wy Dr. L.P, MEHROTRA : ‘ee . - ‘ ‘copyight © 1992'by tnggs¥-COM SEVICES, Al ighs resend by tho ' - PSY-COM SERVICES, Bd, 80/2, S.J. Enciavo, N. Dal-110029 (nda). _-Phi 26106433, Fax: 26175191, emall: slar 9e000pRyaho0.com © scanned with OKEN ScannerPREFACE y | have great pleasure in presenting our "Manual for Indian Adaptation of TAT" te workers in the field of personality assessment. The interpretation technique developed hereir has no doubt drawn heavily on Murray's formulations but an effort has been made also to incorporate significant contributions of other research workers in this field such as Henry, Bellak and Shneidman. A comprehensive blank-covering salient features of various ap proaches, expected toresult! inabetterunderstandingofpersonality, has also been ‘developed, Anillustrative case to explain the technique ofintetpretation has been appended inthis ‘manual, We shall feet: amply-rewarded if this manual succeeds in stimulating projective psychologists, to give genuine comfnents and frank criticism of the eclectic approach that we have tried to develop in these pages: sforamore complete andbetter assessmantof the human Personality by means of T:A.T. We shall Certainly utilize your useful suggestions tomake our Procedures more effective and scientific, ° > January, 1993, o Dr. L.P. Mehrotra © scanned with OKEN ScannerINTRODUCTION ‘There are varlous methods of assessing one’s personality. All these methods can be divided Into three categories - viz., Subjective, Objective and Projective. The last one is both gubjoctive and objective Innature. Ithas an advantage over the other two methodsin the sense that It can assess and diagnose deeper layers of an individual's personality and as such its clinical value Is also very high, Murray and Morgan of the University of Harvard (U.S.A.) formulated Thematic Apperception Test in 1935 which is knownin short as T.AT. Itis purely 8 projective test of personality and is used widely to meagure the deeper layers of one's personality, ‘The original test contains 31 pictures including one blank card. On each picture the subject Is asked to make a story which is nothing but the projection of the narrator and this projection is an ascription of the feelin 98 and sentiments or needs and drives of the subjects or objects of the outside world. \n T.AT. pictures the subject generally identifies himself with one or more characters \n the picture. While identitying with some character, he projects his ideas which reflect his Inner personality. He also reveals some aspects of his personality which he would generally not admit because he is not aware of them, In other words, whatever is stored in his unconscious and subconscious mind is reflected through his stories, which he frames on the pictures presented to him. Indoing soheis notaware of the fact thatheis revealing the contents ‘of his own personal experiences, drives, emotions, sentiments, complexes and conflicts. ‘The test of T.A.T. in reality assesses the individual's needs, drives, emotions and sentiments, as well as their interaction among themselves and with social environment. Italso reveals the underlying inhibited tendencies of the person. In this respect this test is very valuable, as it makes the person admit hidden aspects of his personality consciously aware of. he is not MURRAY'S TEST above Murray's test consists of 30 pictures and one blank card. Out! ‘ofthese eleven ptures (1 ee 8, 10, 11, 14, 18, 16, 19 and 20) are meant for both the sexes and for all ages; seven are for boys under fourteen and males over fourteen (marked BM); seven are for girls under fourteen and females over fourteen (marked GF); one for boys and girs under fourteen (marked BG); one for males and females over fourteon (marked 19M): and one 90 sultable for boys (B), for girls (G), for males over fourteen (M) and females over fourteen ards, nineteen containing black and white pictures and one blank eee eet gabled af aime. In slacting twenty cards, the sex and 392 atine subjecrls taken Into consideration. A set riéant exclusively for male subjects shou en all those pictures which are meant for males; similarly the set meant for female sublocis should contain all those pictures which are meant for females, besides the eleven common pictures. A blank card is included In. both the sets andis| introduced towards the end of © scanned with OKEN ScannerNTS CONTE Page 3 4,Introduction = Murray's Test 2uindian Adaptation actristics ofthe Pictures TestAdminitaton inistration Propet Instructions TestResponses Enquiry tlon 4. Method of interprotaion = Necessary Basic Data Reading the Stories Analysis of Forms ‘Analysis of Content le Structure of Content oe = Ego Structure + Significant Conficts = MainDefences = Emotions and Feelings 6. Other Dyndinle Clues. Tone Emphasison Time Perceptual Distortion Interruptions of Story Production Inter and Intra Consistency Non-compliance with the instructions Best and Least Liked Pictures ‘Time (Reaction and Total) Integrated Summary + Antelectyal Leve! + Emotional Maturity + + PersonalAdjustment = Social Adjustment 8. Final Report 9. TAT. Blank 10. IMustrative Case “11. Tables: Analysis of Content ®) ThBHero and Type of Content ») OtberCharacters ©) Thema andinter-personal Relations Analysis ofNeeds Dynamic Structure of Content 2) Signiicantconficts and Defences ) Emotions and Feelings 9) Ego Structure ; 9) Other Dynamic Clues +12, Appendix - TAppenac 18 2 24 28 30 a7 a7 39 4 42 49 llography & Re 54 2 © scanned with OKEN ScannerBUY UL UL YU ~ INDIAN ADAPTATION In view of the fact that the considered essentialto modify them soth; ait i from the Indian background. Faces and rosnen te frm ‘been Indianised as far as possible, without spolin reer Retires are essential foreign in content, twa citateidenticatonty individuals coming th minor changes in the background hang 19 the stimulus value ofthe original pictures CHARACTERISTICS OF THE PicTURES °~ 4. Some ofthe pictures'a Sen Te contextually well structured and some are contextualy ambigu- 2 Some pictures deal with ordinary or usual events and some with events that are unusual, 3. Some pictures are bizarre, 4, One Blank Card, 5. Some have a simple form and some are complex. ‘The main considerations for selection of the pictures generally are as follows: 2) Those pictures that generally encourage fantasy and imagination. ») Those pictures that provide ambiguous figures for possibility of identification with both the sexes such as 3BM and 14. ¢) Those pictures which depict important family and social relationships. d) Those pictures that refer to various emotional areas such as anxiety, aggression, depression, guilt, fear, ambition, inferiority, love etc., stimulating the subject to reveal his ideational content and attitude, €) They canbe selected with a view to finding out the existing problems of the boys and gris arising in an uncongenial home and unhappy school environment, TEST ADMINISTRATION ‘The administration of t he T.AT. test falls into two parts; Administration Proper and Enquiry. ADMINISTRATION PROPER: here of ‘The subjectis seated comfortably on chair facing the examiner. The trea the testing room is quiet and free from any external disturbance. ee mi ppetend ensure rapport by being friendly and: appreciative to winover the confidence o free reactivity. © scanned with OKEN Scannerflonan Arter eatablabing the rapport, following instructions are given ina steady ang hyatraratlona» Atte este deliberate tone, tarda ony one. You have tomake aslo on cach doa that how good you are at making mint to seo your imagination and have an 20 0 Ne ae wich you hava to Koop In mind io making Sore nae stron, Thy aurnavotodseibntho cone th ture andgive the reason fr hatstvaton ae {2) Yourhavo ro toll what fs happoning at prosont a ver ar the poset.) tatrinee toon th poopoln tho ple and atarteyteelng andr about? (4) Lastly, what will happen Jater In that cae Saas ee Seater ine and will bo glvon approximately 5 sever tr oy altely aftr this add, "You narrate tho etorfes, and | will write them After giving the above instructions, i sxaminerprscat Lisl a au i ae ee he first pictur8, Lookat it carofully, and makea story. toawe the past the prosent, the peoplo's feelings and thoughts in the picture, and the future or the end of the story." , jy pronontto you nome plc cloar’ ir jiven. "Finally, For the blank card which Is given at the end, following instructions are giver ally, this last card is blank. You can think of any scene on this card, Keeping the same four points in mind.” “Thé above instructions should be adheredto as far as possible but they may be altered in exceptional cases to sult the age, intelligence, personality and mental state of the subject. The time limit may also be relaxed as and when necessary. ‘Test Responses - The recording of responses includes the writing down, verbatim, of the Stories narrated by the subject and writing down the reaction time and total time of each story. ‘The time is recorded with the help of the stopwatch Which is kept away from the sight GF the” : subject. When the subjectis relating the story orally, the examiner tries to take downexactly the words of the subjectin addition to any questions or comments or emotional expressions like restlessness, signsof blocking, anxiety, laughteretc., that he may show. Ifthe subject narrates the story too rapidly or indistinctly, he Is to be asked to speak more slowly or more loudly as {hecase may be Ifthe subject givestoo ong story, hels reminded by saying: "You don'thrave fo make a very long story, just describe the situation in this pi r ir fama very ng toy ‘ation in this picture, Don't waste your time in ___ Mispronunciations and verbs Stories are indicated by long and short vei al pecullarties are underlined and pauses in voicing of the tical lines, depending upon the length ofthe pause, have been incorporated. It story. © scanned with OKEN Scanner,UUVYVUYY ENQUIRY: An-enquit i generaensuiy ee ie orles Is an essential part of the,test administration, i should stories, itshould be mado attn® end ofeach story, incase tHe aubjecttiscainc writing the So Ba abamadea eee ofthe at nthe enquiry, leading or suggestive questions “ie ; : throughout the testing so that the subject Hes net becone eae, era ate should be made on the ibecine iy " following nese TY netbecome hostile andlor suspicious. Enaury 1. Enguiry About Four Aspects of instructions - i i complied as aes The examiner should see ifthe subject has ‘ons. In case he has omitted any ofthe four components of the instructions, efforts shoul mpleted through suitable questions e.g. Id be made to get it cor 2) What was the reason for this situation? ') What are the people in the scene thinking and feeling? ¢} Why are they thinking and feeling in that manner? 9) Would you like to describe this picture a little more? ©) What will happen later or in the end of your story? 2, Enauiry About Plot - Ascertain from the subject ifthe plat in each story is a borrowed one, reproduced from memory oritishis real fantasy. Incase the plotisaborrowedone, itshould be ascertained why he associated the particular story with that picture. Find out also the Sources of his ideas. This is to be done with a view to know whetherthe theme was derived from his own private experience or from the experience of friends orrelatives, or from books or movies etc, . Enauiry About Identification And Empathy - Ascertain the age of all the main characters in the story, especially of the hero or heroes involved in the story and also the character he liked the most and why. Examiner should also find out as to what led him to introduce particular character or characters in the story and how he feels for them and whether they did the sensible thing. . Enquiry About Ambiguities - The interpreter should find outif there is any lack of clarity at perceptual, verbal or story meaning level. As far as possible it should lead to obtaining an additional information from the subject e.g. if on card 38M the subject says," Thisis a very sad looking boy." In this expression itis not clear as to why the boy is ead. The examiner should find out by asking, "Whyishesad?" Ithe subject says, "Somebody has hithim’, the examiner should put an additional question "Who has hit him and why?". Ifthe subject answers that he has been punished by his father for some fault, the examiner again inquires, "What was his fault, for which he was punished by his father?" i tial to Thus the examiner should put as many supplementary questions as are essent clarify an ambiguity at the story meaning level. Similarly questions should be asked for Ay verbal and perceptual ambiguities. Ifthe interpreter feels that a particular word or expres- i ject if ity regarding cd by the subjectis vague orif he feels there exists a perceptual ambigui a parteularfgure er ‘object, he should try to get them clarified through suitable questions. © scanned with OKEN Scanneri, \ iry About Omissions - Ifthere is any partin the picture which has not been reacted tp ie aon eT reacled but not used by him in his story, it should be ascertained from th as fo what that could be and how it could be related to the story given by hime.g. ifthe Iiyeet omits the violin in card 1 or educated lady in card 2 or gun in card 3BM ora nude a ign bed In card 3MF, hs attention should be crawn towards that objector figure sat ont shouldbe ascertained by asking the folowing questions: "Whatis this endhow does this fit into your story? Do you see anything more in this picture?’ 6. Enauiry. About The Introduced Contents - An enquiry should also be made regarding objects, names and places which have been introduced in the story but are not present in the picture, In such cases itshould be ascertained through following questions as to what ledthe subject do so, 1) How did you come to know ofthis? 2) Is it somehow related to you? 3) Kindly highghtthis aspectalitle more, Sometimes the Subjectintroduces content which is not in keeping with the form demand of the picture. In that case it should be ascertained as to why he has done so. . 7, Enquiry About Peculiarities Of Utterances, Hesitations, Rejections, Pauses Ete, - It should be ascertained from the subject as to why he has made a particular queer utterance, paused at a particular place for a long time, took a long time in reacting or was hesitating {o express his ideas or why he has rejected a particular card altogether. Itis quite possible ‘hat the’ examiner may have to put a number of supplementary questions, to get a clear Picture of the subject's motives for reacting in a particular manner. In other words, an eau here is in no way different from that of taking down the introspection report of the subject. aren fill view and he has fl facity to form his own judgement. However, ifthe examiner feels that the instructions have been complied with, plots given are the productions of subject's fant: i int i este ne toe ofa i an engin? and here is no ambiguity about any point in macy and r t Inany way towards beter interpretation,” "Nehulimatelyisnotexpected to hep him METHOD oF INTERPRETATION {his typé of est. Various ted advocated for interpretation, ‘eceptable to all the workers ques : a STAT. Bi one a 8 tblect cra ave boon in this field, . lll © scanned with OKEN Scanner| beng ‘2 » a ‘huthor therefore adopted an Electric Approach, wich utilizes Murray's Neod-Press theory to understand the Interaction between the Individuals motives and urges (needs) and thewnernalervironment (press); on the olher hard psycho-analytic interpretation 28 given Pellact ond Vial have also boen used to unravel the inner dynamics of the ind als ft prnonalt,combinedvdth the form analysivifich has been greatly enphasizns bj Papa vind Fonty in assessing the cognitive aspect of personality Its therefore evident that a paychologist taking up the interpretation of T.A.7. on tne above lines, should have a thorough knovledge of Personality Psychology and should have anopenandatiical ind, They should be able to synthesize, without intreducing any personal a iympont.thovarous approaches toacear understanding of dynamic pattern ofan indi ides personality through T.A.T. We may add here that Intuition alone is highly unreliable. What is required, according Yo Murray, Is 2 rigorously trained and ential inullon, which can develop aly wien the Interproter’s background inthe dynarnies of Personality Poycholoay ie sound. Necessary Basle Data - Blind analysis has no place in the evaluation of dynamic structure apa nanidual’s adjustment and of his affective and personality qualities, Therefore, from the Suthors point of view the following basic data should be available for a clear and meaningful interpretation of the protocol. 4. Sex of the subject. 2. Age of the subject. 3. Occupation of the subject. 4, Marital Status. 5, Number, age and sex of the sibling(s) and of children if married. 6, Parents of the subject whether alive or dead. : 7, Other details regarding his soctal, personal and emotional adjustment. Reading The Storles -The frst and foremost thing which an interpreter has to do{s to read peas orbs number of mes carefully and feel his way into the mental environment of the ' subject, giving atentionto the dynamicand psychological structure oftheme(s) that each story sortaine. Also to ther repetitive patter or fo the facts of different stories falling together into \ a meaningful whole, which vary significantly with personality. ‘These repetitions often provide significant clues for the interpretation butshouldnotbe : taken lightly simply because of the repetitive character. Sometimes, only one story may reprosent the individual's personality dynamics more’signficantly, while the recurrent theme tmayonlybeamere stereolype Allstoriesthatthe subject creates are tof equalimportance, There are certain crucial stories with high level of projections that may provide a very large amount of valid diagnostic material, While others where there s tle projection may provide only litle orno valid diagnostic material. : wy 3 * ANALYSIS OF FORMS 3 _ Form refersto howthe ‘storyteller said the stories. Form includes the study offollowing: i: a) Power of Plot 2 b) Organisation ) Fantasies-Imagination, d) Language and Verbal Richness €) Observation of Details © scanned with OKEN Scannerwe the center of which the 01 PI lies a balanced structure in ue Fi pa tind Fotontg fasors should be ascertained regarding the Pp picture mus f +, Structured or Unstructured 2..Real or Bizarre 3, Complete or Incomplete 4, Original or Stereotyped 5. Appropriate orinappropriate : ject frames story 4, Structured or Unstructured - A plot Is sald to be structured when ine ee ee The " according to the realty demands and keeping in view'the basicrat Sea arnbeUn and heople and obec represented in pcture are described with minimum of amblguly ene developed-adequately: and: rationally. While on the other hand, beaming arena disorganized, ambiguous and incomplete. It has no time sequence, no begi and lacks system and order. 2. Real or Bizarre - A'story which deals with a real life situation should be considered neve ‘eal plot while on the other hand ifthe theme of astoryis strange, irrational and chal lenging the Imagination, its plotis considered to be bizarre. It may also point out the abnormality o the mind of the story teller. Ina real plot, the events described exist as facts in a day ‘to day life, while in a bizarre plot the events present an image in which elements of reality are distorted, 3. Complete or Incomplete ifthe subject has covered alfour components of the instructions Inastory, the plotis said to be complete but ifany of themisleftout, especially the outcome, itis said to be incomplete, 4. Stereotvped or Original - If the subject narrates a story which is expected on a particular manner, the plot is said:to be original. 5. Appropriate or Inat late A plot is considered to be appropriate itis accordi nsidel ling t form demand of the picture, However, it is inappropriate if the theme is crusual and pePresents the idiosyncratic aspects of the individual, not in tune with the basic plots given by others, From the interpretation point of view, ifthe plot of the story is re FomPlete, it indicates that the story teller’s ego is functioning normaly: Bu Te gene belowaverageininteligence. Powerof pot thercfore iso i in inte rower of plot, IS One very imy ortant factor i iit 4 Ego Structure - Freud provides an excollent system in termg of Id, Ege and Superego for > understanding human personality. In the present manual, the Freudian concept of ego has 5 been accepted. Itis this aspect of human personality which carries out a compromise between the Id forees on one hand and the demand of the reality and Superego on the other hand. It evolves gradually as organism and leams to differentiate between self and not-self.Itis the sumtotal of aninaivigualsneeds, wishes, drives, strivings and urges inthe dynamicinteraction > with the reality at any particular moment. ts main functionis tointerpret both the inner feelings and emotions, in keeping with the demands of reality on one hand and to interpret the reality to suitits own private world, on the other. The more rational and realisticthe treatment, greater : are the possibilities of a good ego integration. > Inthe light of the above definition of the ego, the interpreter should note the following points to determine the ego structure of the subject: 4.” Reality Orentation-Ifhis egois well structured, his stories willbe in keeping with thereallty demand of the picture and will satisfy the aspects discussed earlier. 2. Use of defenses ina spontaneous and natural way within the normal range. 3. Capacity to resolve conflicts in an acceptable form. 44, Proper integration of Superego - Too stem Superago or too much permissiveness to Id impulses, leading to an unsatisfactory adjustment, should not be present. 5, Presence of more positive than negative emotions. No doubt the above points will have to be inferred from the characterization of mostly the primary hero in each story and subsidarlly of other secondary characters. Significant Conflicts - For the proper understanding of the Organization of an individual's feg0, conflicts provide an excellent foothold, Broadly speaking, confict|s anessentialelement Hee incivigual's dynamic life. His personal needs are always meeting resistance inthe world of realty and a major portion of his energies are consumed in striking a compromise between the wo, Sometimes two of his needs also come into conflict with each other. This haprent because they originate relatively in two independent or rather, antithetical aspects of an inaividua's personally. As a matter of fact every conflict has its root in the grand warfare between the Id and the Superego. Needs associated with the former come Into clash with those associated with the latter, such as Sex Vs. Deference, Autonomy Vs. ‘Compliance, Aggression Vs. Intra-aggression etc. Cofifict may be at the conscious or unconscious level. Its palnfuln either C2 sd ; projects itself in the subject's behaviour through various techniques. Mt May, be a straight Forward projection through the hero Identified by him and may, after a litle probing, become acceptable to subject as his own. In such cases, the modus operandi of the | . bed Complex and intricate and the symbols, objects, language, and ‘exprossions used a” is . al © scanned with OKEN Scanneras, we hing to do with what they ween! (hat thay apparently do not appear to Sree Therefore tn Nie Le he en cet pre abject pecnaly. Tree te uaeatone ery «wt dloming thesia cons prjectedby su a Nv wee He tha wold ting awaephg generations art he oe mentyenna basigteund \tndynamie psychology to discover wnehanseuntvan extromely diffe ask, i jinst internal conflicts and sangeet» [n order to maintain the integrity of the ego em a mechanism. aha Warntettncea th 8, the organism takes its recourse to de Peaet sem ewan torn alan, projection reacionfomaton wie sbtratn mowernones being ra Hor ion and regression, These defenses frequent ee aie oe euitrener ns reotenthanotrsand provide clus into te major dy ented Soest nn Sony ieee storia acl to probe freeaes Sesyasjectesyrrcnee eenng ste ts ante ers. inst conflicting needs imeossrtwhen they cross normal expected range: Defenses used against conflicting mreohes 28a help to understand the real naling ofeeriee he subject's as - "to examine the emotional aspect of the | = Sr errtite amanda ars thal the subject expresees is onder 2nd fetngs in prop nto =. These emotions are of two types (1) Positive - stich as love, tive - such as anxiety, ‘Incase the subject proj jects too much Of anxiety in his stories, its nature should also be determined, This will not only-help the interpreter in Understandirig the Personality of the ublsctmore thoroughly, butwilalso haves lagnostic and prognostic value Anxiety can be found in a‘number of areas such ae, Biysieal harm or punishment, due te cone injury or Protenged illness, deprivation, lack or loss Of love, desertion and helplessness, OTHER DYNAMIC CLUES 'thas been noted in the foregoing pages that the stuc nthe Meaningful generalizations wre trends However, there are many; ihe important variables or dyna "Re personally of the subject une observation, Thes 'y of form and content of stories which characterize personality, mic clues which can throw light on "© dynamic clues are - emotional 19 © scanned with OKEN Scannerblocking, hesitat jumbieg sora fee ebtualdstortions and omissions, pauses, stammering, blush Pictures or the story ae toe art? 19 the examiner, remarie nei ciiticlam on ts thetabe, smoking laughing ers eon ts, mannerisms, playing wih sere an di . -. Forthe: Ing have beehalvided under the folowing Cetageicervanience inanalysie, these dynamicciues a) Tone b) Emphasis on time ©) Perceptual Distortions d) Interruptions of story productions ) Non-compliance with the instructions 1) Inter and Intre-consisteney of stories 9) Time (Reaction and Total) h) Best and least liked pictures Sfories.Itcan also be estimated by the interpersonal relationshine ord tram the perception of ; can be cheerful, sad, detactied, anxious, aggressive, tense, morbid etc. This estimate of general tone may often be made from the first general reading of the Stories, though detalled analysis should follow in the scrutiny of each story Emphasis on Time Under this heading the interpreter hasto study the trendf the response. as faras the time is concerned. He has to find outwhether the subject has lad more emphasis on the past or talks more of the present events or if his responses mostly project the future, ‘The study of time gives clues regarding the problems of the subject in relation to time or it reveals preoccupation of his mind either wth the past, present orfuture, Moreover, the shifting of emphasis on time in the same story, throws light on the state of mind which is unbalanced, According to William E. Henry, the emphasis placed upon the three major time aspects of the story are, in themselves, diagnostic features and. should be analyzed with a view to the adequacy of story and to the perspective which the subject has upon the sequence in his own life. Thus emphasis upon the past tends to suggest preoccupation with the subject's own past Ife. Similarly, exaggerated emphasis on future tends to suggest poor realty contact and the subject's tendency to include insufficient present and past data in his future planning. Subjects who are fearful of their present circumstances often do this. Excessive attention to the present, aswell as great emphasis upon the enumeration of physical details of the picture, suggests that the subjects unable to provide perspective inhislife and therefore, clings rigidly to the certainties he feels he can see and touch. p i i torwhen tortion- When facts of the picture are not actually taken into account a Se aimee is perceived differently from whatitis, itis said to be the distortion of percept or perceptual distortion, Distortions may be of different kinds, for example: Misrecégniion of objects such as, knife or a pistol on the floor in 3BM béing recognized as a bowl of a beggar. Misrecognition of sex such as, a male figure standing in 13MF being recognized as a 7 ‘female. 7 Misrecognition of relationship such as, father-son relationshipin 7BM being recognized as 20 ay © scanned with OKEN Scanner