.0 2.5 2.0 2.0 -2.0 2.0 2.75 2.5 2.5 3.0 2.0 -2.5 2.75 2.0 -0.25 2.0 3.0 2.75 -2.5 1.5 -2.0 3.0 3.0 -3.0 2.25 2.5 -1.5 2.75 3.0 2.25 -0.5 2.0 2.5 2.0 (continued)

- 87 TABLE IVb

Subject

BCTAT Mode 1-8

F48 F49 F50 F51 F52 F53 F54 F55 F56 F57 F58

2.5 -3.0 3.0 -3.0 -3.0 2.5 2.5 2.5 -3.0 3.0 2.5

Median of Drawings 1-3

(Continued)

Median of Drawings 1-4

Median of Drawings 5-8

-3.0 -2.0 2.5 2.0 3.0 2.5 3.0 2.5 -3.0 2.5 2.0

-2.75 -2.0 2.75 2.5 2.75 2.75 3.0 2.5 -3.0 2.75 -0.25

3.0 -2.0 3.0 0.5 3.0 2.75 3.0 2.25 -3.0 3.0 2.0

N=

52

52

Mean % Disagreement=

30

29

Median of Median of Drawings Drawing 1-8 6-8 3.0 -2.0 5.0 -1.0 o .0 2.5 3.0 2.0 -3.0 5.0 2.0

2.75 -2.0 5.0 2.0 3.0 2.75 3.0 2.5 -3.0 3.0 2.0

52

52

52

20

17

21

- 88 It is believed that Tables IVa and IVb strate to best advantage the ability of the 8CRT

do not demon­ to tap in­

creasingly unconscious levels of m-f identification-

Since

most of the subjects scored between 2 and 3 on the scale, it was impossible for them to show an increasingly masculine or feminine vector on the 8CRT as ”twenty-one years and above” was defined as ”adult.” This *tapping” ability of the 8CRT can perhaps best be analyzed where the 8CRT -gain or -loss between drawing me­ dians 1-3 and 6-8 or between 1-4 and 5-8 was one

or more scale

units and to compare these losses or gains with the BCTAT mode of stories 1-8.

Fifteen males, 29.4 per cent of the male sam­

pling of Table IVa, were in this category.

Mean percentages

of disagreement between their BCTAT modes 1-8 and medians of 8CRT series were 15 per cent for drawings 1-3, 14 per cent for drawings 1-4, 29 per cent for drawings 5-8 and 24 per cent for drawings 6-8 (Table Va).

Eighteen females, 34.6 per cent of

the female sampling of Table IVb, were also in this category. Mean percentages of disagreement between their BCTAT modes 1-8 and medians of 8CRT series were 54 per cent for drawings 1-3, 52 per cent for drawings 1-4, 27 per cent for drawings 5-8 and 19 per cent for drawings 6-8 (Table Vb) . ■Significance of Negative Relationship between 8CRT and BCTAT Scores Although individual records of the BCTAT and 8CRT in some cases showed a negative relationship, it can be demon-

- 89 -

TABLE Va Percentages of Disagreement between Modes of BCTAT Stories 1-8 and Medians of Series of 8CRT Drawings for Male Subjects Who Showed Gain or Loss of One or More Scale Units between the Drawing Series 1-3 and 6-8 or 1-4 and 5-8

Subject

BCTAT Mode 1-8

Ml M2 M6 M18 M23 M28 M30 M34 M35 M37 M38 M46 M48 M50 M53

2.75 2.5 2.5 3.0 3.0 3.0 3.0 3.0 3.0 2.0 3.0 3.0 3.0 3.0 3.0

Median of Drawings 1-3 2.0 3.0 2.0 3.0 3.0 2.0 2.0 2.5 1.5 3.0 -2.5 3.0 2.0 3.0 3.0

Median of Drawings 1-4

Median of Drawings 5-8

Median of Drawings 6-8

2.0 3.0 2.0 3.0 2.75 1.5 2.0 2.75 1.75 2.75 0.0 3.0 2.5 3.0 0.0

3.0 -3.0 3.0 -0.25 -2.75 3.0 3.0 -0.5 2.5 0.5 2.75 2.0 3.0 -0.5 2.25

3.0 -3.0 3.0 2.5 -2.5 3.0 3.0 2.0 2.5 3.0 2.5 3.0 3.0 -3.0 3.0

N=

15

15

15

15

Mean % Disagreement

15

14

29

24

- 90 -

TABLE Vb Percentages of Disagreement between Modes of BCTAT Stories 1-8 and Medians of Series of 8CRT Drawings for Female Subjects Who Showed Gain or Loss of One or More Scale Units between the Drawing Series 1-3 and 6-8 or 1-4 and 5-8

Subject;

BCTAT Mode 1-8

Median of Drawings 1-3

Median of Drawings 1-4

Median of Drawings 5-8

Median of Drawings 6-8

F3 F6 F8 F12 F16 F20 F21 F22 F23 F32 F33 F40 F41 F44 F45 F48 F51 F58

-3.0 -3.0 2.0 -3.0 2.25 2.5 3.0 2.75 2.25 2.75 -3.0 -3.0 2.0 -3.0 -3.0 2.5 -3.0 2.5

3.0 2.0 2.0 3.0 3.0 -2.5 2.0 2.0 -3.0 2.0 -2.0 2.5 -3.0 -3.0 2.0 -3.0 2.0 2.0

2.5 1.5 2.0 0.0 0.25 0.0 2.25 2.0 -3.0 -0.5 0.0 2.25 -0.25 -3.0 2.25 -2.75 2.5 -0.25

-2.0 -1.8 0.75 -2.0 2.5 -2.75 3.0 0.5 2.0 1.5 -3.0 -2.5 3.0 2.5 0.5 3.0 0.5 2.0

-2.0 -3.0 2.5 -2.0 2.5 -3.0 3.0 3.0 2.0 2.0 -3.0 -2.5 3.0 2.0 -1.0 3.0 -1.0 2.0

Mean % Disagreement=

18

18

18

18

54

52

27

19

- 91 strated that the BCTAT mode 1-8 is a highly reliable figure as are the scores of the 8CRT medians of drawings 1-3 and 6-8. Six males, 11.8 per cent of the male sampling of Table IVa, showed this negative relationship between BCTAT and 8CRT scores. Fifteen females, S8.8 per cent of the female sampling of Ta­ ble IVb, were in the same category.

The mean percentages of

disagreement between the modes of BCTAT stories 1-4 and 5-8 were noted to be 8 per cent for the males (Table Via) and 39 per cent for the females (Table VIb) .

The mean percentages

of disagreement for the males between the test and retest of medians of 8CRT series were 15 per cent for drawings 1-3 and 6 per cent for drawings 6-8 (Table Via) »

Findings for the

females were 47 per cent for drawings 1-3 and 1-9- per cent for i drawings 6-8 (Table VIb) •

This permitted the determination

whether a stable process was occurring within each of the tests despite a negative relationship between the BCTAT and 8CRT • The Transmutation of MMPIMf Scores MMPIMf Scores were transmuted to the 3 to -3 scale by the following formula: X - X _ Y - Y

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HtmH‘H1H "The Diagnostic Validity of the Rorschach Test." American Journal of Psychiatry. XCIV (October, 1938), pp. 1163-1178. Benton, A. L., and Probst, K. A., "A Comparison of Psychiatric Ratings with Minnesota Multiphasic Inventory Scores." Journal of Abnormal and Social Psychology. XLI (January, 1946)7" P P * 75-78. Berrien, F. K., ®A study of drawings of abnormal children." Journal of Educational Psychology. XXVI (February, 1935), pp. 145-150.

- 146 Binet, A., and Henri, V., "La Psyehologie Individuelle." L*Annie Psychologioue. II (1895), pp. 411-465. Born, W., "The Art of the Insane." ary, 1946), pp. 202-236.

Ciba Symposia. VII (Janu­

Breuer, J., and Freud, S., Studies in Hysteria. New York: The Nervous and Mental Disease Publishing Company, 1936. Pp. ix + 241. Brill, I., "A study of instability using the Goodenough draw­ ing scale." J ournal of Abnormal and Social Psychology. XXXII (October-December, 1957), pp. 288-302. Brown, E. A., and Goetin, P. L., "The Significance of the Body Image for Personality A s s a y . ” Journal of Nervous and Mental Disease. XCVII (Apr.il, 1943)',""pp. 401-408. Brown, E. E., "Notes on Children’s Drawings." California Studies. II (18S7), pp. 1-75.

University of

Buck, J. N., "The H-T-P, a Measure of Adult Intelligence and a Projective Device." American Psychologist. I (July, 1946), pp. 285-236 (abstract) . . The H-T-P. A Projective Device and a Measure of Adult Intelligence. John-H. Bucli, 1947. Burton, A., "The Use of the Masculinity-Feniininity Scale of the Minnesota Multiphasic Personality Invent orj as an Aid in the Diagnosis of Sexual Inversion.” J ournal of Psychology. XXIV (July, 1947), pp. 161-164. Cameron, N., "Individual and Social Factors in Development of Graphic Ability." Journal of Psychology. V (January, 1938), pp. 165-184. Cattell, J. M., and Bryant, S., "Mental Association Investi­ gated by Experiment." M i n d . XIV (April, 1889), pp. 230-250. Childs, H. G., "Measurement of the drawing ability of 2177 children in Indiana City School systems by a Supplemented Thorndike Scale." Journal of Educational Psychology. VI (September, 1915), pp. 391-408. Claparede, E., "Plan d ’Experiences Collectives sur le Dessin des Enfant s." Archives de Psyehologie. VI (January, 1937), pp. 276-278. Clark, R. M., "A Method of Administering and Evaluating the Thematic Apperception Test in Group Situations." Genetic Psychology Monographs. X X X (August, 1944), pp. 1-51.

- 147 Cohen, J., "The use of objective criteria In the measurement of drawing ability." Pedagogical Seminary, XXVII (June, 1920), pp. 157-151. Combs, A. W., "The Validity and Reliability of Interpretation from Autobiography and Thematic Apperception Test." Journal of Clinical Psychology. II (December, 1946), pp. 240-247. _____ , "A Method of Analysis for the Thematic Apperception Test and Autobiography." Journal of Clinical Psychology, II (December, 1946), pp. 167-174. Cotte, S., "Le bonhamme 'aux mains couples’; dessins dPenfants delinquants: A propos de quelques omissions inconscientes dans le test de Goodenough. Zeitschrift fflr Kinderpsychiatrie, XIII (November, 1946), ’"pp. 156-164. Crown, S., "A Controlled Association Test as a Measure of Neuroticism." Journal of Personality. XVI (December, 1947), pp. 198-208. Datta, A., "Drav/ings of Children." Indian J ournal of Psy­ chology. X (1935), pp. 179-132, as reported in Psychol­ ogical Abstracts. X (November, 1936). Dearborn, G. V., "A Study of Imaginations.’’ American Journal of Psychology. IX (1898), pp. 183-190. De Lauriers, A., and Halpern, F., "Psychological tests in childhood schizophrenia." American J ournal of Ortho­ psychiatry. XVII (January, 1947), pp. 57-67. Deri, S., Introduction to the Szondi Test: Theory and Prac­ tice. New York: Grune and Stratton, 1949. Pp. xiv + 354. Despert, J. L., "Technical Approaches Used in the Study and Treatment of Emotional Problems in Children. Part III. Drawing." Psychiatric Quarterly. XI (April, 1937), pp. 267-295. Dolto-Marette, F., "Rapport sur 1 ’interpretation psychanalytique des dessins au cours des traitements psychot h e r a p i q u e s Psvchl. Ill (1938), pp. 324-346. Dunlap, K., "The Development and Function of Clothing." Jour­ nal of General Psychology. I (January, 1928), pp. 64-78. Earl, C. J. C., "The Human Figure Drawings of Adult Defectives." Journal of Mental Science. LXXIX (April, 1933), pp. 305327.

Elderton, E., ,!0n the association of drawing with other apti­ tudes in sehool children.” Biometrika. VII (July, 1909), pp. 222-226. Elkisch, P., ’'Children’s drawings in a projective technique.” Psychological Monographs. LVIII (1945), pp. 1-51. ’’The ’Scribbling Game ’-A Projective Method.” Child, VII (July, 1948), pp. 247-256.

Nervous

England, A. 0., ”A Psychological Study of Children’s Drawings: comparison of public school, retarded, institutionalized and delinquent children’s drawings.” American Journal of Orthopsychiatry. XIII (July, 1945), pp. 525-530. Fantel, E„, ’’Psychodrama in a Veteran’s Hospital." II (April-August, 1948), pp. 47-64. Fingert, H. H., nough Test phrenia.” 1939), pp.

Sociatry. ~

Kagan, J. R., and Schilder, P., ’’The Goodein Insulin and Metrazol Treatment of Schizo­ Journal of General Psychology, XXI (October, 349^365.

Fiorina, A., "Research into the drawings of preschool children. New Era, IX (January, 1928), pp. 37-38. Flugel, J. C., "Clothes symbolism and clothes ambivalence." International Journal of Psycho-Analysis. X (April-July, 1929), pp. 205-227. Fosberg, I. A., "Rorschach Reactions Under Varied Conditions." Rorschach Research Exchange, III (October, 1938), pp. 12-30. _, "An Experimental Study of the Reliability of the Ror­ schach Psychodiagnostic Technique.” Rorschach Research Exchange. V (August, 1941), pp. 72-84. Franck, K., "Preference for sex symbols and their personality correlates." Genetic Psychology Mono graphs. XXXIII (Feb­ ruary, 1946), pp. 73-123. Franck, K., and Rosen, E., "A Projective Test of MasculinityFemininity.” Journal of Consulting Psychology. XIII (August, 1949), pp. 247-256. Frank, L. K., "Projective Methods for the Study of Person­ ality." Journal of Psychology, VIII (July, 1939), pp. 389-413. Freud, A., "Introduction to the Technique of Child Analysis." Nervous and Mental Diseases Monograph. No. 48 (January, 1928)". " Pp. 87.

- 149 Gallagher, M., "Children’s Spontaneous Drawings.” North Western Monthly. VIII (September, 1897), pp. 130-134. Galton, F., Inquiries Into Human Faculty and Its Development. London: J. M. Dent and Sons, 1883. Pp. xviii + 261. Garrett, H. C., Statistics in Psychology and Education. New York: Longmans, Green and Company, 1937. Pp. xiii + 493. Goodenough, F. L., Measurement of Intelligence by Drawings. New York: World Book Company, 1926. Pp. xi + Ir?7. , "Studies in the Psychology of Children’s Drawings." Psychological Bulletin, XXV (May, 1928), pp. 272-283. , "Children’s Drawings.” In Murchison, C., Handbook of Child Psychology. Worcester: Clark University Press, 1931. Pp. xii + 711. Gouin, T., "Dessin et histoire: Methode de Projection Enfantine.” Bulletin of the Canadian Psychological Associa­ tion, Vl"~Xoctober-December, 1946), pp. 96-97. Gridley, P. F., "Graphic representation of a man by four-yearold children in nine prescribed drawing situations." Genetic Psychology Monographs. XX (1938), pp. 18-3-350. Guttman, E., and Maclay, W. S., "Clinical Observations on Schizophrenic Drawings." British Journal of Medical Psy­ chology, XVI (July, 1937), pp. 184-205. Harms, E., "Child art as aid In the diagnosis of juvenile neuroses.” American Journal of Orthopsychiatry, XI (April, 194l771)p*r'l91-209. Harrison, R., "Studies in the Use of the Thematic Apperception Test with Mentally Disordered Patients.” Character and Personality. IX (December, 1940), pp. 122-138. , "The Thematic Apperception and Rorschach Methods of Personality Investigation in Clinical Practice." Jour­ nal of Psychology, XV (April, 1943), pp. 49-74. Harrison, R., and Rotter, J. E., ”A Note on the Reliability of the Thematic Apperception Test.” J ournal of Abnormal and Social Psychology. XL (January, 1945j7"pp. 97-99. Hathaway, S. R., and McKinley, J. C., Manual for the Minne­ sota Multiphasic Personality Inventory. New York: The Psychological Corporation, 1943. Pp. 16. Herrick, M. A., "Children’s Dravmngs."

Pedagogical Seminary,

- 150 III (1893), pp. 338-339. Heston, J. C., "A Comparison of Four Masculinity-Femininity Scales." Educational and Psychological Measurement, VIII (1948), pp. 375-387. Hinrichs, W. E., "The Goodenough Drav7ings in Relation to De­ linquency and Problem Behavior." Archives of Psychology, No. 175 (January, 1935), pp. 1-82. Hunt, H. F., "The Effect of Deliberate Deception on Minnesota Multiphasic Personality Inventory Performance." Jour­ nal of Consulting Psychology. XII (November-December, 1948)7 PP* 396-402. Hurlock, E. B., and Thompson, J. L., "Children’s Drawings: An Experimental Study on Perception." Child Development, V (June, 1934), pp. 127-138. Israelite, J., "A Comparison of the Difficulty of Items for Intellectually Normal Children and Mental Defectives on the Goodenough Drawing Test." American J ournal of Ortho­ psychiatry. VI (October, 1936), pp. 494-503. Jung, C. G., Studies in Word Association. New York: Yard and Company, 1919. Pp. ix + 575.

Moffat,

Kannenberg, K. H., "A Comparison of Results Obtained from the Thematic Apperception Test Under Two Conditions of Ad­ ministration." American Psychologist, III (August, 1948), p. 363 (abstract)"! Karwoski, T. F., and Berthold, F., "Psychological Studies in Semantics: II. Reliability of Free Association Tests." Journal of Social Psychology. XXII (August, 1945), pp. 87-102. Kato, M., "A Genetic Study of Children’s Drawings of a Man." Japanese Journal of Experimental Psychology. Ill (1936), pp. 175-185. as reported in Psychological Abstracts, XI (June, 1937). Kendig, I. V., "Projective Techniques as a Psychological Tool in Diagnosis." Journal of Clinical Psychopathology and Psychotherapy. VI (July, 1944), pp. 101-110. Kent, G. H., and Rosanoff, A. J., "A Study of Association in Insanity." American Journal of Insanity, LXVII (July, October, 1910), pp. 37-96 and 317-390. Kerner, J., Klexographie (1857). Reported in Bell, J. E», Projective Techniques. New York: Longmans, Green and Company, 1948. Pp. xvi + 533.

- 151 -

Kerr, M., "The Rorschach. Test Applied to Children*" British Journal of Psychology. XXV (October, 1934), pi>. 170185 • , "Children* s drawings of houses." British Journal of Medical Psychology, XVI (July, 1937), pp. 206-218. Kik, C., "Die ubernormal Zeichenbegabung bei Kindern." Zeitschrift fur angewandte Psyehologie. II (1909), pp. 92-149. Klein, M-, The Psychoanalysis of Children. New York: and Company, 1932. Pp. 393.

Morton

Kline, L. W., and Carey, G. L., "A Measuring Scale for Free­ hand Drawing." Johns Hopkins Studies in Education, No. 5 (1922), pp. 1-61. Klopfer, B., and Kelley, D. M., The Rorschach Technique. New York: World Book Company, 1942. Pp. x + 536. Krause, L. S., "Relation of Voluntary Motor Pressure Disorgan­ ization (Luria) to Two Other Alleged Complex Indicators." Journal of Experimental Psychology. XXI (December, 1937), pp. 653-661. Kris, E., "Bemerkungen zur Bildnerei der Geistenkranken." Imago, XXII (1936), pp. 339-370. , "Art and Regression." Transactions of the New York Academy of Sciences, VI (lay, 19447, pp. 236-250. Krugman, E. J., "A Clinical Validation of the Rorschach with Problem Children." Rorschach Research Exchange, VI (Oc­ tober, 1942), pp. 61-70. Lamprecht, II., "Les Dessins d TEnfants comme Source Historique." Bulletin de l tAcademie Royale de Belgique, Nos. 9 and 10 (1906), pp. 457-469. Levy, J., "The Use of Art Techniques in Treatment of Chil­ dren1s Behavior Problems." American Association on Men­ tal Deficiency. XXXVIX (May,“19347,~pp. 258-260. Lewis, N. D. C., "The practical value of graphic art in per­ sonality studies. (I. An introductory presentation of the possibilities.)" Psychoanalytical Review, XII (July, 1925), pp. 316-322. , "Graphic Art Production in Schizophrenia." Association for Research in Nervous and Mental Disease, V XApril, 19281," pp. 344-368 . Lindquist, E. F., Statistical Analysis in Educational Research.

- 152 New York:

Houghton Mifflin Company, 1940.

Pp. xi + 266.

Liss, E., "The Graphic Arts." American Journal of Orthopsy­ chiatry, VIII (January, 1938), pp. 95-99. Lorge, I., and Thorndike, E. L., "The Value of the Responses in a Completion Test as an Indication of Personal Traits." Journal of Applied Psychology. XXV (April, 1941), pp. 191-199. Lowenfeld, M., "The World Pictures of Children. A Method of Recording and Studying Them." British J ournal of Medi­ cal Psychology. XVIII (March, 1939), pp. 65-101. Lukens, H., "A Study of Children1s Drawings In the Early Years." Pedagogical Seminary. IV (October, 1896), pp. 79-110. Luria, A. R., The Nature of Human Conflicts. right Company, 1932. Pp. xvii + 431.

Nev.7 York:

Live-

Machover, K., Personality Pro .lection in the Drawing of the Human Figure. New York: Charles C. Thomas, 1949. Pp. ix + 181. Maclay, W. 8., Guttman, E., and Mayer-Gross, W., "Spontaneous Drawings as an Approach to Some Problems of Psychopath­ ology." Proceedings of the Royal Society of Medicine. XXXI (September, 193877 pp. 1337-1350. Maitland, L., "What children draw to please themselves." land Educator. I (1895), pp. 77-81.

In­

Marie, A., "Des dessins stereotypes des alienes." Bulletin de la Soeiete Clinique de Medicine Mentale. V (July, 19127, pp. 261-264. , "L1expression artistique ehez les alienes." Archives internationales de Neurologie. V (May, 1931), pp. 211212

.

Masserman, J. H., and Balken, E. R., "The clinical applica­ tion of phantasy studies." J ournal of Psychology. VI (July, 1938), pp. 81-88. layman, M., and Kutner, B., "Reliability in Analyzing The­ matic Apperception Test Stories." J ournal of Abnormal and Social Psychology. XLII (July, 1947), pp. 365-368. McCurdy, H. G., "Group and Individual Variability on the Goode­ nough Draw-a-Man Test." Journal of Educational Psychol­ ogy. XXXVIII (November, 1947), pp. 428-436.

- 153 McElwee, E. W*, ’’The Reliability of the Goodenough Intelli­ gence Test with Sub-normal Children Fourteen Years of Age.” Journal of Applied Psychology. XVI (April, 1932) , pp. 217-218. _____ , "Profile Drawings of Normal and Subnormal Children.” Journal of Applied Psychology. XVIII (August, 1934), pp. 599-603. »»

Mohr, F., ”Uber Zeichnungen von Geisteskranken und ihre diagnostische Verwertbarkeit.” Journal ffcr Psyehologie und Neurologie. VIII (1906-1907), pp. 99-140. Mohr, P., ”Das kunstlerisehe Schaffen Geisteskranker und seine Beziehungen sum Verlauf der Krankheit." Schweizer Archiv fur Neurologie und Psychiatrie. XLV (1940), p p . 427446. Moreno, J. L., "Who Shall Survive?” Nervous and Mental Dis­ eases Monograph. No. 58 (1934), pp. 321-331. Morgan, C. D., and Murray, H. A., ”A Method for Investigating Fantasies: The Thematic Apperception Test." Archives of Neurology and Psychiatry. XXXIV (August, 1935) , pp. 289-306. Morgenstern, S., ”Le Symbolisme et la Valeur psychoanalytique des Dessins Infantiles.” Revue francaise de Psvchanalyse. XI (1939), pp. 39-48. 5 •Morgenthaler, W., "Ubergange zwischen Zeicbnen und Schreiben bei Geisteskranken." Schweizer Archiv fiir Neurologie und Psychiatrie. Ill (1918), p p . 255-305. Mott, S. M., "The development of concepts: A study of chil­ dren’s drawings." Child Development. VII (June, 1936), pp. 144-148. Murphy, G ., Personal!ty-A Biosocial Approach to Origins and Structure. New York: Harper and Brothers, 1947. Pp. xii + 999. Murray, H. A., Explorations in Personality. New York: ford University Press, 1938. Pp. 761.

Ox­

Murray, H. A., and Stein, M., "Note on the Selection of Com­ bat Officers." Psychosomatic Medicine. V (October, 1943), pp. 386-391. 1Naumberg, M., "Studies of the ’Free* Art Expression of Be ­ havior Problem Children and Adolescents As a Means of Diagnosis and Therapy." Nervous and Mental Disease Mono­ graphs . No. 71 (April, 1947), p p . 1-225.

- 154 Naville, P., "Correction d ’un test de dessin par trois correcteurs diffbrents." Journal de Psyehologie Normale e.t PathologiQue, XLI (April-June, 1948), pp. 241-259. Oakley, C. A., "The Interpretation of Children’s Drawings.’’ British J ournal of Psychology. XXI (January, 1931), pp. 256-270/ Partridge, L., "Children’s Drawings of Men and Women." In Barnes, E., -Studies In Education, II (March, 1902), pp. 163-179. Payne, A. F., Sentence Completion^. New York Guidance Clinic, 1928 . Peters, C* C., and Van Vorhis, W„ R., Statistical Procedures and Their Mathematical Bases* New York: McGraw-Hili Company, 1940. Pp. xiii + 516. Pintner, R., and Toops, H. A., "A drawing completion test.” Journal of Applied Psychology. II (1918), pp. 164-173. Prinzhorn, H., ”Gibt es schizophrene Gestatungsmerkmale in der Bildnerei der Geisteskranken?" Zeitschrift fiir die gesamte Neurologie und Psychiatrie, LXXVIII (September, 1922)“, pp. 512-531. Rapaport, D., Gill, M., and Schafer, R«, Diagnostic and Psy­ chological Testing. Vol. II. Chicago: The Yearbook Publishers, 1946. Pp. xvi + 516. Regis, S., "Methode graphique applique a 1 ’etude de la folie ai double forme.” Enc^phale, IV (1884), p. 725. Reitman, F., "Facial Expression In Schizophrenic Drawings.” Journal of Mental Science, LXXXV (March, 1939), pp. 264-272. /

Re3a, M., "L’Arte Malade: Dessins de Fous.” Revue Universelle, I (1906), pp. 913-915 and 940-944. Richards, T. W., Modern Clinical Psychology. New York: Graw-Hill Book Company, Inc., 1946. Pp. xi + 331.

Me

Rohde, A. R., "Explorations in Personality by the Sentence Completion Method." Journal of Applied Psychology, XXX (April, 1946), pp. 169-181. Rorschach, H., "Analyse einer schizophrenen Zeiehnung." Zentralblatt fur Psychoanalyse und Psychotherapie, IV (Oc­ tober, 1913), pp. 53-58. , Psychodiagnostic: Method and Results of an Experiment

- 155 In Apperceptual Diagnosis by Means of Interpretation of Random Forms. Bern: Ernst Bircher and Company, 1921. Pp. 174. Rosenzweig, S., "A Note on Rorschach Pre-History.” Rorschach Research Exchange. VIII (January, 1944), pp. 41-42. ,, "The Picture-Association Method and Its Application in a Study of Reactions to Frustration.” J ournal of Person­ ality. XIV (September, 1945), pp. 3-23. , "The Thematic Apperception Technique in Diagnosis and Therapy.” Journal of Personality, XVI (June, 1948), op. 437-444. Rotter, J. B., and Willerman, B., "The Incomplete Sentences Test as a Method of Studying Personality.” J ournal of Consulting Psychology, XI (January-February, 1947)7" PP» 43-48. Rouma, G., Le. Langage Graphique de 1 TEnfant. Misch et Thron, 1912. Pp. viii + 304.

Bruxelles:

Sanford, R. N., "Some Quantitative Results From the Analysis of Children’s Stories." Psychological B u lletin. XXXVIII (October, 1941), p. 749 (abstract)/ , "Physique, Personality, and Scholarship.” Monographs of the Society for Research in Child Development. VIII, No. 1 (1943)7 PP- 258-301. Sapas, E., "Zeichnerische Reproduktion einfacher Formen durch Geisteskranke." Schv/eizer Archiv fur Neurologie und Psychiatrie. IV (19187*, pp. 140-152. Sat8, K., "Studien^uber die Wahrenehmungsstruktur der Geistes­ kranken. I. Uber das Zeichnen der Schizophrenen durch Reproduzieren und Abbilden yon Vorlagen.” Japanese Jour­ nal of Psychology, VIII (February, 1933) , p p . 91-107 7Girmn"'ab7tofct?. Schilder, P., and Levine, E. L*, "Abstract Art As An Expres­ sion of Human Problems." Journal of Nervous and Mental Disease. XCV (January, 1942), pp. 1-10. Schneidman, E. S., "The lake-A-Picture-Story (MAPS) Projec­ tive Personality Test: A Preliminary Report.” J ournal of Consulting Psychology. XI (November-December, 1947) , pp. 315-325. Schube, P. G., and Cowell, J. G., "Art of Psychotic Persons.” Archives of Neurology and Psychiatry. XLI (April, 1939), pp. 711-720.

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llecor-d-w-ithdTega-tiTely-d/eig-h:ted8 CRT and BCTAT' Scores

Subject P56 Reproduction of 8CRT Drawing Ho. 8

Age - early 20 's. Tall, well-built, average. He is at home in any crowd. He can join in & not feel out of place. He is a mixer, doesn’t let things worry him. Self confident.

Subject F56 Reproduction of 8CRT Drawing Ko. 7

Age - early 2 0 ’s, tall, h slender, intellectual, in- * trovert, somehow finds him- % self on a tennis court. Dislikes game, frowns. Feels everyone watching him. H e ’s unsure of himself. ■' 'Worried about the appear­ ance he is making. ^

Subject F56 Reproduction of 8CRT Drawing Ho. 6

Age - early 20's. Medium height & build. Young man more used to intellectual pursuits than athletics, trying to play game of ten­ nis. He is attentive to the subject, devotes all his energies to succeeding in it. Would rather be doing something else, but once h e ’s in this, he’ll do his

Subject F56 Reproduction of 8CRT Drawing No. 5

Age - early 20’s. Tall, slender, stoop-shouldered. Vi/atching the ground as he walks. Shy, embarrassed over his height, tries to hide it by stooping as lie walks. Not sure of his steps, must look at ground. Pleasant features.

Subject F56 Reproduction of 8CRT Drawing No. 4

Age - early 2 0 ’s, medium height, stocky build, av­ erage, neither an intro­ vert nor an extrovert. Has no deep problems. Takes things as he finds them.

Subject P56 Reproduction of 8GRT Drawing ilo. 3

Young man, early 20’s. Medium average build. Quiet, sensitive, alert, very intelligent. Wearing a neat business suit.

- 187

Subject P56 Reproduction of 8CRT Drawing No. 2

Age - 20. Build - medium height, average build. Ke is a student, a good stu­ dent, studies hard, gets good grades, more of an intellectual than a rahrah type college student. Has high ideals 2c g oals.

Subject F56 Reproduction of 8CRT Drawing No. 1

This is picture of a young man about 23-25, dressed in a white shirt, tie and trousers. He is tallish and slender. He is a white-collar worker or a professional man.

- 189 -

BCTAT Stories of Subject F 56& (Story No. 1) This is the picture of a woman about twenty-three, walking down the aisle at her wedding. She is dressed in a filmy satin and net wedding gown and is wearing a sheer veil over her face. She is on the arm of her father, who is wearing a morning dress suit. He is fiftyish, gray, rather tall and stocky. He has the air of a well-to-do merchant or other businessman. Although both the young bride and her father express happiness on their faces, it is to the father’s face that the viewer of the picture is drawn. This is the supreme moment of his life. He had risen from the poverty of dust bowl farmers, had escaped their ordinary fate and had educated himself. He rose slowly in a dry goods store until he became part-owner. Then he formed a chain of stores. Nov; his daughter, his pride and joy, is marry­ ing into a family which has had great wealth for genera­ tions. They are the old rich, he is the nouveau riche. The bridegroom is a handsome man who, in addition to his wealth and position, is any father’s dream of an ideal son-in-law. The father is completely joyous. He has arrived. (Story No. 2) This is the picture of a farmer standing on a hill looking down at his farm. The farmer is in his middle thirties. He is tall, sinewy, very hardy. He is wearing old faded dungarees and a straw hat to shield his eyes. He is weather-beaten. Beside him stands his wife and children. The wife is small and petite, also wearing worn clothing. The two stare at the ruin of a respectable, self-sustaining place. The farm, on the lowlands, is reappearing above the water which re­ mains on it from the spring flood. The primitive dike which the farmer had erected has been destroyed by the unusually heavy rains, and the valley where his farm was had been ruined. Despair has taken hold of the two peo­ ple who had put all their hopes, all their energies into this one supreme project. But above them, a thin ray of sunlight breaks through the overcast sky. It shines on the wet farmhouse and buildings and on a patch of ground through which a few seedlings are coming. (Story No. S) This is the picture of a man in his late forties. He is of average height and build, has a pleasand but not handsome face and features. He is seated on

* BCTAT stories 1 through 4 were preceded by cards of the BM series and BCTAT stories 5 through 8 by the cards of the GF series.

- 190 a dais, in the seat of honor. He is listening to another man introduce him. He is being honored for his contri­ bution to the business world. He is the epitome of the traditional American Horatio Alger dream. His dream has come true. He had risen from nothing to everything. As he listens he wonders, "Everything?" Not an hour before, he had spoken to his wife who told him she was leaving him. She couldn’t stand him any more. She was running away with a debonair "younger man." She didn’t want to grow old. This man has his business, yes. He has the homage of the business world, yes. He has material pos­ sessions, true. But he lacks the peace of mind and the emotional security which is needed to round out his ex­ istence. He had forgotten his wife during the years when . he was building his business. He concentrated all on his goal. Now that'he had it he had wanted to turn to his wife. But she wouldn’t stand for this turn of events. She left him. (Story No. 4) This is the picture of a woman looking down from her hotel room window at the fire net twelve stories below on the street. The hotel is on fire. She can smell the vile odor of burning flesh coming to her. The flames are beginning to lick at the bedclothes in her room. This woman is in her middle thirties, fairly attractive, well-dressed, etc. When she had been roused from her bed, she had been thinking about her life. She was despondent over the turn in her marital life. She even considered suicide. Now she had her choice. The firemen below were yelling to her to jump. "Jump, jump," they shouted. As the flames drevr nearer and the air be­ came harder to breathe, she sees her life flashing before her. Does she really want to die? It’s so final. She could stay in the room and perish. There would be no thought of suicide in the minds of others. She would get a decent burial. No. shame would fall on her family. Or would she jump? Life really is precious, no matter how bad it is. It is life. (Story No. 5) This is the picture of the festivities which accompany a provincial wedding in Europe. All the inhabitants of the town are dressed in their colorful ancestral outfits. The tables of delicacies have been set up in the village square. With the young bride and groom beaming at their guests and leading the dancing, everyone else joins in the fun. Little children, hardly out of swaddling clothes, tumble about on the grass and cobblestones. Adolescents wink at each other as they twirl to and fro. The ancient grandparents are also dancing, remembering similar scenes which occurred onehalf century before them. The whole town is wishing well

- 191 to the married couple who are completely joyful. The scene gives the appearance of peace and plenty. The tables are groaning under the weight of carefully pre­ pared delicacies. (Story No. 6 ) This is a theatre scene. Between acts of a play which is having its preview that night, the doors have been opened and the first night audience en­ ters the lobby for a smoke and a breather. The blase audience and the ever-critical critics are discussing the merits of the work being presented but are more than drowning this out by the discussions of personal trivial incidents and other events. In one corner stands the author of the play. Amid the general hum and dense smoke, he stands, trying to get a picture of the general re­ action to his vrork. This is the play for which he has sweated for more than three years. He has put his heart and soul into it. The tall, slight-built man of twentyeight to thirty, has given up all other activities, has even forgotten to eat sometimes, in the great effort that he put into his play. Now the cruel, unthinking theatre­ goers on opening night pass over his play as if it were some inanimate object instead of the life blood of this young man, who. given needed encouragement, might be able to (unfinished) (Story No. 7) This is the picture of a young man of about eighteen, who is walking under the impressive monu­ mental arch which is the entrance to a giant university. This boy is the son of humble, poor, immigrant parents. He has never had anything beyond the barest necessities of life before this. Because of his unusual ability in the natural sciences, he has been given a scholarship which includes all expenses, to the state university. All his dreams are being realized and now, as he stands on the threshold of this new, unbelievably beautiful world, he must stop to catch his breath. He is linger­ ing, also, because he wants this glorious moment to con­ tinue as long as possible. He is afraid to move forward, because there it might not be quite the way he imagines. There might be some flaws in the concept which he has, and he would rather stand still than find them out. ^n the other hand, he wants to go ahead because it might be more wonderful than he could have ever possibly conceived before. His foot shoots out as he steps forward. (Story before man is height

No. 8 ) This is the picture of a chemist standing his work table, performing an experiment. The in his fifties, has graying hair. He is of medium rather heavy stature. He is holding a test tube

- 192 momentarily before he proceeds with the latest experi­ ment in the series he is doing. He hopes that this one will be the culmination of fifteen years of hard work and hope and sacrifice. For these many years he had been trying to discover a small but vital bit of information which would add much to scientific knowledge. His emo­ tions are mixed. He is relishing this moment because he knows or hopes that he has finally come down the long trail and has reached home ground. He wants the next few actions of his to end the search he began long ago. But he is also a little sad. This series of experiments has consumed so much of his life and has become ingrained in him. When it is over, he will be losing a valuable friend•

Subject F56 Reproduction of 8CRTII Drawing No. 8

Young man: 23. Medium height and build. Wants to be debonaire. Grows mustache•

Subject F56 Reproduction of 8CRTII Drawing No. 7

Ivlan aboiit 25. Well built. Man about town-ish type. Very confident. Very sure of himself. Good looks, nice physique. Proud of himself.

- 195 Subject Bn56 Reproduction of 8CRTII Drawing Ho. 6

Boy about 15, very tall, thin. H e ’s physically maturing but he is still an adolescent in person­ ality.

Subject F56 Reproduction of 8CRTII Drawing Ho. 5

M a n about 20, tall, thin, u n g a i n l y , bewildered, the w o r l d is rushing by too fast, confused by life.

Subject P56 Reproduction of 8CRTII Drawing Ho* 4

Young man: 20, medium height & build, pleasan personality.

- 198 Subject F56 Reproduction of 8CRTII Drawing No. 3

Young man about 20. Gay blade on the beach. Cocky, self-confident, a ladies' man. Tall, well built.

Subject F56 Reproduction of 8CRTII Drawing No. 2

Young boy: 15, awkward age, quiet, shy, medium height, thin.

-

200

-

Subject F56 Reproduction of 8CRTII Drawing Mo. 1

Age: 17 . Awkward, shy, 2 left feet, reticent.

- 201 -

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8CRTII

25

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Subject P40 Reproduction of 8CRT Drawing Ho. 8

Age 25 - tall, husky, ability to think & act maturely. Can evaluate people easily & is in­ terested in people. Gan be depended upon if needed Gentle but pleasantly masculine - enjoys sports, intellectual pursuits, etc.

Subject F40 Reproduction of 8CRT Drawing No. 7

Age - 20 years - tall & thin. Person tries to understand people's atti­ tudes toward his environ­ ment & also environment developing character.

- 204 Subject P40 Reproduction of 8CRT Drawing iio. 6

Man - about 20 - tall well built - lean. Cannot comprehend why people dislike him - egocentric.

Subject P40 Reproduction of 8CRT Drawing Ino , 5

Teen age boy - about 17 tall and lean. Enthusiast! individual concerning hu­ man relationships & social tendencies - not anti social.

- 206 Subject P40 Reproduction of 8CRT Drawing Ho. 4

Boy of 10-11. Solid, chunky build - child developing challenging attitude to­ ward his friends. Stubborn in believing he is right. Naturally immature. Very little experience. Yet to develop mature outlook. Very inexpressive features.

207 Subject I'140 Reproduction of SORT Drawing Ho. 3

Woman - average build, about 25 yrs. old. Person who always thinks she is right & is hurt when others criticize. Always flairs up - very little sense of humor.

208 Subject P40 Reproduction of 80RT Drawing No. 2

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