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This study investigated the utility of the MMPI-A short form described by Archer, Tirrell, and Elkins (2001) for detecting the presence of emotionality in adolescents in the school setting. Students were placed in one of three groups based on their performance on an established and frequently used self-report measure of personality, the Behavior Assessment System for Children-II (BASC- 2). Subjects who had significant elevations on one or more of the scales in Internalizing Index on the BASC-2 were placed in the Clinical group and subjects who had significant elevations on one or more of the scales the School Problems Index or Personal Adjustment Index were placed in the Adjustment group. Those without significant elevations on the BASC-2 were placed in the Nonclinical group. Differences between the three groups on each of the MMPI-A short form clinical scales were reported. The results indicated that the students in the Clinical group scored higher than students in the Non-clinical group on each of the MMPI-A short form scales. Adjustment group scores tended to be higher than Non-clinical group scores but not all scales were significantly higher. Discriminant analysis correctly classified 75% of the non-clinical group, 52% of the Clinical group, but only 37% of the Adjustment group. These findings, combined with additional analysis of clinical relevant data, provided positive indicators supporting the use of the short form in clinical settings.

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The constructionist theory has emerged as a leading perspective in the field of reading inferences and makes the assumption that readers cannot generate inferences when text is inconsiderate or lacking coherence. The generalization inference has been documented as allowing the reader to condense multiple, consecutive propositions into a singular macroproposition. Research has shown that the genre of a text can affect the perception and the set of processes used by the reader to comprehend text. In the present study, participants read ten short narratives, eight of which contained generalization inference lexical decision tasks with genre and coherence of text manipulated. Participants were shown to be no more likely to draw the generalization inference from incoherent text when primed by genre, but were shown to be capable of drawing the generalization inference from incoherent text. These results do not support the constructionist hypothesis and suggest that further research is needed. / Department of Psychological Science

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I dagens informationsflöden, får nationella gränser allt mindre betydelse. Den globala människan får information från hela världen genom att exempelvis öppna morgontidningen, slå på Tv:n eller gå in på nätet. Utrikeskorrespondenter spelar en viktig roll i människors informationsintag. De kan ses som nyckelspelare i dagens globala nyfikenhet och som ett fönster ut mot världen.   I denna uppsats undersöks hur Sveriges televisions utrikesmagasin Korrespondenterna berättar om världen. Public service medier inklusive programmet Korrespondenterna står för så kallad god journalistik. Deras inflytande kan därför antas vara stort och bidragande till hur vi som tittare uppfattar världen. Genom en narrativ analys av tre programavsnitt och Korrespondenternas introvinjett synliggörs både formalistiska, dramaturgiska och sociala mönster i  Korrespondenternas berättande.   Uppsatsens analys visar på att Korrespondenterna använder sig av olika nivåer av berättande.  Korrespondenterna vill gärna passa in berättelsen inom programmets fasta ram, där orientalism går att se som en del av berättelsen. När intervjupersoner berättar om en relativt ”vanlig” tillvaro, berättar Korrespondenternas programledare om en mer dramatisk och främmande.  Korrespondenterna kan dels ses som kosmopoliter, med en vilja att se världen som en gemensam plats. Men främst som orientalister som berättar om världen med hjälp av bland annat exotisk musik och dramatiska vinklar. Korrespondenterna korsar visserligen landsgränser, men kulturella och sociala gränser behålls. Det faktum att utrikeskorrespondenter berättar om världen ”där ute” för oss ”här hemma” gör att det finns en tydlig skillnad mellan dem man berättar om och dem man berättar för.

My thesis explores the role played by form in our experience of objects of consciousness as art. In doing so, I look at the concept of form as it was understood by prominent philosophers such as Plato and Aristotle, as well as form in Immanuel Kant’s aesthetics in The Critique of the Power of Judgment. My method is phenomenological and rooted in my experience of making and writing about art, as a student of studio art and of philosophy. To connect philosophical understandings of form to the experience of art in a way reflective of my experience, I show the connection between and influence on art critical understandings of form by philosophical understandings of form. In particular, I focus on Modernist formalism as Clive Bell, Roger Fry and Clement Greenberg articulated it. Modernist formalism played a role in the teaching style and content of art studio classes I attended. The role of form in our experience of art was problematized by Conceptual Art, which movement also deeply impacted the teaching style and content of my studio art classes. The tension I experienced between these two movements in art and its criticism led to my interest in this topic and informed my choice to limit the scope of my investigation to Modernist formalism and Conceptual Art. In particular, I focus on philosophically trained Conceptual Artists such as Adrian Piper and Joseph Kosuth. Changes in the way art was made and understood impacted the understanding of the concept of form not only for art critics, but also for philosophers. I include contemporary philosophical discussions of form by Bernard Freydberg and Rudolphe Gasché to show the movement and interrelatedness between art and philosophy about the concept of form. The conclusion I reach is that form in our experience of art is constructive of that experience if our consciousness of art objects is conceived of as an engaged, rather than disinterested. My rejection of disinterest in favour of engagement is adapted from Arnold Berleant’s account of the aesthetic experience. I retain a place for the object as it is given, using H.J. Gadamer’s terms “changing” and “unchanging aspects.” The object’s properties are its unchanging aspects while the shifting contextual ground on which art as an experience is built is the changing aspect. I conclude that form is a way of seeing that requires both of these aspects.

Pattern vision in the rat bas been most effectively studied by a jumping method devised by Lashley (1930). This procedure requires the rat to jump at one of two cards bearing the patterns to be discriminated. On the basis of Laehley’s extensive anatomical and behavioural studies it has been assumed that the cards fall within the rat’s binocular field of vision and, consequently, that they are seen as a whole at the time when the visual patterns begin to influence behaviour during discrimination learning. Ehrenfreund (1948), however, thought that the rat’s effective field, in the Lashley jumping apparatus, might be limited to the lower margin of the cards, and has demonstrated this experimentally in certain conditions of training. Since Ehrenfreund’s data have been interpreted as bearing on the current continuity-noncontinuity controversy concerning the nature of learning, his experiment is of general importance. Ehrenfreund trained his rats on a modified Lashley jumping apparatus to discriminate between an upright and an inverted triangle in two differing experimental situations. In one condition, the triangles were raised eight centimetres above the bottom margin of the cards. The platform from which the rats jumped, as in the usual procedure, remained level with the platform on which they found food. In the second, the platform was also raised, so that the rats were jumping at the centre of the cards where the triangles were now located. [...]