THE THEMATIC APPERCEPTION TEST

The Thematic Apperception Test was conceived by Henry A. Murray in 1935, as a

projective test which through the medium of imaginative productions of the subject,
made possible inferences about themata of import in the subject’s life, and a\from these
in turn about the “needs” and “Press” outstanding I the underlying dynamics of his
personality, it has become generally known by its initials, and will be abbreviated here as
“TAT”

Murray here takes the opportunity on the basis of extensive experience with the TAT, to
share his belief as to what it can and cannot do. He point out that the stories are potent
predictors, not of overt behavior, but rather of that which the subject cannot or will not
reveal about himself. He describes the method as a “Method of Revealing” to the trained
interpreter some of the dominant drives, emotions, sentiments, complexes and conflicts of
personality.

The TAT is so integrally involved with Murray’s concepts of personality that a survey
and knowledge of his basic theoretical components is so important. In constructing a
theory, Murray emphasizes the biological basis as well as the social and environmental
determinants of behavior. He is also consistently aware of how individual interact with
their environment.

TAT MATERIALS

The TAT materials consist of twenty (20) cards with ambiguous pictures on them, and
printed achromatically on 9 ½ by 11 inches cardboard cards. The examinee is to make a
story which includes what he sees in a picture, the thoughts, feelings of the characters,
what event lead up to a certain situations and the outcome of the story. The examiner can
interpret the responses, either quantitatively (using rating scale to measure the intensity,
duration and frequency of needs) or qualitatively (evaluation of the story themes
intuitively). The final results can be an important adjunct and supplement to other
psychological tests since the TAT produces not only highly rich, varied and complex
types of information but also personal data which pass by a subject’s conscious
resistance.

ADMINISTRATION

It is our custom to give the test in two sessions whenever possible, because if it is given a
continuous session to a subject of average productivity, considerable tiring of the subject,
with a consequent flattening and emptiness of his stories, is observed.

The test is administered with the patient seated upright facing the examiner, as in the
other tests. The average subject requires 90-120 minutes for the administration of the test
in the upright position and more time consuming procedures are unjustifiable in clinical
work.
All you have to do is recite a short paragraph of plain instructions and with all
encouraging expression. The instruction we use is the following: “I am going to show
you a series of pictures and I want you to chose a proper name for the chief character and
to them. I want you to tell me what the situation is in the picture, what the events were
that led up to it and what the outcome will be, describing the feelings and thoughts of the
characters. What I would like you to give is a plot, not on elaborate literally story, I want
to write what you say as much as possible verbatim. Therefore, please don’t hurry”. The
instruction is always repeated on request, or in abbreviated form as warning to the subject
who does not comply with it; “What is happening? What led up to it? What will be the
outcome? What are the feelings and thoughts of the character?”

For card 16, the blank, the examiner said, “See what you can see on this blank card.”
Imagine some picture there and describe it to me in detail. Now tell me a story about it.

INTERPRETATION OF THE TAT

TAT elicits the content and dynamics of interpersonal relationships and psychodynamic
patterns. The TAT picture are best seen psychologically as a series of social situation and
interpersonal relationships. Instead of responding to real people situations, the subject is
responding to people in the picture, which he imagines as contains social situations.
Since he is under less constraint of conventionality of reality, his responses are not likely
to depict his inner feelings. By this means we got contemporary patterns of his social
behavior and may also be able to infer the genesis of theses patterns. Interpretation is a
means of finding a common denominator in the contemporary and genetic behavior
patterns of a person.

A diagnostic statement be made on a datum revealed in only one story. A repetitive

pattern is the best assurance that one doesn’t deal with an artifact.

SCORING CATEGORIES

1. Main theme - gist of the story (one story may have more than one basis theme).

a. Descriptive level – The theme is a plain restatement of the story, a finding

of the common treat restated in an abbreviated form in simple words.
b. Interpretative level – It can nearly always be stated as generalized
continual clause introduced by “if one..”
c. Diagnostic level – one transforms these impression into a definite
statement.
d. Symbolic – one may choose to interpret symbols according to
psychoanalytic hypothesis, extreme parsimony or caution must be strongly
recommended since this takes one relative farthest away from hand, etc.
e. Elaborative level – one must get the subject’s elaboration and free
association to such specific data to any proper names at dates any other
associations he can give.
2. Main Hero – The main hero of the story is the one most spoken of, whose feelings
and subjective nation are most discussed and in general, the figure with whom the
narrator seems to identify himself. In case of doubt, the figures resembling the
patient most closely in age, sex and other characteristic should be considered to
main hero. At times a man may identify himself with a female “Main Hero”; if
this occurs repeatedly, it might be considered a sign of latent homosexuality.
(Usually men identify himself with a girl in the background of picture 2). If it
seldom sees B M as a female.
Vocations, interests, traits, abilities and adequacy of the main hero frequently
deficit qualities and desired qualities of the subject.
By adequacy of the hero – we mean his ability to carry through tasks under
external and internal difficulties in a socially, morally, intellectually and
emotionally acceptable manner. The adequacy of the hero frequently conforms to
a pattern throughout the stories and is often a direct relationship to the age of the
subject.

At times there are more that one hero in a story. The subject may use a second
figure with whom he identifies himself, aside from the clearly recognizable main
hero. This happens rather rarely; usually it involved in the figure introduced but
not present in the gist itself and concerns drives, sentiments that are even more
objectionable to the subject that the ones pertaining to the main hero. (other
devices for emphatically trying to dissociate oneself from a story one to place it
far away geographically and or temporarily; e.g. placing a story in Russia in the
Middle ages).

3. Attitudes to Superior (parental) Figure or to Society: These appear particularly in

the response to the picture of people with obvious age differences. The
subcategories suggested are self-explanatory, and a pattern of behavior from story
to story will usually become clear.

4. Figures introduced: If, a figure introduced by the subject which is not in the
picture we can be doubly sure that it must be a figure of great significance for him
and that it constitutes an exponent of an outstanding need or fear. Note the role
which the figure plays dynamically (punisher, supporter and note whether it
comes in the form of male or female parent or contemporary etc.

5. Objects Introduced: This category is concerned with meaningful failure to

include in the stories, objects that are quite apparent in the pictures. Sometimes
the riffle in 3BM or the background of a half-dressed woman in the picture 4, etc.
Under such circumstances examiner must look for other indication of problems
subjects have concerning aggressive or sexual matters that cause him ti exclude
these or other objects from apperception.

6. Attributes of blame: The qualities or forces that the subject blames as causing
misfortune or tragedy in his conception of the outside world in relation to himself.
7. Significant Conflict: The superego/ id variability is less inclusive than the other
items under this heading. It indicates a general class of conflicts while the other 3
items gives a less specific indication of the main divergent tendencies. All these
items deals with the less moral level of major conflictual themes, while used
conflicts, (category 13) are concerned with the less molecular pattern of any
member of needs occurring in the story.

8. Punishment for Crime: The relationship of the nature of the punishment to the
severity of the offense gives us an excellent insight into the severity of superego;
a psychoanalytical hero may consistently get away in the stories of murder with
more or less than a notion that he has learned a lesson for latter life; while a
neurotic may have stories in which the hero is accidentally or intentionally killed
or mangled or dies of illness following the slightest fractions or expression of
aggression.

9. Attitude of Hero: A subject will frequently depict his own conflict by having the
hero say or do things in the story and then stepping outside the narrative to
criticize these actions severely. At times cynical remarks about his own story are
simply defensive process against real emotional involvement. Obsessive
Compulsive intellectuals will frequently maintain a detached attitude offering
several possible themes of doubts pertaining to them all. Hysterics and mains of
hypomics will frequently get dramatically involved in stories full of affectivity.

10. Signs of inhibitions at aggressions: Sex, etc., Pauses are sometimes so significant
that it may even pay to time them occasionally to get emotion of the severity of
the inhibition in subject. Changes of trends of the story to an entirely new story
are excellent indications that conflictual material is becoming too difficult to
handle. Stammering, crossing out or omitting parts of the pictures, rejection of all
or parts of the picture, or severe criticisms of it are similar points worth noticing
in this context.

11. Outcome: The outcome will often manifest the basic or adjustment of the patient;
his ego-strength. It is interesting to note whether the subject (hero) arrives at a
satisfactory solutions after a continuous realistic struggle or uses a “deux ex
machina” events introduced in a drama, novel, etc., to resolve a difficult or
awkward situation. Device to arrive at a simple ratification which is obviously on
the level of a fantasy, wish fulfillment and has little relation to an overt, manifest
achievement drive. If there is a failure to arrive at an acceptable outcome
altogether, it probably results from very significant nearly insurmountable
problems of the patients and should be scored under the variables of plot structure
category 14.

12. Pattern of need gratification: The concept of conflict between variable needs does
not require any explanation. One story may actually show whole clusters of
conflicts between various and many drives of varying importance.
 Murray’s concepts of need-fusion and need-subsidation are very helpful for the
understanding of motivational systems in a given personality.

Example: If a hero wants to buy a restaurant with a motion of giving people

better and more healthful food and at the same time enriching himself by means
of this public service, we would speak of a fusion of the hero’s need or nurturance
and his need for acquisition.

If the hero wants to buy the restaurant because he expects it to be a good source of
income which he needs to take care of his family, in this case we would say that
his need for money is subsidiary to his need for nurturance namely: he wants to
acquire money in order to be able to take care of his family.

13. Plot – The form-analysis of the TAT stories may be helpful to a certain extent.
The categories or structure, bizarreness and completeness, however, probably
permit a fairly good appraisal or the interact-ness of the thought processes and the
ego-ability to master the emotional material produced.

SELECTION OF PICTURE FOR INDIVIDUAL TAT ’s

Single session for the administration of the TAT to save time in administration and in
interpretation, the author believes that an option of material is obtained from about 10
to 12 pictures. Aside from the age and sex of subject, the other factors that may play
a role re the selection one or the other picture for instance:

1. Sibling, it may
2. if a member of the family is dead
3. heterosexual problems
4. relative to childhood, etc,.

INTERPRETATION OF THE PICTURES

PICTURE 1

This picture usually leads to an identification of subject with the boy and brings out
the relationship toward parental figures.
1. It is usually apparent whether parents are perceived as aggressive,
domineering, helpful, understanding or protective.
2. It shows to which parent a certain kind of relationship existed.
3. Frequently themes of conflict between autonomy and complains with
authority in all its wide variations and different patterns are shown.
4. Subject may display guilt feeling about his autonomy while in other cases
all go well after he has broken ways.
5. Need for achievement – watch how success is achieved whether it is just on
a fantasy level or reality level.
 6. Subject may give symbolic sexual response:
a. The play on the strings of the violin playing with the fiddle – symbolic
story of masturbation.
b. When the subject insist that string have broken - castration fears are
brought in.

7. This card is successfully employed especially with adolescents.

PICTURE 2

This picture of a country scene usually central offers indications of the family relations.
Even males usually identify with the central figures of young female because it is the
figure in the foreground. Varying themes of autonomy from the family versus compliance
with the conservative, background desistances are extremely frequent. These theories
show the type of divergence between the subject and the family. Most useful for our
purpose is subject handling of the woman leaning against free, a figure usually seen as
pregnant. So much information can be obtained from the manner subject handless
apperception of pregnancy.

1. Obsessive-Compulsive subject will comment on small details such as lake

in the background and the tiny figure in the background, in addition to
other objects, in a way the permits the diagnosis of compulsive trends.
2. The relationship of the two females to the rather whether as a farm-hand
run by female as a father, husband, or brother adds information about the
role of the sexes.

PICTURE 3 B M

Most female subjects are the huddled figured as a male. It is seen by a male as a female
figure ( keep this in mind to make a diagnosis ) latent homosexuality is implied. This
maybe confirmed by other evidence that would appear in the other cards. The treatment
of the figure on the left would give information about aggression. Officially this object is
described as a gun. Observe the manner of handling aggression whether it is used an
extra-aggression. ( e.g. somebody else is being shot by the hero ) or whether it is used as
intra-aggression ( the hero is being shot or he commits suicide ).

If it leads to intra-aggression – note what happens to the hero whether he is punished

severely or whether he escape in a kind of protocol that gives us a notion of the strength
of the superego that usually leads to suicide. This picture is a must with depressed
patients. Sometimes the pistol is seen as a toy pistol and thus rendered harmless. Check
the consistency with other stories whether it is superficial escape from reality entering
into the story or whether this corresponds to the fact that subject is simply healthy and
had neither excessive intra nor extra-aggression. Subject who presence of the gun by
omitting reference to it, seeing it as hole in the floor, as a cigarette case, or not at all.
Sometimes a great conflict around aggression, particularly when it has led to a
compulsive-pattern, will manifest itself by the subjects hemming and having for
considerable time over what the object might be.

PICTURE 3 G F

This might also bring out depressive feeling. Frequently, thought, it is found more useful
with females to use, No 3 B M with which they can easily identify.

PICTURE 4

Picture of male held back by a female brings out variety of needs and sentiments with
regards to male-female relationships.

1. Male attitude toward the role of female may appear.

2. Themes of infidelity

3. Female may be protector who tries to keep her from rushing into
something toward her becomes apparent.

4. Or one who tries to held female for evil purposes.

5. A female attitude toward man as persons who may have been aggressive
toward her becomes apparent.

6. Female look somewhat unusual, female often made the member of the
minority and sentiments concerning these are displayed.

7. Another object of interest is the picture of the subjects. If not perceived or

discussed at all sexual problem might be inferred.

8. It might be seen as a poster or as an actual figure in the background

prompting themes of triangle jealousy.

PICTURE 5

A middle-aged woman looking though a half-open door is often interpreted as the mother
who may be watching different activities.

1. At times this become a symbolic story of fear observed masturbation.

2. Or mother figure appears as benevolently in how a child is.

3. Or female may be seen as reprimanding subject for being up late.

 4. Voyeuristic material – is quite frequent and may actually tend to
distinguished the stories of the primarily scene.

5. Fear of attack particularly in female subject-reflected in stories of

burglary.

6. Males it may lend to “ rescue fantasies” in psychoanalytic sense.

Indispensable picture of males, reflecting all problems of mother-son relationships and all
their derivatives in relationships to wives and other woman.

1. Oedipal themes are frequent.

PICTURE 6 C F

Counterpart of no. 6 B M to reflect the relationship of females to the father. Probably

because of the apparently relative age differences, however, the male is usually, at least
manifestly, or seen as the father-image but rather as a contemporary who may be invested
with any number of qualities, from those of an aggressor is made into as uncle who
represents the picture of an idealized father, as is so often done in folklore. For instance
uncle Sam and uncle Czar. All in all, the picture is very useful one.

PICTURE G F

This picture will bring out the relationship between mother and child in females. It seems
to encourage negative attitudes towards the mother because the girl is looking off into the
distance rather than at the mother. The doll may reflect relationship toward Subject’s
expectancy of children. ( 7 BM – Father and Son Relationship- Authority )

PICTURE 8 B M

Usually male subjects identify with the boy in the foreground. The essential themes that
may be developed are centered either aggression- some what shot and is now being
operated upon in the background.

(2) Or upon stories of ambition- the dream of a boy to become a

doctor.

The rifle at the left is recognized or not are problems similar to that of the pistol in no. 3
B M:
The ways in which the figures are described: Ex. The attitude towards the doctor as an
older person or toward the person being operated upon if seen as a paternal figure,
frequently it gives class to the Oedipal relationship.

PICTURE 8 G F

Nearly any theme may be produced to this picture, as usually of shallow, contemplative
nature. Rarely useful.

PICTURE 9 B M

Discloses contemporary, man-to-man relationships. It may offer a general indication of

social relationship namely; which the figures subject identifies with. In extremes subject
may identify with someone outside the group who looks ashamed at the group or he may
be part of it or even the center, again homosexual driven and fears may become apparent.

PICTURE 9 G F

This is an invaluable picture in getting a notion of the female-to-female feelings,

particularly for bringing out sister rivalry or daughter-mother hostility. Very important is
clues where depression and suicidal tendencies are suspected, since usually the female
below, is pictured as someone who, in panic runs into the se. Suspiciousness may be
brought out, that stories sometimes raises discussions that one person is watching the
other maliciously.

PICTURE 10

Brings out the relation of male-to-female. A strong clue to latent homosexuality or even
manifest problems of this nature if this is interpreted as an embrace between male
subjects by female subjects, observe whether it is made a story of departure or arrival.
The departure theme reflects latent hostile needs.

PICTURE 11

This picture brings out many infantile or primitive fears since the animals permit
projection of such emotion. If a patient has fears of attack, this is next useful in exposing
the fine features of the fears by being attacked. Ex. by the phallic symbol of the dragon.
Stories of oral aggression are frequent and this picture offers good, clues to need of the
patient, whether or not they escape and if no, how?
PICTURE 12 M F

Indicates the qualities of the relationship of a younger man to an older man, particularly
as regards to passive homosexual fears of being under the domination of superior figures
picture no. 12 F:

PICTURE 12 F

Brings out conception of mother figures but not so notably useful.

PICTURE 12 B G

Found not very useful except in suicidal or very depressed subjects. It will often elicits
stories of someone’s having jumped or fallen out of the boat.

PICTURE 13 M F

Excellent picture to disclose sexual conflicts in both males and females. In every
inhibited subject this may practically lead to a “sex shock.” In females it may elicit fears
of being raped attacked, or otherwise, abused by men. In males it will often bring out
guilt feeling about sexual activity and will easily show the disgust of homosexuals.
Feeling between husband and wife may be projected. Not unusual are store of tendencies
will frequently appear in discussion of the breast. Obsessive-Compulsive will easily be
recognized by their concern with detail; since this is a picture of with relatively much
detail.

PICTURE 13 B

To a lesser degree, this is not unlike the violin picture in prompting stories of childhood
and is of some use with young boys though not markedly.

PICTURE 13 G

This picture has not been found to be especially useful in my experience thus far.

PICTURE 14

This silhouette of a man can be most useful figure. It will be interesting to note the
sexual identification of the object. It will often bring out childhood fears in relation to
darkness. It is an absolute must when one suspects suicidal tendencies, which may be
expressed in the story of jumping out of the window. Frequently it will induce themes of
simple contemplation and reveal much of the philosophical rationalization in subject.
Sometimes it may reveal aesthetic interest and offer wish fulfillment stories. It may
result in burglary stories if someone is perceived as coming to the window.

PICTURE 15

This is especially important if subject has had a death in the immediate family and the
examiner wants to get his sentiments regarding that death. It may disclose notions and
fears of death in any subject perceive tendencies manifest themselves clearly.

PICTURE 16

The blank card is of extreme value in verbally gifted subjects who may really let loose
and project freely. If subject has given previous indications that he has difficulty in
expressing fantasy material, however, the blank card is often no value.

PICTURE 17 BM

There may be revelations of fear in stories of escapes from physical trauma, such as fire,
or fleeting from man. The latter often leads to disclosures concerning Oedipal fears,
particularly in children (may actually be seeing someone fleeing from the “king or the
prince”). Homosexual feelings are easily brought out even by descriptive details. Not
unusual are stories of competitive nature, making this an athletic meet or the like. In
males there will be an indications of their body image – whether or not they feel
themselves muscular, etc.

PICTUR 17 GF

This is worthwhile card when one suspects suicidal tendencies in woman since it opens
the way for stories about jumping on a bridge.

PICTURE 18 BM

This is an important picture for learning about or verifying any anxiety in males. Fears of
attack, particularly of a homosexual nature, becomes most apparent. If anyone has
anxiety at all, it is found to come in responses to this picture. It might be made into
something unconscious, such as story of support. Example: A man in an intoxicated
condition being brought home by his friend. How the problem of supernatural hand is
handled in frequently of great interest so far as the thought processes of the subject
concerned.

PICTURE 18 GF

Shows how aggression is being handled by females. It may be completely evaded by the
denial that any aggressive act is taking place. Sometimes stories of how one woman is
helping another up the stairs or up from the floor are told in attempts to evade aggressive
implications. Mother-daughter conflicts may also appear clearly.
PICTURE 19

A picture sometimes useful with children but otherwise not notable.

PICTURE 20

May elicit attitudes towards loneliness, darkness and uncertainty.

PICTURES OF FIRST SERIES

1: A young boy is contemplating a violin which rest on a table in front of him.

2: Country scene: in the foreground is a young woman with books; in the background a
man is working in the fields and an older woman is looking on.
3 GF: A young woman is standing with downcast head, her face covered with right
hand. Her left arm is stretched forward against a wooden door.
4: A woman is clutching the shoulders of a man whose face, the body averted as if he
were trying to pull away from her.
5: A middle-aged woman is standing on the threshold on a half open door, looking into a
room.
6 GF: A young woman sitting on the edge of a sofa looks back over her shoulder at an
older man with a pipe in his mouth who seems to be addressing her.
6 BM: A short elderly woman stands her back turned to a tall young man. The latter is
looking downward with a perplexed expression.
7 BM: A gray-haired man is looking at a young man who is suddenly staring into space.
7 GF: An older woman is sitting on a sofa close beside a girl, speaking to her. The girl,
who holds a doll on her lap, looking away.
8 BM: An adolescent boy looks straight out of the picture. The barrel of a riffle is
visible at one side, and in the background is a dim scene of surgical operation, like a
reverio-image.
8 GF: A young woman sits with her hand on her chi looking off into space.
9 BM: Four men in overall are lying on the grass taking it easy.
9 GF: A young woman with a magazine and purse in her hand looks from behind a tree
at another woman in a party dress running along a beach.
10: A young woman’s head against a man’s shoulder.

PICTURES OF SECOND SERIES

11: A road skirting a deep chasm between high cliffs. On the road in the distance are
obscure figures. Protruding from the rocky wall on one side is the long neck and a head
of a dragon.
12M: A young man is lying on a couch with his eyes closed. Leaning over him is the
quaint form of an elderly man, his hand stretched out above the face of the reclining
figure.
12F: The portrait of a young woman; a weird old woman with a shawl over her head is
grimacing over the background.
12BG: A rowboat up on the bank of a wood or woodland stream, there are no human
figures in the picture.
13MF: A young man is standing with downcast head buried in his arms. Behind him is
the figure of a woman lying in bed.
13B: A little boy is sitting in the doorstep of a log cabin.
13G: A little girl is climbing a winding flight of stairs.
14: A silhouette of a man against a bright window. The rest is totally dark.
15: The gaunt man with clenched hands is standing among gravestones.
16: BLANK CARD
17 BM: A naked man is clinging to a rope. He is in the act of climbing up or down.
17 GF: A bridge over water. A female figure rains over the railings. In the background
are tall buildings and small figures of man.
18BM: A man is clutched from behind by three hands. The figure of his antagonists are
invisible.
18GF: A woman has her hands squeezed around the wrist of another woman whom she
appears to be pushing backwards across the banister of a stairway.
19: A weird picture of cloud formations over hanging a snow cabin covered in the
country
20: The dimly illuminated figure of a man in the dead of night leaning against a lamp
post.