Method Non-existent animal
To study the personality of a senior schoolchild, you can use the projective test "The non-existent animal". For work, you will need a sheet of paper, a simple soft pencil and an elastic band. A sheet of paper is better to take white. Pencil medium softness, pen or felt-tip pen can not draw. You can offer the subject to arrange a sheet of paper as he likes - vertically or horizontally. It's best not to mention this at all, but just to observe the test.
Instructions for subjects: "Design and draw a non-existent animal and name it a nonexistent name."
INDICATORS AND INTERPRETATION
Position of the drawing on the sheet. Normally, the drawing is located along the center line of the standard vertical sheet. The position of the drawing is closer to the upper edge of the sheet (the closer, the more pronounced) is interpreted as high self-esteem and dissatisfaction with one's own position in society, lack of recognition on the part of others, as a claim to advancement, recognition, a tendency to self-assertion. The position of the figure at the bottom of the page shows the opposite indicators: self-doubt, low self-esteem, depression, indecisiveness, disinterest in one's social position, recognition, lack of a tendency to self-assertion.
The central semantic part of the figure (the head or the parts that replace it). The head is turned to the right - a stable tendency to activity: almost everything that is thought or planned, is carried out or, at least, begins to be realized, even if it is not brought to the end (the person actively passes to the realization of his plans, inclinations). The head is turned to the left - the tendency to reflection, reflection. The subject is not a man of action, only a small part of the plans is realized or begins to be realized. There are often indecisiveness, fear, fear of an active action (which is exactly what needs to be found out additionally).
Position in full face, i.e. The head, directed at the drawing, is treated as egocentrism. On the head are the details corresponding to the senses - ears, mouth, eyes.
Special importance is attached to the eyes - it is a symbol of the inherent fear of man, which is especially emphasized by the sharp drawing of the iris. It is necessary to pay attention to the presence or absence of eyelashes, because eyelashes are an indicator of hysterical - demonstrative manners, as well as an interest in admiring the surrounding external beauty and manner of dressing, giving it much importance. However, for men, feminine traits of character with the iris or the pupil are rarely matched.
The meaning of the detail ears direct: interest in information, the importance of the opinions of others for the subject. Additionally, in other details, their combination is determined whether the subject undertakes anything to gain a positive evaluation of others or only produces appropriate emotional reactions (joy, pride, resentment, grief) for their evaluation, without changing their behavior. So, the slightly open mouth in combination with the tongue is treated as gab, in combination with the drawing of the lips - like sensuality, and sometimes both. Open mouth without drawing lips and tongue, especially drawn, is treated as ease of occurrence of fears and fears, mistrust. Mouth with teeth - verbal aggression, in most cases protective: snapping, defending, rude in response to condemnation or censure. For children and adolescents, the mouth of round shape means fear and anxiety. Increased in relation to the figure as a whole, the size of the head suggests that the subject appreciates the rational principle, and possibly erudition in himself and others.
Additional details are often located on the head:
• horns - protection, aggression. In combination with other signs (claws, bristles, needles) it is necessary to determine the nature of aggression - spontaneous or protective - response;
• feathers - a tendency to self-dyeing or to self-justification and demonstrativeness;
• mane, hair, a semblance of a hairstyle - sensuality, underlining his gender, sometimes focusing on his sexual role.
The supporting or supporting part of the figure (legs, feet, pedestal). We consider the solidity of this part in relation to the whole figure in size and shape. Solidity is evidence of deliberate, rational decision-making, reliance on substantial and meaningful information, substantive provisions. Otherwise, there is a superficiality and unfounded judgments, frivolous conclusions, sometimes impulsive decision-making, especially in the absence or almost no legs. Here you should pay attention to the nature of the connection of the legs to the body: they are connected precisely, carefully or carelessly, weakly or not connected at all. All this characterizes the control over reasonings, conclusions, decisions. The uniformity and one-pointedness, as well as the repeatability of the shape of the legs, testify to the conformity of judgments and attitudes, banality in decision-making. Diversity in the position of the specified details speaks about the uniqueness of attitudes and judgments, independence, and unbanality; unusual form - about the creative beginning (in norm) or dissent (closer to the pathology).
Parts above the level of the figure. The elements above the figure can be functional (wings, extra legs, tentacles, shell parts, feathers) or decorating (bow, something like curls, curls, flowers, etc.). The presence of functional details means energy, coverage of different areas of human reality, self-confidence, self-conceit, indelicate, illegible relations with others or curiosity, complicity in as many events as possible, gaining "places under the sun", enthusiasm for their activities, courageous activities . Decorating details - demonstrativeness, the desire to attract attention, mannerisms.
The tail expresses the attitude to own actions, actions, decisions, reflections, verbal products. By whether the tail is turned to the right (positive ratio) or to the left (negative ratio), judge about the coloration of this relationship. An additional indicator in the assessment is the direction of the tail: upward - confidence, positive evaluation, vivacity; Downward - dissatisfaction with oneself, depression, regret, remorse, etc. Particular attention should be paid to the tails, consisting of several, sometimes repeating links, especially the tails are magnificent, long, branched. Their orientation also matters: to the right - discontent about their actions or behavior, to the left - about their thoughts, decisions, missed moments, their own indecision.
Outline shape. It is important that there are or are no protrusions (thorns, carapaces, needles, drawing or darkening of the contour lines) that perform the function of protecting from others. Aggressive protection takes place if the pattern is made with sharp angles; fear or anxiety, if there is a darkening of the contour line; fear and suspicion, if set, "shields". The direction of the protrusions upwards is protection from people who actually have the opportunity to impose a ban, a restriction, to enforce coercion, i. against older ones, parents, teachers, bosses, leaders. The direction of the protrusions down is protection from ridicule, non-recognition, lack of authority among subordinate subordinates, fear of condemnation. Lateral protrusions - undifferentiated cautiousness, readiness for protection and self-defense of any order and in different situations. The same can be said about the elements of protection that are not located along the contour or inside the contour, but on the body of the animal: on the right - for the most part protection in the process of real activity, on the left - protection of opinions, beliefs, tastes.
The total energy of the drawing. The energy is estimated by the number of details shown. It is noted whether only the necessary elements are drawn to give an idea of the animal (body, head, limbs, etc.), whether the contours are filled, whether there are hatching and additional lines or generously depicted not only necessary but also complicating the construction of additional details. The higher the energy, the more details, and vice versa, the lack of such - energy savings, asthenic, organic. In this case, we can assume a chronic somatic disease. The same is confirmed by the nature of the lines: when asthenia, the line is weak, cobweblike. However, the opposite nature of the lines (fatty with pressure) is not polar - this is evidence of anxiety, not energy. Especially it is necessary to pay attention to the pressed lines, visible even from the back side of the sheet (convulsive, high tone of the muscles of the drawing hand - sharp anxiety). It is important to note which part, what symbol is made in this way, what anxiety is attached to.
Theme of the picture. Thematically animals are divided into threatening, threatened and neutral. All this testifies to the attitude of the subject to his "I", the idea of his position in the world, of identifying oneself in meaning with animals. In this case, the animal is represented by the representative of the drawing.
An animal is in the position of a straight leg (two paws instead of four or more), dressing an animal in human clothes, muzzle-like face, legs and paws - on hands testify to infantilism, emotional immaturity. The mechanism of likening is similar to the allegorical significance of animals and their characters in fairy tales, parables. The figure of the circle, especially of nothing, symbolizes the tendency to concealment, isolation of one's inner world, reluctance to give information about oneself to others, and finally, unwillingness to be tested. Emphasis on sexual characteristics (udder, nipples, chest in the human figure) means attitude to the sex and indicates a fixation on sex problems.
It is rare and very unusual to draw attention to the inclusion of mechanical parts in the living part of the animal. For example, putting on a pedestal (tank tracks, tripod), attaching a propeller (screw, wires) to the head, fitting light bulbs into the eyes, body or limbs - wires (handles, keys, antennas), etc. All this is observed mainly in patients schizophrenia and rarely - in deep schizoids.
Creative opportunities. About the creative beginning can usually be judged by the number of elements combined in the figure. Banality, the absence of a creative beginning is characterized by the image of a real, existing animal.
Title. In the names of the depicted animal, the meaningful parts ("Flying hare", "Begecot") can be rationally combined, and word-formations with a book-scientific, sometimes Latin suffix or ending ("Rebolletius", "Vopliolyaris") can be used. The first variant testifies to rationality, the second - about demonstrativeness (reason, erudition). There are names superficially - sound, without any comprehension ("Grjakter", "Leleny"), reflecting levity. There are also ironic - humorous names ("Ripochka", "Davashpor", "Bubbles"), characterizing the corresponding attitude to the surrounding. Infantile names usually have repetitive elements ( Truthra ). The propensity to fantasy (most often defensive order) is expressed by an unreasonably long name.
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