88 Derek P. Bergeron et al. which represents two poles: extraversion/introversion(E/I), sensation/intuition S/N), thinking/feeling(T/F), and judgement/perception /P). Scores reveal a tendency towards one of the two poles; if one is below the mean on their score, they tend towards the first of the two poles(extraversion for E/l, sensa tion for S/N, thinking for T/F, and judgement for J/P); if they are above the mean, they tend towards the second pole (introversion for E/l, intuition for S/N, feeling for T/F, and perception for J/P Several psychometric studies of the PPSDQ scores have been reported. Con- uct validity has been demonstrated with confirmatory factor analysis Thompson Melancon 1995, I996) Convergent validity has been demon- strated through strong correlations between PpsDQ and MBTI scores hampson Stone I994)as well as predicted correlations between PPSDQ scores and constructs from the five-factor model of personality(Arnau Thompson Rosen 1999). Internal consistency has been demonstrated, with alpha coefficients ranging from. 8 3 to 9o (Arnau etal. I999). Temporal stabil ity of PpsDQ scores has also been demonstrated, with re-test coefficients rang ng from. 79 to. 88 over a two-week re-test period (Thompson Arnau I998 Self-Assessment Manikin. The Self-Assessment Manikin (SAM; Bradley ang I994)was administered to assess participants'emotional responses to he picture they drew. The SAM is a self-report instrument that measures one's emotional response to a given stimulus on two dimensions: valence and arousal. Valence refers to whether the stimulus is pleasant or unpleasant. Arousal refers to whether it is exciting or calming. The SAM consists of two sets of five cartoon pictographs depicting different levels of affective valence and arousal. For each dimension, participants were instructed to place an'X on or between the figures that best described their emotional response to the picture they drew. Thus, valence and arousal are effectively rated on a nine point Likert scale. Procedure. Before subjects arrived for the study, one of the proctors placed a blank sheet of paper, a box of crayons, and a pencil on the desks in the room designated for the study. Once all the subjects had arrived, they were given an instructions sheet, which the proctor also read over verbally Participants were first instructed to fill out the PPSDQ. Next, they were instructed to do one of two different tasks, depending on the study to which they were assigned. Roughly half of the participants were assigned to do the space Domain Test, and the other half were assigned to do the Colour Associative Test. pace Domain Test. Participants taking the space domain task were asked to make four drawings on one sheet of paper regarding each of the following four subjects: remembrances of mother, remembrances of father, things that
88 Derek P. Bergeron et al. which represents two poles: extraversion/introversion (E/I), sensation/intuition (S/N), thinking/feeling (T/F), and judgement/perception (J/P). Scores reveal a tendency towards one of the two poles; if one is below the mean on their score, they tend towards the first of the two poles (extraversion for E/I, sensation for S/N, thinking for T/F, and judgement for J/P); if they are above the mean, they tend towards the second pole (introversion for E/I, intuition for S/N, feeling for T/F, and perception for J/P). Several psychometric studies of the PPSDQ scores have been reported. Construct validity has been demonstrated with confirmatory factor analysis (Thompson & Melancon 1995, 1996). Convergent validity has been demonstrated through strong correlations between PPSDQ and MBTI scores (Thompson & Stone 1994) as well as predicted correlations between PPSDQ scores and constructs from the five-factor model of personality (Arnau, Thompson & Rosen 1999). Internal consistency has been demonstrated, with alpha coefficients ranging from .83 to .90 (Arnau etal. 1999). Temporal stability of PPSDQ scores has also been demonstrated, with re-test coefficients ranging from .79 to .88 over a two-week re-test period (Thompson & Arnau 1998). Self-Assessment Manikin. The Self-Assessment Manikin (SAM; Bradley & Lang 1994) was administered to assess participants’ emotional responses to the picture they drew. The SAM is a self-report instrument that measures one’s emotional response to a given stimulus on two dimensions: valence and arousal. Valence refers to whether the stimulus is pleasant or unpleasant. Arousal refers to whether it is exciting or calming. The SAM consists of two sets of five cartoon pictographs depicting different levels of affective valence and arousal. For each dimension, participants were instructed to place an ‘X’ on or between the figures that best described their emotional response to the picture they drew. Thus, valence and arousal are effectively rated on a ninepoint Likert scale. Procedure. Before subjects arrived for the study, one of the proctors placed a blank sheet of paper, a box of crayons, and a pencil on the desks in the room designated for the study. Once all the subjects had arrived, they were given an instructions sheet, which the proctor also read over verbally. Participants were first instructed to fill out the PPSDQ. Next, they were instructed to do one of two different tasks, depending on the study to which they were assigned. Roughly half of the participants were assigned to do the Space Domain Test, and the other half were assigned to do the Colour Associative Test. Space Domain Test. Participants taking the space domain task were asked to make four drawings on one sheet of paper regarding each of the following four subjects: remembrances of mother, remembrances of father, things that
Picture interpretation and Jungian typology occur to them when alone (to correspond with the unconscious), and things that occur to them when they think about the future. In order for the experi- menter to later identify which pictures corresponded to which subject, partici pants were also asked to label their drawings according to the four subjects Participants then rated their emotional reaction to each of these four drawings by using the SAM scale Colour associative test. Participants taking the colour associative test were asked to associate one colour out of a box of sixteen crayons with each of the four schema subjects described above. Then, they were asked to make a draw- ing reflecting how they felt at the moment, using their four chosen colours Finally, participants were asked to rate their emotional reaction to their draw the Sam scale Six different sessions were run for this study Three sessions utilized the space domain test, while the other three utilized the colour associative test Approximately thirty to forty subjects participated in each session. Data analysis Before statistical analyses could be conducted, the raw data (i.e, pictures drawn by participants) had to be coded in a way so as to yield meaningful quantitative data. The general idea behind the coding scheme was to yield a quantification of the proportion of a drawing(or colour) that appeared in the theoretically correct quadrant as opposed to the proportion that appeared in the theoretically incorrect quadrants. The following is a description of the cod- Ing process Coding and analysis of drawings. Sixteen vari were coded for each drawing. These variables represented the degree of presence of the four drawings/colours in each of the four quadrants (4 pictures/colours x 4 quadrants=I6). In other words a of <me other three variables representing rariables were coded for each picture (or colour), one representing the degree of presence of that picture(or colour)in the degree of presence of that picture (or colour)in each of the remaining three theoretically incorrect quadrants. The degree of presence of a drawing (or colour)was determined by using a grid system. See Figure 2 for a di gram of this grid system. The grid divides each quadrant into sixteen boxes. The grid was printed onto a transparency and then laid over the drawings. If a drawing/colour was present in a box, it received a value of one for that box. These values were determined for all sixteen boxes and added up, thus yielding a quantitative score of the degree of presence of each particular drawing/colour in each of the four quadrants Thus, each variable had a range of o to I6, with o indicating no proportion of a drawing/colour in that
Picture interpretation and Jungian typology 89 occur to them when alone (to correspond with the unconscious), and things that occur to them when they think about the future. In order for the experimenter to later identify which pictures corresponded to which subject, participants were also asked to label their drawings according to the four subjects. Participants then rated their emotional reaction to each of these four drawings by using the SAM scale. Colour associative test. Participants taking the colour associative test were asked to associate one colour out of a box of sixteen crayons with each of the four schema subjects described above. Then, they were asked to make a drawing reflecting how they felt at the moment, using their four chosen colours. Finally, participants were asked to rate their emotional reaction to their drawings using the SAM scale. Six different sessions were run for this study. Three sessions utilized the space domain test, while the other three utilized the colour associative test. Approximately thirty to forty subjects participated in each session. Data analysis Before statistical analyses could be conducted, the raw data (i.e., pictures drawn by participants) had to be coded in a way so as to yield meaningful quantitative data. The general idea behind the coding scheme was to yield a quantification of the proportion of a drawing (or colour) that appeared in the theoretically correct quadrant as opposed to the proportion that appeared in the theoretically incorrect quadrants. The following is a description of the coding process. Coding and analysis of drawings. Sixteen variables were coded for each drawing. These variables represented the degree of presence of the four drawings/colours in each of the four quadrants (4 pictures/colours x 4 quadrants = 16). In other words, 4 variables were coded for each picture (or colour), one representing the degree of presence of that picture (or colour) in the theoretically correct quadrant, and the other three variables representing the degree of presence of that picture (or colour) in each of the remaining three theoretically incorrect quadrants. The degree of presence of a drawing (or colour) was determined by using a grid system. See Figure 2 for a diagram of this grid system. The grid divides each quadrant into sixteen boxes. The grid was printed onto a transparency and then laid over the drawings. If a drawing/colour was present in a box, it received a value of one for that box. These values were determined for all sixteen boxes and added up, thus yielding a quantitative score of the degree of presence of each particular drawing/colour in each of the four quadrants Thus, each variable had a range of 0 to 16, with 0 indicating no proportion of a drawing/colour in that