Journal of Analytical Psychology, 2003, 48, 83-99 Picture interpretation and jungian typology Derek P Bergeron, David H. Rosen, Randolph C Arnau& Nathan Mascaro Texas USA Abstract: This study examined a Jungian picture interpretation schema, which utilizes a specific quadrant method. This proposed schema, which is used in training at the C G. Jung Institute in Zurich, attaches significance to specific areas of a drawing. The upper left of a drawing is associated with the father; the lower left with the uncon- cious; the lower right with the mother; and the upper right with the future. Three questions served as the foci of this study: Is the schema valid? Do certain types within Jung s personality theory respond better than others to the schema? Does the schema work best when it elicits a strong affective rest from the person who created the picture? Subjects took one of two tests: a space domain test, or a colour associative test. The results revealed only two significant effects: a positive association(in the space domain test) between unconscious material with the unconscious quadrant and a negative association(in the colour associative test)of mother material with the mother quad ant. These results suggest that the Jungian quadrant schema used to interpret drawings invalid and of minimal practical utility. Other methods of discussed as well as suggestions for future research that would be helpful to this field Key w vords: active imagination, emotionality, Jungian typology, picture interpretation, Picture interpretation and Jungian typology Active imagination in Carl Jungs psychology, which can lead to artistic pro- ductions such as colour drawings and pictures, is reckoned to be a revealer and a healer of personal conflicts (ung I9I6). Such a powerful technique can be used for constructive purposes. One way this technique has been utilized is by the development of a quadrant picture interpretation method to approach artistic creations within a diagnostic and therapeutic format. This picture interpretation method is the main focus of this study The quadrant schema, used in analytical Jungian psychology, attaches sig- nificance to specific areas of a drawing. Each of the four quadrants is associ- ated with a different meaning. See Figure I for a diagram of the schema. The upper left hand area is associated with the father; the lower left is associated with the unconscious; the upper right is associated with the future; and the lower right is associated with the mother. This schema is sometimes used ∞o2I-8774/203/480/83 O 2003, The Society of Analytical Psychology Published by Blackwell Publishing Ltd, 96oo Garsington Road, Oxford OX4 zDQ, UK and 3 so Main Street, Malden, MA oz148, USA
Journal of Analytical Psychology, 2003, 48, 83–99 0021–8774/2003/4801/83 © 2003, The Society of Analytical Psychology Published by Blackwell Publishing Ltd, 9600 Garsington Road, Oxford OX4 2DQ, UK and 350 Main Street, Malden, MA 02148, USA. Picture interpretation and Jungian typology Derek P. Bergeron, David H. Rosen, Randolph C. Arnau & Nathan Mascaro Texas, USA Abstract: This study examined a Jungian picture interpretation schema, which utilizes a specific quadrant method. This proposed schema, which is used in training at the C. G. Jung Institute in Zürich, attaches significance to specific areas of a drawing. The upper left of a drawing is associated with the father; the lower left with the unconscious; the lower right with the mother; and the upper right with the future. Three questions served as the foci of this study: Is the schema valid? Do certain types within Jung’s personality theory respond better than others to the schema? Does the schema work best when it elicits a strong affective response from the person who created the picture? Subjects took one of two tests: a space domain test, or a colour associative test. The results revealed only two significant effects: a positive association (in the space domain test) between unconscious material with the unconscious quadrant and a negative association (in the colour associative test) of mother material with the mother quadrant. These results suggest that the Jungian quadrant schema used to interpret drawings is invalid and of minimal practical utility. Other methods of picture interpretation are discussed as well as suggestions for future research that would be helpful to this field. Key words: active imagination, emotionality, Jungian typology, picture interpretation, quadrant schemas. Picture interpretation and Jungian typology Active imagination in Carl Jung’s psychology, which can lead to artistic productions such as colour drawings and pictures, is reckoned to be a revealer and a healer of personal conflicts (Jung 1916). Such a powerful technique can be used for constructive purposes. One way this technique has been utilized is by the development of a quadrant picture interpretation method to approach artistic creations within a diagnostic and therapeutic format. This picture interpretation method is the main focus of this study. The quadrant schema, used in analytical Jungian psychology, attaches significance to specific areas of a drawing. Each of the four quadrants is associated with a different meaning. See Figure 1 for a diagram of the schema. The upper left hand area is associated with the father; the lower left is associated with the unconscious; the upper right is associated with the future; and the lower right is associated with the mother. This schema is sometimes used to
Derek P. Bergeron et al. Father Future Unconscious Mother Figure I: The Jungian picture interpretation schema nterpret artistic productions in therapy. For example, a black cloud in the upper right of a drawing might symbolize a difficult future, such as worsening depression and suicide attempts(Rosen 1996, p. 95) The rationale behind this schema is that specific areas of a drawing tend to have a unique and significant meaning based on archetypal patterns. Building on Jolande Jacobi's ideas, it has been theorized that the upper right corner is the world of collective consciousness, society and future possibilities(Isaac 1I98I, p. 42). The lower right corner refers to the earth, primordial femininity and theGreat Mother'(p. 43). The lower left corner represents the uncon- cious,a place of regression, dependence and security, origins and fixation on old scars (p. 43). The upper left corner refers to father and reflects spirit, os, Wise Old Man'archetype ty(p.44) Jungians are not the only therapists who have used a quadrant method in analysing artistic productions. For example, the art therapist Susan Bach developed a quadrant method based on her work with severely ill children ho painted how they felt( Bach I990, pp 39-41). In her quadrant system, the upper right is associated with the here and now; the lower right is associated vith the immediate past or potential future; the lower left is associated with the place of darkness and the unknown, and the upper left is associated with the setting sun. Based on empirical research, she has found this system to be of value. It is worthy noting that of the quadrants in her system, the upper left because the sun is often associated with the father)and lower left(because it sounds like the unconscious), appear to be very similar to the respective quad- rants in the schema being studied Gregg Furth, a Jungian analyst who specializes in art therapy, offers a con- trasting viewpoint. He finds the quadrant method of picture interpretation
84 Derek P. Bergeron et al. interpret artistic productions in therapy. For example, a black cloud in the upper right of a drawing might symbolize a difficult future, such as worsening depression and suicide attempts (Rosen 1996, p. 95). The rationale behind this schema is that specific areas of a drawing tend to have a unique and significant meaning based on archetypal patterns. Building on Jolande Jacobi’s ideas, it has been theorized that the upper right corner is the world of collective consciousness, society and future possibilities (Isaac 1981, p. 42). The lower right corner refers to the earth, primordial femininity, and the ‘Great Mother’ (p. 43). The lower left corner represents the unconscious, a place of regression, dependence and security, origins and fixation on old scars (p. 43). The upper left corner refers to father and reflects spirit, Logos, ‘Wise Old Man’ archetype, and authority (p. 44). Jungians are not the only therapists who have used a quadrant method in analysing artistic productions. For example, the art therapist Susan Bach developed a quadrant method based on her work with severely ill children who painted how they felt (Bach 1990, pp. 39–41). In her quadrant system, the upper right is associated with the here and now; the lower right is associated with the immediate past or potential future; the lower left is associated with the place of darkness and the unknown, and the upper left is associated with the setting sun. Based on empirical research, she has found this system to be of value. It is worthy noting that of the quadrants in her system, the upper left (because the sun is often associated with the father) and lower left (because it sounds like the unconscious), appear to be very similar to the respective quadrants in the schema being studied. Gregg Furth, a Jungian analyst who specializes in art therapy, offers a contrasting viewpoint. He finds the quadrant method of picture interpretation Father Future Unconscious Mother Figure 1: The Jungian picture interpretation schema
Picture interpretation and Jungian typology ed in analytical psychology unproven in its reliability and validity (1988 p. Io9). A similar criticism has been made by Wadeson(I980, p. 329), who stated that a tendency to resort to speculation without scientific substantiation is problematic in art therapy. Furth does recognize the empirical findings supporting Bachs system, but he also pointed out that her theory was derived from studying seriously ill children, a very specialized sample. Furth concerned that quadrant theories are used as recipes with cookbook nterpretations, which ignore pictures as a unified whole. They also tend to overlook the dynamic and complex nature of the therapeutic interaction. Further- nore, they often disregard other important elements in drawings. It is with such criticism in mind that the present study on the jungian quadrant method of picture interpretation was conducted Although this Jungian quadrant schema is intriguing, and at times seeing it put into practice makes it appear valid and useful, it certainly leads inquisitive minds to wonder about many things. Do the particular areas of a drawing have specific symbolic meanings as this schema suggests(is it valid)? Could this schema be more accessible to certain individuals than others? Specifically could individuals with specific psychological types within Jung's personali theory respond ily to this schema than others? As far there are no scientific studies regarding any of these questions. As Gregg Furth states,quadrant theory is included in the curriculum at the C G. Jung Institute in Zurich, though I have not seen nor have I heard of any scientific studies to validate this particular approach(1988, P. IIo Three questions served as the foci of the present study. The first question addressed was the validity of the Jungian quadrant schema. This study investi gated the association between particular quadrants of a drawing and the pro- posed meanings suggested by this schema. two different tests were used to address this question: a space domain test and a colour associative test. In the space domain test, individuals were asked to draw four pictures concerning each of the four aspects of the schema. Based on the theory, it was hypothe sized that the pictures drawn should tend to appear in the associated quad rants at a rate higher than chance. In the colour associative test, an individu associated a particular colour with each of the four aspects of the schema They were then asked to draw a picture with the four colours they selected Following the theory of this schema, it was hypothesized that these colours should appear at a percentage greater than chance in the associated quadrants of the drawings The second question was whether certain Jungian psychological types would respond better than others to the schema. In other words, the question was whether the quadrant interpretation schema was more valid for some personality types than for others. Jung's(1971)typology is based on two atti- tudes and four function types. The two different attitudes are: introversion, where one focuses on the inner world and extraversion where one focuses on he outer world. The four functions are divided as such: the way one perceives
Picture interpretation and Jungian typology 85 used in analytical psychology unproven in its reliability and validity (1988, p. 109). A similar criticism has been made by Wadeson (1980, p. 329), who stated that a tendency to resort to speculation without scientific substantiation is problematic in art therapy. Furth does recognize the empirical findings supporting Bach’s system, but he also pointed out that her theory was derived from studying seriously ill children, a very specialized sample. Furth is concerned that quadrant theories are used as recipes with cookbook interpretations, which ignore pictures as a unified whole. They also tend to overlook the dynamic and complex nature of the therapeutic interaction. Furthermore, they often disregard other important elements in drawings. It is with such criticism in mind that the present study on the Jungian quadrant method of picture interpretation was conducted. Although this Jungian quadrant schema is intriguing, and at times seeing it put into practice makes it appear valid and useful, it certainly leads inquisitive minds to wonder about many things. Do the particular areas of a drawing have specific symbolic meanings as this schema suggests (is it valid)? Could this schema be more accessible to certain individuals than others? Specifically, could individuals with specific psychological types within Jung’s personality theory respond more readily to this schema than others? As far as we know, there are no scientific studies regarding any of these questions. As Gregg Furth states, ‘quadrant theory is included in the curriculum at the C. G. Jung Institute in Zürich, though I have not seen nor have I heard of any scientific studies to validate this particular approach (1988, p. 110)’. Three questions served as the foci of the present study. The first question addressed was the validity of the Jungian quadrant schema. This study investigated the association between particular quadrants of a drawing and the proposed meanings suggested by this schema. Two different tests were used to address this question: a space domain test and a colour associative test. In the space domain test, individuals were asked to draw four pictures concerning each of the four aspects of the schema. Based on the theory, it was hypothesized that the pictures drawn should tend to appear in the associated quadrants at a rate higher than chance. In the colour associative test, an individual associated a particular colour with each of the four aspects of the schema. They were then asked to draw a picture with the four colours they selected. Following the theory of this schema, it was hypothesized that these colours should appear at a percentage greater than chance in the associated quadrants of the drawings. The second question was whether certain Jungian psychological types would respond better than others to the schema. In other words, the question was whether the quadrant interpretation schema was more valid for some personality types than for others. Jung’s (1971) typology is based on two attitudes and four function types. The two different attitudes are: introversion, where one focuses on the inner world; and extraversion, where one focuses on the outer world. The four functions are divided as such: the way one perceives
86 Derek P. Bergeron et al. hings, which is labelled as either sensation( based on description and objectiv- ity)or intuition( based on possibilities and subjectivity); and the way one judges things, which is labelled as thinking(based on reasoning and logic)or feeling(based on evaluating importance and desirability). It was hypothesized that individuals with an introverted, intuitive, feeling typology will perform better than other individuals. Introverted, intuitive, feeling individuals ought flicts, as they are by definition more often aware of such state Ssues and con- The third question addressed was whether an individuals emotional response to the drawing influences the validity of the schema. Each of the four of the schema(father, unconscious, mother, future) can lead to varied ses in different peop e schema. archetypal complexes relating to the mother and father, and the past and future. Since complexes are rich in emotionality, it seems reasonable to sug gest that this dimension would influence the schema. Thus, it was hypothe sized that the schema would be more valid for individuals with high levels of emotional arousal in response to their picture. <s The importance of the present study is that these particular questions about e validity of this schema have not yet been empirically addressed in the litera ture. Nevertheless, this approach is taught in the Jung Institute in Zurich and is used in therapy and analysis. Thus, it seems important to examine empiric lly the validity of this schema. Otherwise, an invalid method may continue to be taught and used in interpreting art productions in therapy, or it may be questions of de. g contexts with the wrong expectations. Also, addressing the used in the wre were shown to be more valid for different psychological types and emotional responses, it would suggest that this Jungian interpretive schema would best be utilized with a particular set of individuals. Although these two dimensions do not certainly provide an exhaustive breakdown of individual characteristics that could influence this schema, they do begin to address this issue. It is also important to emphasize that quadrant theories are not the only methods of interpreting drawings. Isaac Jolles (I977) offers another method based on spatial orientation. This approach divides a drawing into two halves depending on where the drawing is most concentrated. An imbalance to the bottom half indicates a tendency to be reality bound, while imbalances to the top half indicate aloofness and tendencies to dwell in fantasy. On the other hand, a drawing concentrated in the left half leans toward the unconscious while a drawing in the right half leans toward the conscious. Besides her quadrant theory, Bach(I99o)lists other important factors to consider in examining drawings. These include: archetypal motifs, colours direction, missing or distorted objects, and others. Similarly, Furth(I988 offers key issues to consider in interpreting drawings, such as: the feeling conveyed, barriers, what is central, proportions, perspective, and many others There is a lot of overlap between what Bach and Furth consider to be important
86 Derek P. Bergeron et al. things, which is labelled as either sensation (based on description and objectivity) or intuition (based on possibilities and subjectivity); and the way one judges things, which is labelled as thinking (based on reasoning and logic) or feeling (based on evaluating importance and desirability). It was hypothesized that individuals with an introverted, intuitive, feeling typology will perform better than other individuals. Introverted, intuitive, feeling individuals ought to be more aware of and better able to express unconscious issues and conflicts, as they are by definition more often aware of such states. The third question addressed was whether an individual’s emotional response to the drawing influences the validity of the schema. Each of the four subjects of the schema (father, unconscious, mother, future) can lead to varied emotional responses in different people. The schema, if valid, would be focused on archetypal complexes relating to the mother and father, and the past and future. Since complexes are rich in emotionality, it seems reasonable to suggest that this dimension would influence the schema. Thus, it was hypothesized that the schema would be more valid for individuals with high levels of emotional arousal in response to their picture. The importance of the present study is that these particular questions about the validity of this schema have not yet been empirically addressed in the literature. Nevertheless, this approach is taught in the Jung Institute in Zürich and is used in therapy and analysis. Thus, it seems important to examine empirically the validity of this schema. Otherwise, an invalid method may continue to be taught and used in interpreting art productions in therapy, or it may be used in the wrong contexts with the wrong expectations. Also, addressing the questions of psychological types and emotionality is important. If this schema were shown to be more valid for different psychological types and emotional responses, it would suggest that this Jungian interpretive schema would best be utilized with a particular set of individuals. Although these two dimensions do not certainly provide an exhaustive breakdown of individual characteristics that could influence this schema, they do begin to address this issue. It is also important to emphasize that quadrant theories are not the only methods of interpreting drawings. Isaac Jolles (1977) offers another method based on spatial orientation. This approach divides a drawing into two halves, depending on where the drawing is most concentrated. An imbalance to the bottom half indicates a tendency to be reality bound, while imbalances to the top half indicate aloofness and tendencies to dwell in fantasy. On the other hand, a drawing concentrated in the left half leans toward the unconscious, while a drawing in the right half leans toward the conscious. Besides her quadrant theory, Bach (1990) lists other important factors to consider in examining drawings. These include: archetypal motifs, colours, direction, missing or distorted objects, and others. Similarly, Furth (1988) offers key issues to consider in interpreting drawings, such as: the feeling conveyed, barriers, what is central, proportions, perspective, and many others. There is a lot of overlap between what Bach and Furth consider to be important
Picture interpretation and Jungian typology n a drawing, which is not unexpected, given that Furth (1988) partially derived his approach and analytical perspective from Bach(Igo) Joy Schaverien(1992)offers an additional perspective on interpreting draw ngs and paintings. She posits that these artistic productions can provide a source of information about transference in the therapeutic relationship. This concept is pivotal to psychoanalysis and analytical psychotherapy. Through transference, affect experienced in the past can be brought into the present. This allows for the opportunity to change patterns within one's inner world. An important aspect of her approach is applying the idea of transference to artistic creations It is clear that there are a variety of techniques and methods used to inter pret drawings in art therapy. In this study we only focused on the quadrant method of picture interpretation. The questions asked in this study, however, go beyond the scope of this particular schema. These questions are important to ask in any case where a theory is being utilized. One must always check to see if a theory is practical and accurate in its predictions. The general question being asked is whether quadrant techniques are valid. Do such techniques lead consistent predictions based on theory? Although this study cannot address all quadrant methods, such questions should be asked about any method without an em Method P Two hundred and seven undergraduate college students from Introduction to Psychology participated in this study(94 males, I I3 females). The ethnicity of the sample was primarily Caucasian(I57, 76%), but also included Hispanic (24, I2%), African-American(I3, 6%), Asian (8, 4%), and others(5, 2%) Overall, Io4 participants completed the space domain test, and Io3 partici pants completed the colour associative test Participants ranged in age from I7 to 42 years(M=I9.07, SD=I.68). Measure Personal Preferences Self-Description Questionnaire. Participants were given the Personal Preferences Self-Description Questionnaire(PPSDQ, Thompson I996), which measures Jungian typology. It contains one hundred and fifteen items(word pairs and sentences)rated on a seven-point Likert scale. Each word pair is presented as a semantic differential scale in which a seven-point Likert scale is presented between each pair of words, and participants chose the number that represents the word that best describes them. the sentence items are also scored on a seven-point Likert scale, indicating degree of agree- ment or disagreement with each statement. This yields four scores, each of
Picture interpretation and Jungian typology 87 in a drawing, which is not unexpected, given that Furth (1988) partially derived his approach and analytical perspective from Bach (1990). Joy Schaverien (1992) offers an additional perspective on interpreting drawings and paintings. She posits that these artistic productions can provide a source of information about transference in the therapeutic relationship. This concept is pivotal to psychoanalysis and analytical psychotherapy. Through transference, affect experienced in the past can be brought into the present. This allows for the opportunity to change patterns within one’s inner world. An important aspect of her approach is applying the idea of transference to artistic creations. It is clear that there are a variety of techniques and methods used to interpret drawings in art therapy. In this study we only focused on the quadrant method of picture interpretation. The questions asked in this study, however, go beyond the scope of this particular schema. These questions are important to ask in any case where a theory is being utilized. One must always check to see if a theory is practical and accurate in its predictions. The general question being asked is whether quadrant techniques are valid. Do such techniques lead to consistent predictions based on theory? Although this study cannot address all quadrant methods, such questions should be asked about any method without an empirical grounding. Method Participants Two hundred and seven undergraduate college students from Introduction to Psychology participated in this study (94 males, 113 females). The ethnicity of the sample was primarily Caucasian (157, 76%), but also included Hispanic (24, 12%), African-American (13, 6%), Asian (8, 4%), and others (5, 2%). Overall, 104 participants completed the space domain test, and 103 participants completed the colour associative test. Participants ranged in age from 17 to 42 years (M=19.07, SD=1.68). Measures Personal Preferences Self-Description Questionnaire. Participants were given the Personal Preferences Self-Description Questionnaire (PPSDQ, Thompson 1996), which measures Jungian typology. It contains one hundred and fifteen items (word pairs and sentences) rated on a seven-point Likert scale. Each word pair is presented as a semantic differential scale in which a seven-point Likert scale is presented between each pair of words, and participants chose the number that represents the word that best describes them. The sentence items are also scored on a seven-point Likert scale, indicating degree of agreement or disagreement with each statement. This yields four scores, each of
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
9 Derek P. Bergeron et al. Figure 2: Grid system quadrant, and I6 indicating the presence of that drawing/colour in all I6 What we wished to analyse was not simply whether a particular picture(or colour)was merely present in the theoretically correct quadrant, but also the degree to which it did not appear in the theoretically incorrect quadrants. It would be meaningless if some proportion of a drawing appeared in the theor- etically correct quadrant, if that same drawing also overlapped to a large legree with other, theoretically incorrect quadrants. Therefore, difference scores were computed that represented the relative proportion of a drawing/colour in the theoretically correct quadrant to that which appeared in the incorrect quadrants. Therefore, eight difference scores were computed. First, there were four difference scores associated with each quadrant, which were given these names: Father Quadrant Difference(FaQD), Unconscious Quadrant Difference (UnQD), Mother QuadrantDifference (MoQD), and Future QuadrantDifference(FuQD). These variables reflect the proportion of the associated drawing/colour present in its quadrant, as compared to the other three drawings/colours in the quadrant (within-quadrant analysis According to the Jungian schema, a drawing/colour associated with a quad rant should appear most in that quadrant. To find these values, the differences etween the associated drawing/colour for a given quadrant and the other three drawings/colours were determined. This produced three differences which were summed, producing a value that can be between +I6 and -I6; posi- tive values indicate an overall higher proportion of an associated drawing/colour n a particular quadrant compared to the other drawings/colours, while nega tive values indicate a higher proportion of the unassociated drawings/colours that quadrant. A score close to o would indicate no particular dominance of
90 Derek P. Bergeron et al. quadrant, and 16 indicating the presence of that drawing/colour in all 16 grid boxes in that quadrant. What we wished to analyse was not simply whether a particular picture (or colour) was merely present in the theoretically correct quadrant, but also the degree to which it did not appear in the theoretically incorrect quadrants. It would be meaningless if some proportion of a drawing appeared in the theoretically correct quadrant, if that same drawing also overlapped to a large degree with other, theoretically incorrect quadrants. Therefore, difference scores were computed that represented the relative proportion of a drawing/colour in the theoretically correct quadrant to that which appeared in the incorrect quadrants. Therefore, eight difference scores were computed. First, there were four difference scores associated with each quadrant, which were given these names: FatherQuadrantDifference (FaQD), UnconsciousQuadrantDifference (UnQD), MotherQuadrantDifference (MoQD), and FutureQuadrantDifference (FuQD). These variables reflect the proportion of the associated drawing/colour present in its quadrant, as compared to the other three drawings/colours in the quadrant (within-quadrant analysis). According to the Jungian schema, a drawing/colour associated with a quadrant should appear most in that quadrant. To find these values, the differences between the associated drawing/colour for a given quadrant and the other three drawings/colours were determined. This produced three differences, which were summed, producing a value that can be between+16 and −16; positive values indicate an overall higher proportion of an associated drawing/colour in a particular quadrant compared to the other drawings/colours, while negative values indicate a higher proportion of the unassociated drawings/colours in that quadrant. A score close to 0 would indicate no particular dominance of Figure 2: Grid system
Picture interpretation and Jungian typology either the theoretically correct drawing/colour relative to the other drawings/ colour. a t-test was then performed to determine whether the mean difference scores were statistically different from o. Although all of the t-tests performed represented planned' comparisons with theoretically hypothesized results,a more conservative p-value of oI was used to indicate statistical significance for the current study. Second, there were four difference scores associated with each drawing/colour which were given these names: Father Drawing/Colour Difference(FaDCD) Unconscious Drawing/Colour Difference (UnDCD), Mother Drawing/Colour- Difference(MoDCD), and Future Drawing/Colour Difference(FuDCD). This variable reflects the proportion of an associated drawing/colour in its theoret ically correct quadrant, as compared to the amount of that drawing/colour in the other three quadrants( between-quadrant analysis). Following the Jungian schema, a particular drawing/colour should be most concentrated in its associ- ated quadrant. To find these values, the differences between the associated drawing/colour for a given quadrant and the presence of that same drawing/ olour in the other three quadrants were determined. This likewise produced three differences, which were summed. T-tests were performed to determine if these mean difference scores were statistically different from o. As previously mentioned, a more conservative alpha level of. oI was used to determine stat istical significance Coding and analysis of PPSDO. One of the hypotheses of this study is that ndividuals with introverted, intuitive, and feeling typologies will perform bet ter than other typologies in fitting the Jungian schema. To test this hypothesis, each of the three dimensions was examined. The E/l. S/N. and T/F scores were used to divide participants into two groups: one below the mean(extraverted sensation,and thinking groups), and one above the mean (introverted, intui- tive, and feeling groups) After this analysis was performed, the drawings of the introverted, intuitive, and feeling groups were analysed in the same manner as above(means analysis and t-tests). This was done for both the space domain and the colour associative Coding and analysis of the SAM. Another hypothesis of this study is that the schema would be valid for individuals with high levels of emotional arousal in response to their drawings. To test this, participants were divided into two groups based on the arousal dimension of the SAM: one below the mean(excited), and one above the mean(calm). The drawings of the excited group were then analysed in the same manner as above(means analysis and t-tests). This was done for both the space domain and the colour associative groups
Picture interpretation and Jungian typology 91 either the theoretically correct drawing/colour relative to the other drawings/ colour. A t-test was then performed to determine whether the mean difference scores were statistically different from 0. Although all of the t-tests performed represented ‘planned’ comparisons with theoretically hypothesized results, a more conservative p-value of .01 was used to indicate statistical significance for the current study. Second, there were four difference scores associated with each drawing/colour, which were given these names: FatherDrawing/ColourDifference (FaDCD), UnconsciousDrawing/ColourDifference (UnDCD), MotherDrawing/ColourDifference (MoDCD), and FutureDrawing/ColourDifference (FuDCD). This variable reflects the proportion of an associated drawing/colour in its theoretically correct quadrant, as compared to the amount of that drawing/colour in the other three quadrants (between-quadrant analysis). Following the Jungian schema, a particular drawing/colour should be most concentrated in its associated quadrant. To find these values, the differences between the associated drawing/colour for a given quadrant and the presence of that same drawing/ colour in the other three quadrants were determined. This likewise produced three differences, which were summed. T-tests were performed to determine if these mean difference scores were statistically different from 0. As previously mentioned, a more conservative alpha level of .01 was used to determine statistical significance. Coding and analysis of PPSDQ. One of the hypotheses of this study is that individuals with introverted, intuitive, and feeling typologies will perform better than other typologies in fitting the Jungian schema. To test this hypothesis, each of the three dimensions was examined. The E/I, S/N, and T/F scores were used to divide participants into two groups: one below the mean (extraverted, sensation, and thinking groups), and one above the mean (introverted, intuitive, and feeling groups). After this analysis was performed, the drawings of the introverted, intuitive, and feeling groups were analysed in the same manner as above (means analysis and t-tests). This was done for both the space domain and the colour associative groups. Coding and analysis of the SAM. Another hypothesis of this study is that the schema would be valid for individuals with high levels of emotional arousal in response to their drawings. To test this, participants were divided into two groups based on the arousal dimension of the SAM: one below the mean (excited), and one above the mean (calm). The drawings of the excited group were then analysed in the same manner as above (means analysis and t-tests). This was done for both the space domain and the colour associative groups
Derek P. Bergeron et al. Result Schema validity Statistical analyses for the coded drawing variables are presented in Table I Schema validity Results for the Space Domain Test, and Table 2, Schema Validity Results for the Colour Associative Test. Only two statistically signif cant effects were found. First, the data revealed evidence for the tendency of participants to place drawings of the unconscious in the unconscious quad- rant, according to the space domain test. Second, the data revealed a statistic ally significant effect for participants to not place the mother colour in the mother quadrant, determined by the colour associative test. The other four teen variables analysed revealed no statistically significant effects. Table I. Schema Validity Results for the Space Domain Test mean T-value FaOD 0.386 98I 4.846 。.202 ◎.I6I o.942 0.496 FaDED 2.403 UnDCP 62 2.905 .o04 MODCD I.73 I83 FuDCD 0.327 0.239 Note: *=statistically significant at p< oI P-values represent the likelihood of obtaining a particular statistic.Thus, p-values of less than os (p< os)means that there is a probability of less than os(or less than I out of 2o chances)of obtaining a particular correlation of that size, given that the true correlation in the population is o oo. The usual statistic used is p<os, but we have adjusted our level of significance to a more conservative p< oi (or less than I out of Ioo). This means that all the reported statistically significant results are more likely to be valid. Table 2. Schema validity Results for the Colour Associative Test Mean T-value 8 435 ⊥.IA6 OooI 31 FaDED -o.086 0.931 UnDCD MoD -2.505 FuDCD 103 o.592 Note: *=statistically significant at p
92 Derek P. Bergeron et al. Results Schema validity Statistical analyses for the coded drawing variables are presented in Table 1, Schema Validity Results for the Space Domain Test, and Table 2, Schema Validity Results for the Colour Associative Test. Only two statistically significant effects were found. First, the data revealed evidence for the tendency of participants to place drawings of the unconscious in the unconscious quadrant, according to the space domain test. Second, the data revealed a statistically significant effect for participants to not place the mother colour in the mother quadrant, determined by the colour associative test. The other fourteen variables analysed revealed no statistically significant effects. Table 1. Schema Validity Results for the Space Domain Test N Mean T-value p-value FaQD 104 0.386 0.023 0.981 UnQD 104 4.846 3.051 0.003* MoQD 104 −0.202 −0.161 0.872 FuQD 104 0.942 0.683 0.496 FaDCD 104 2.403 1.654 0.101 UnDCD 104 4.625 2.905 0.004* MoDCD 104 −1.731 −1.183 0.241 FuDCD 104 0.327 0.239 0.811 Note: *=statistically significant at p<.01. P-values represent the likelihood of obtaining a particular statistic. Thus, p-values of less than .05 (p<.05) means that there is a probability of less than .05 (or less than 1 out of 20 chances) of obtaining a particular correlation of that size, given that the true correlation in the population is 0.00. The usual statistic used is p<.05, but we have adjusted our level of significance to a more conservative p<.01 (or less than 1 out of 100). This means that all the reported statistically significant results are more likely to be valid. Table 2. Schema Validity Results for the Colour Associative Test N Mean T-value p-value FaQD 103 0.243 0.185 0.854 UnQD 103 0.991 0.783 0.435 MoQD 103 −4.146 −3.591 0.001* FuQD 103 2.311 1.612 0.111 FaDCD 103 −0.107 −0.086 0.931 UnDCD 103 1.418 1.474 0.144 MoDCD 103 −2.505 −2.644 0.009* FuDCD 103 0.592 0.518 0.605 Note: *=statistically significant at p<.01
