No More Learning

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Gratuity
Inferior! ty Q:0i. 0 30ii0 0000 0000 7~715 InJury 00000000000030003~0~ Lack
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OldAge
PhysicalDanger 0 0 0 0
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Task
Uncongenial
Env i ronmen t
4 0 3 0
14 0 4 0 3 0 2 0
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0 0 0 0 12 0 9 0
3 0 2 0 0 0 3 0 0 0 a 0 ii 0
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8 0 8 0 8 0 2 0 ii 0 33 0
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24 0 14 0 1'18 5 1! 1 0 0 0 0 13 2 3 0 l! 0 ! ! . 0 5i 10 9 16 3 o? . 2 0 M 4 ai 4 16' 0 8 0 8 0 104 &. 95 ~ 8 2 7 0 '99 Zl 117 26 0 0 0 0 8 6 12 2 6 0 ! ! . 0 82 14 21 10 2 0 ~ o? . ! ! 0 ~ 0 ~ 2
0 0 12 0 0 2 0 35 17 42 31 4 0 ~ 3 ~ 6 12 0 lOI 8 105 2.
? THE AUTHORITARIAN PERSONALITY
scored was about the same for unprejudiced and prejudiced subjects (Low- scoring Women I657/High-scoring Women I638) (Low-scoring Men I538/High-scoring Men I5II), but press directed at characters with whom the subject did not identify-object press-was more common among prej- udiced subjects (Low-scoring W omen I75/High-scoring W omen 249) (Low-scoring Men I68/High-scoring Men 33I).
It is apparent from the data reported above that expressions which could properly be scored as need variables are scored more heavily for the stories of unprejudiced subjects while object need and object press variables have higher scores in the case of stories of prejudiced subjects. The press variables have about equal scoring in the case of the stories of each group. The ques- tion then remains as to which of the individual variables that go to make up the above summarized need and press scores differentiate the prejudiced and unprejudiced subjects.
An analysis of single variables on this basis follows. The variables are grouped in terms of certain similarities indicated in the headings below. Each notation of a variable, or of a group of variables, is followed by the mean per person (in the case of unprejudiced and of prejudiced subjects) of the total of the intensity scores (or, where indicated, frequency scores) for that variable or for each variable within the cluster being discussed.
Aggressive Rebellion Needs. The need variables of aggressive rebellion appear to be rated higher for low- than for high-scoring men. The ratio of the mean scores of unprejudiced to those of prejudiced men for these vari- ables are: n Aggression 7? 715? 7, n Autonomy 6. 5/5? 9, n Rejection 5? 5/2. 9.
However, prejudiced men describe more aggressive and rebellious be- havior by objects (on Aggression 2. o;4. 2, on Autonomy 1. 8/2. 6, on Rejec- tion ? 9/I. 5)?
This differentiation does not hold for women, except in the case of Auton- omy (n Autonomy, Low-scoring mean 5. 7, High-scoring mean 4. o; on Autonomy, Low-scoring mean 1. 0, High-scoring mean 2. 4). n Aggression and n Rejection both tend to have a slightly higher scoring in the case of "high" than of "low" stories (n Aggression 5. oj6. 9; n Rejection 5. o/5? 4). However, characters are often condemned by both groups for aggressive or rejective behavior (on Aggression: Low-scoring group 2. 4/High-scoring group 2. 3; on Rejection: Low-scoring group 1. 3/High-scoring group 1. 3).
In most cases the proportion of frequency of occurrence of a variable in stories of low- as compared to those of high-scoring men is about equal to the intensity proportions. The variables of n Aggression and n Autonomy are among the few whose frequency scores are worthy of special reference.
n Autonomy and on Autonomy appear as frequently in the stories of prejudiced as in the stories of unprejudiced men. Since the intensity scores of the two variables are differentiating for the two groups of subjects, we
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may conclude that the unprejudiced men identify with more intense expres- sion of autonomy, whereas prejudiced men, when describing strong auton- omous striving, tend to condemn the individual for his actions. We find also that the greater intensity of on Aggression in the stories of prejudiced men is due largely to higher scorings for each expression rather than to a greater frequency of expression (ratio of average intensity per expression: 2. 5/3. 8). Even the expressions of n Aggression, although less frequent, tend toward more intensity in stories of high-scoring men (ratio: 3. of3. 2). It would appear then that high-scoring men describe more intense aggression than do low- scoring men, although more often denying identification with the aggressive act.
The differences in scored autonomy-both needs and object needs-of prejudiced and unprejudiced women are due to its greater incidence in the stories of one group than in those of the other, rather than to its stronger expression. Although greater frequency but not intensity also accounts for a higher total rating of on Aggression, intensity ratings of n Aggression tend to be greater for prejudiced than for unprejudiced women (mean ratio of 3 to 2. 5).
Submissive Withdrawal Needs. In contrast to the tendency of low- scoring men to describe more rebellion in their stories than do high-scoring men, the latter have a greater tendency toward expression of submissive, withdrawal needs (n Abasement: Low-scoring men 7? 9/High-scoring men
w. o; n Blamavoidance: Low-scoring men 1. 8/High-scoring men 3. 2; n Se- clusion: Low-scoring men 1. 9/High-scoring men 2. 5).
These differences do not hold for our female subjects. In fact, n Abasement appears to be somewhat higher for low- than for high-scoring women (Low- scoring mean 9. 2/High-scoring mean 7. 6), although scoring of on Abasement is greater for the prejudiced than for the unprejudiced women (Low-scoring mean . 5/High-scoring mean 1. 3).
Needs of Creative Expression. All the variables pertaining to construc- tive and creative behavior that differentiate high and low scorers indicate a predominance of expression on the part of the low scorers. The ratio of the mean scores of nonprejudiced to those of prejudiced men for these variables are: n Cognizance, 6. of3. 7; n Expression 4. 2j2. 9; n Understanding 1. 8j. 4; p Task 4? 3/3. 2? For the women the ratio is n Achievement 7-4/4. 5; n Cogni- tion 7-I/5. 6; n Construction 1. 0j. 2; n Expression 5? 4/3-5; p Task 5-3/3. 1.
Needs of Sensual Expression. We found also that all the needs of sensual expression are scored higher in stories of low scorers than in those of high scorers. Men: n Excitance I. 25/1. o5; n Passivity 2. 95. 12. 25; n Play 3-05/1. 65; n Sex 5. 7of3. 8o; n Sentience 3? 50/. 90. Women: n Excitance 1. 5/. 9; n Pas- sivity 2. 6/. 5; n Play 2. 8/1. 4; n Sex 3? 7/2. 6; n Sentience 2. 7/1. 2.
The scoring of object needs of sensual expression is greater for high- than
? so6 THE AUTHORIT ARIAN PERSONALITY
for low-scoring men (mean of sum of sensual needs scored on: Low-scoring men 1. 7/High-scoring men 3. 2). The total scoring of object needs of sensual expression in the case of both groups? of women is not appreciable.
Other Single Needs Differentiating Low and High Scorers. Two other variables have sufficiently greater scores for unprejudiced than for prejudiced women to deserve special mention: n Nurturance (Low-scoring mean 8. 9/ High-scoring mean 4. 6) and n Acquisition (Low-scoring mean 6. 1/High- scoring mean 3. 7). The latter variable appears to be especially differentiating in stories told in response to Pictures 2 and 4, where the subjects often inter- pret the picture as indicating poverty, and in stories to Picture 7, where it appears to be related to the tendencies toward achievement and rebellion of the low-scoring women.
Press Variables from Human and Nonhuman Sources. Variables of press from human sources are expressed as often and with equal intensity by low and high scorers. Press from threatening nonhuman sources tends to be more common in stories of high- than in those of low-scoring subjects. The fan- tasies of permanent damage to the human body, scored as p Affiiction and p Death-hero, are found to be especially differentiating between high and low scorers, both men and women (p Affiiction: Women, Low-scoring mean 2. 8/High-scoring mean 3. 7; Men, Low-scoring mean 2. 4/High-scoring mean 5. 2) (p Death-hero: Women 1. 5/2. 8; Men r. 8/3. 2).
Reference to undefined misfortune, p Bad Luck, is also more common in high-scoring subjects (Women: Low-scoring mean . 1jHigh-scoring mean 1. 2; Men: Low-scoring mean . 6/High-scoring mean 1. 4).
2. THEMATIC ANALYSIS
a. ExPLANATION OF THE METHOD. The thematic analysis, instead of meas- uring each separate variable, examines the variables in combination. Here we discover not how much of each individual variable is expressed, but rather how often certain patterns of variables occur. This type of analysis has
the advantage of molarity with the disadvantage, often, of ambiguity.
The concept of thema is taken over from Murray (89). He defines it as "the dynamic structure of an event on a molar level," the "combination of a particular press or preaction or outcome and a particular need. " When dia- grammatically expressing a thema pattern, arrows are used to represent the direction of influence: e. g. , p Dominance ~ n Deference means that press Dominance imposed upon the hero causes him to express Deference; n Sen- tience ~ n Sex means that need for Sentience causes the hero to express a need for Sex; n Succorance ~~ n Nurturance means that two equally im-
portant heroes express a mutual nurturance-succorance relationship.
We constructed hypothetical "low" and "high" thema categories after careful study of the differences in need and press scores shown in Tables
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s(XIV)A and s(XIV)B, and after observation of the stories told in response to each picture by each of the low and high scorers. Such categQries were thought of as giving the general trends of the content of the stories. They were representative of differences in the more common variable constellation in the stories of our "high" as compared with our "low" subjects. We noted especially certain constellations in which one variable was equally weighted for "high" and "low" subjects. We noted also certain differences in the types of identifications with the heroes who expressed certain needs, and differ- ences in the object toward which the action was directed. A list of "low" and "high" categories was thus compiled-one for men and one for women.
There were several categories for each picture.
After the thema categories had been empirically derived in the fashion
described above, each set of 40 stories (i. e. , the stories told in response to each picture by the 40 men and by the 40 women tested) were scored "blindly" by two scorers, one staff member and one graduate student who had had no previous experience on our study. The scorers had only the derived categories as criteria by which to judge the "highness" or "lowness" of the subject who had told a particular story. Each story had been coded for identification, separated from other stories told by the same person, and randomly placed among the rest of the stories. Thus, judgments were based on the content of the single story. Every story thema was judged in terms of the thema category it most resembled. It should be pointed out that not all stories told conformed to patterns of the thema categories adopted as criteria. They were often more complex and sometimes included a combina- tion of two or three themes. Scoring problems created by story complexity were dealt with by two methods.
( r) The use of a neutral category when the theme of a particular story differed widely from any of the categories (about ro per cent of the judgments fell in the neutral category); (2) scor- ing 'if or Ya to each of two or three included themes.
The percentage of agreement between the two scorers as to their "High," "Low," or "Neutral" judgments was higher on some pictures than on others. The mean percentage agreement of judgments on men's stories was 76, the range of percentages being from 70 to So. The scorers had a mean percentage agreement of 79 on their ratings of the women's stories. Although the agree- ment was only 63 per cent for Picture 3, the range of percentages for the other nine sets of stories was from 74 to 9r.
Examples of thema variables are included (in Sll). all print) in the following comparison of the stories told by low- and high-scoring subjects. Each ex- ample is followed by a notation, in parenthesis, of the picture concerned and of the number of times the given thema was found, by each of the two scorers, to occur in stories of subjects scoring low on the Ethnocentrism scale and by subjects scoring high on this scale. The practice of assigning
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scores of ~ or Ya to each of two or three themes found in a given story accounts for the fractional totals which appear in the following summaries of themes.
Within the discussion, notations are made also from time to time of the sum of intensity scores on a particular variable (reflected in the stories to the picture in question) in the case of low-scoring subjects and in the case of high-scoring subjects.
We have chosen to discuss stories told in response to Pictures 1 and 7 (dealing with parental figures) first; stories to 3 and 5 (relationships to oppo- site sex) next; and then stories to 8 and 10 (responses to nonfamilial press), considering the men's stories and then the stories of the women subjects. Stories of both men and women told in response to the special pictures por- traying members of minority groups (2, 4, 6, 9) are discussed last. The
reader is referred to Table 4(XIV). b. RESULTS
1. Comparison of Stories Told by High- and by Low-scoring Men in Response to the Pictures from the Murray Series
PICTURE M I. Male subjects in both groups usually identify the characters as father and son or "older man" and "younger man. " Identification tends to be mainly with the son, who is said to be somber, sad, distressed. Many of the themes told to this picture describe the older man in the capacity of advisor or counselor. There is a greater tendency for low- than for high- scoring men to describe the younger man's reaction to this supervision as respectful (n Deference: Low scorers I], High scorers 8) and for high scorers to describe it as submissive (n Abasement: Low scorers I9, High scorers 30).
(p Dominance~ n Submissive Abasement): The hero is reprimanded by the father for having committed an antisocial act. He responds with feelings of shame and submission to the instructions of the older man. The father figure acts as a restraining force, not just as an advisor or counselor. There is often a nurturant aspect to the father's dominance, but the dominance is the stronger press. (M1: Low scorers, 2, r; High scorers, 8, g. )
There appears to be a tendency for both groups to describe fantasies of rebellion against the older man's advice (n Autonomy, Low scorers 25; High scorers I 8).
(p Nurturance-Dominance ~ n Autonomy-Rejection): The older man is advis- ing the younger one. The younger man rejects the older man's advice. The father is deeply hurt, or in some way shows genuine concern over the action of the younger man-a concern other than a desire to dominate the boy. (Mr: Low scorers 7, 6; High scorers 6, 7. )
However, there is a greater tendency for the high scorers to follow
? MURRAY PICTURES G1VEN TO MEN AND WOMEN
MEN WOMEN
? Credits. Picture 2: Courtesy of Life, Copyright Time, Inc. Picture 6: Courtesy of Fortune Magazine.
Photograph by Otto Hagel.
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this theme with punishment? for the rebellious younger man (3 of 7 high- scoring men, but no low-scoring men).
Another theme sometimes elicited by this picture is one in which both men are planning or plotting together. The low scorers more often than the high scorers describe a constructive enterprise (n Expression: Low scorers
IZ, High scorers 7; n Understanding: Low scorers 10, High scorers I; n Cog- nizance: Low scorers I 6; High scorers 5).
(n Understanding, n Nurturance): The hero strives for understanding and bet- terment of society. He attempts to right a wrong done to society. Rebellion is motivated by rational principle. There is close identification with the hero, who rebels against social injustice or who wants to right an injustice committed against a friend or relative. (M1: Low scorers 3, 6; High scorers zlh, r~. )
The high- more often than the low-scoring men depict a father who acts as a moral control over the actions of the son and causes the son to conform to his demands or be punished. The low scorers are more inclined to portray a relationship in which the father acts as an advisor whom the son respects, but the son does not necessarily submit to his wishes. Although high and low scorers alike describe heroes who behave contrary to the wishes of the father, a principled, constructive purpose initiating the rebellion is more commonly described by "lows," whereas the rebellion in the stories of "highs" is more often of a criminal, impulsive nature. Furthermore, the revolt is more likely to be rejected or given up in stories of high scorers than in those of low scorers.
These differences in fantasied relationship between father and son remind one of the difference in the childhood memories of the father pointed out in Chapter X. The reader will recall that the stern father who represented a "moral-model" and who was respected out of fear, was more frequently described in the childhood memories of the high-scoring men than in those of the low-scoring men. On the other hand, the low scorers more often re- ported that their fathers were "relaxed and mild" and supported "principled independence," a similar picture to the one drawn in the T. A. T. stories.
To what extent either of these sources of portrayed relationships offers a true picture of family relationship is still an open question, but it is im- portant to note that the needs expressed by the prejudiced men are in the direction of authoritarian relationships with father figures whereas those set forth by unprejudiced men tend to allow for individualized behavior. One may conclude from this that the low- as compared with the high-scoring men have less residual fears of punishment by their fathers, and that this accounts for""their being better able to accept fantasies of constructive autonomy.
PICTURE M7? Most of our male subjects describe the people portrayed in this picture as mother and son, and the identification is mainly with the son.
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THE AUTHORITARIAN PERSONALITY
The mother is usually said to be rejecting the son, and the mood expressed by the son is somber.
There are two main themes that appear more often in the stories of high- scoring men than in those of the low scorers. One of these, which deviates from the more common story of the rejecting mother, stresses tragic events leading up to the portrayed scene (p Aggression: Low scorers 7, High scorers
IS; p Death: Low scorers 5, High scorers 22; p Physical Danger: Low scorers o, High scorers 6).
(Environmental p Aggression, p Death-object, p Physical Danger~ n Succor- ance): Environmental factors (a death or fire; a rejecting or erring child, or a demand from an external force that forces the man to leave home) threaten both of the portrayed figures. They both respond with dejection. (M7: Low scorers Ilh, o; High scorers 4, 6. )
In the other predominantly "high" theme more direct mother-son rela- tionships are often described. In such cases the son is usually said to have committed a crime, and he is confessing or apologizing. (n Blamavoidance: Low scorers 9, High scorers I7; n Abasement: Low scorers 24, High scorers 32. )
(p Dominance~ n Submissive Abasement): The mother rejects the son or the son fears she will reject him (for an act of theft, murder, or an affair with a girl). He responds with guilt and anxiety and subsequent submission to his mother's wishes. (He tries to make amends for what he has done by apologizing and/or complying with his mother's wishes from then on. ) (M7: Low scorers, 4, 2; High scorers 4lh, 9lh. )
The mother-son conRict expressed by low scorers is most commonly said t. o arise out of the young man's demand for autonomy. He wants to do some- thing of which the mother disapproves (leave home, marry, or plan for a particular career). In some stories she is said to be annoyed with him because he has committed a minor crime. These subjects often indicate that the son feels he is justified to some extent at least in what he has done or what he intends to do. He is determined to do what he thinks right, or defend what he has done. There is usually some sign of regret that he is disappointing his mother by defying her wishes, yet he insists on his independence. (n Auton- omy: Low scorers 4I, High scorers 33; n Rejection: Low scorers 24, High scorers I2. )
Autonomous striving receives high scores in both groups, but in the stories of our prejudiced subjects it is intense at first but is later given up, whereas nonprejudiced subjects describe less violent, less destructive autonomy that carries through to the conclusion.
(p Dominance ~ n Autonomy): A possessive mother rejects her son because of his past activities or plans for the future, of which she disapproves (leaving home, conflict over mode of achievement, intended marriage, a theft). The son feels that
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he is justified to some extent at least in what he has done or intends to do. He is determined to do what he thinks right or defend what he has done. There may be a note of regret that he must disappoint his mother by defying her wishes. (M7: Low scorers I I, rr; High scorers 4? 3. )
The fantasies of low-scoring and of high-scoring men centering about the mother figure tend to be distinguishable in much the same way as their fantasies about the father figure; that is, the high-scoring men tend to describe a hero who is morally dependent upon the mother while the hero of the low- scoring men more often considers her advice but finally acts according to his own judgment. This differentiation is in accordance with the analysis of the interview material, which indicated a more realistic, less awesome por- trayal of the childhood mother by low than by high scorers.
Prejudiced subjects more often than the unprejudiced describe relations to parents, both fantasied and real (in the interviews), with more reference to the child's reacting because of fear or because of the compulsion of the parental demands for obedience. However, both the interviews and the T. A. T. indicate that the low-scoring subjects have a more critical attitude toward parental influences.
PICTURE 3. Male subjects in both groups tend to identify with a male hero in their stories to this picture. Usually the upper figure is so designated, the lower figure being described as his wife.
In the responses of low-scoring men to this picture there is much variability in the relationship between the two people portrayed. Often the woman is a nurturant mother figure who encourages and helps the man; sometimes he is the stronger and more dominant one who cares for her. In general, how- ever, there is a clear affiliative relationship in which hero and love object show a mutual sensitivity to and concern over the mood and feelings of the other.
(Mutual Nurturance-Succorance Sex relationship-fusion of n Nurturance, n Suc- corance, n Sex, n Affiliation): Two people (husband and wife, usually) are em- bracing each other. They are glad to be together ("to see each other after a long separation") or both are sad (because they have to be separated). This theme is not preceded by an aggressive press such as an argument between them, the fear of death, affliction, or physical danger. Affiliation and Sex are expressed in the mutuality of the Nurturance-Succorance. (3: Low scorers I4, I6; High scorers 7, 2. )
Closer investigation of the stories of low scorers who produce this thema shows that when a joyful event such as a reunion is described, the woman usually plays the more active role. She is the one who protects and nurtures the man, the latter enjoying a more passive role. When the event is unpleasant or sad, a situation such as departure, the man is usually the one to give the woman support and reassurance and to deal forcefully with the situation.
The high-scoring men more often fantasy the man as the dominant person
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in the heterosexual relationship. They are inclined to identify with the role of a benevolent but despotic father, demonstrating no real dependence on the woman. The man is likely to be described as the master, while the woman is weak and dependent. This division of masculine and feminine roles is often sharply made, no overlapping of roles being allowed. At the same time the high-scoring man is likely to reject the woman because of her dependency. He describes her as being fickle, flighty or burdensome.
(Male n Dominance~Female n Succorance): There is no overlapping of roles. She is dependent and weak; he is the source of strength and he refrains from ex- pressing any dependence on her. ("She is on the verge of hysterics; so he comforts her. " "She is relying on strength from her husband to pull her through. " "He com- forts her and hides his own feelings. ") (3: Low scorers 3, 2? 2; High scorers 7, 4? )
The woman becomes obstreperous. He comforts her in order to quiet her and subdue her aggression. ("He's comforting her. They have quarrelled, as they often do over some trivial matter. " "She nagged at him. He got mad. Now he's comforting her. ") (3: Low scorers o, o; High scorers 3, 2. ) ?
Although the situational factor in the stories of high-scoring subjects is somewhat variable, reference to dangerous situations resulting in death and affliction are very common (p Death-hero: Low scorers 4, High scorers q; p Affliction: Low scorers o; High scorers 9). Usually the high scorers de- scribe episodes which cause the woman to exhibit her weakness and the man his strength and superior capabilities. Even when the focus is on the husband's departure for war, ideas of fear are usually projected onto the woman. She
is the one who "fears for his safety. "
It appears, then, that the low- and high-scoring groups conceptualize dif-
ferent types of heterosexual relationship. The low-scoring men tend to identify mainly with a flexible male role that is varied with different situa- tions, the heterosexual adjustment of hero and love object being on the basis of reciprocal dependency stemming from their mutual need of companion- ship and sympathy, and of someone to care for; whereas the high-scoring men characteristically identify wjth a dominant, heroic role, the woman being subservient. In contrast to stories of low-scoring men, in which women serve as helpful companions, the high-scoring men more often conceive of the woman's function as one of serving the man's needs, and he resents any demands placed upon him by her.
The implications derived from the differences in content of the stories told by low- and high-scoring men in response to Picture Mr-that the "highs" tend to be more fearful of asserting themselves in the face of the father's opposition than are the "lows"-suggest one aspect at least of the differences in motivation behind the fantasied roles described in response to the present picture. The high-scoring men apparently can identify with the father's role in certain situations. They seem to compensate for feelings
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of inadequacy precipitated by the father, by adopting the role-at least in fantasy-of a dominant, authoritarian individual in relationships with people less threatening than the father.
From the interview material we would have reason to believe that the authoritarian sex role described by the prejudiced men in the T. A. T. is not limited to their fantasies. The quantitative results in Chapter XI, indicating that they tend to adhere to exploitive-manipulative and power-oriented attitudes toward sex objects, corroborate our findings here. The interview data for unprejudiced men are also in keeping with T. A. T. results. Their interviews reveal appreciation of more relaxed, equalitarian modes of love- seeking.
PICTURE M5. Except in rare cases there is consistent identification by all the male subjects with the man in the picture. The description of events leading up to the portrayed situation, in stories of low and high scorers alike, often involves an impulsive sexual act. Aggressive behavior on the part of the hero is described more often by low- than by high-scoring men; but the expression is more intense and more commonly rejected in stories of high than in those of low scorers (n Aggression: Low scorers z8, High scorers 8; on Aggression: Low scorers 6, High scorers 14). Some high-scoring subjects ignore the woman in the background and attribute the man's dejection to overindulgence in liquor.
The main difference between the stories of one group and those of the other lies in the story-teller's attitude toward what the hero has done and why he has done it. The more aggressive stories of murder and rape are often explained by low-scoring men on the basis of temporary maladjustments that could occur in the life of anyone, e. g. , "He has difficulty in adjusting to civilian life after his army experiences. " These story-tellers rarely condemn the hero. Rather they tend to identify with his problems, describing his feelings and thoughts about the situation. The hero is usually portrayed as dejected, guilt-ridden, and concerned about the welfare of the girl involved.
(n Sex, n Aggression~ n Abasement-intrapunitive type): The hero is reproach- ing himself for having harmed the girl as the result of an impulsive sexual act. The girl is never rejected; in fact there is often an expression of affection for her. The hero is not rejected by the story-teller. Rather there are signs of sympathy for the hero's problems. (M5: Low scorers 8, 6; High scorers 2, 1J2. )
The high scorers who describe the same situational factors as the above often attribute the action to inherent criminal tendencies, referring to the hero by such phrases as "a fiend" or a "sex maniac. " Although detailed de- scription of the crime may be given, references to the hero's feelings or thoughts about what has happened are comparatively rare. Suicide or punish- ment by authorities is the most common ending to these stories.
(on Aggression): The central character is rejected for being a criminal or a low
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character, and the picture is condemned as sordid. The story deals with an intense aggressive episode in which the story character has indulged preceding the pictured scene. He has committed a major crime (rape, murder, robbery) and the result is one of serious damage. (1V1s: Low scorers o, 1; High scorers 2, 4%. )
Subjects from both groups sometimes tell less aggressive stories dealing mainly with the sensual aspects of the picture. In these stories, the low scorers also tend to be more accepting of sensual indulgence than are high scorers. Three nonprejudiced men tell stories of the pleasures of "wine, women, and song," but none of the prejudiced men approach such a theme. There are, however, many stories by prejudiced men which center around a con- demnation of passive sensuality.
(on Sex, Sentience~ on Abasement, giving up of self-respect): The hero has yielded to sensual impulses because of innate weakness or a disappointing experi- ence. (He has become a drunkard or indulged in sexual activities with a whore. ) He is guilt-ridden, loses all self-respect, and becomes worthless to society. (Ms: Low scorers 6, 5; High scorers 12%, 10%. )
The low scorers, then, tend to identify with a hero who either finds no harm in a little overindulgence of sensuality or who blames himself for his transgressions, whereas the high scorers more often reject the hero for such behavior and predict for him a future of moral degradation. 2 The T. A. T. stories are in keeping with the evidence from the interviews (see Chapter XI) that the low-scoring men are better able to accept id impulses than are high-scoring men. They are, furthermore, consistent with interview data (see Chapter XII) indicating that intrapunitiveness tends to be more com- mon in low than in high scorers.
PICTURE 8. The content of all the stories elicited by this picture implies a recognition, on the part of the subject, of the contrasting active and passive roles of the two figures presented. In most of the stories of high- and low- scoring subjects alike the situation described is either a hypnotic session or a scene of death or illness. Many of the subjects elaborate very little beyond a description of the setting. Where further content is offered, there is a tend- ency for high more often than for low scorers to attribute permanent af- fliction and death to their heroes (p Affiiction: Low scorers, 16, High scorers, 23; Death-hero: low scorers, 6, High scorers 10) and to give emphasis to
themes of exploitation by the dominant figure.
{n Coercive Dominance ~ n Submissive Abasement): The hypnotist uses his powers for the purpose of exploiting the hypnotized person.