No description available.

No description available.

No description available.

No description available.

No description available.

The purpose of this study was to investigate the effects of client gender and counselor gender on the counselor's perception of the psychological attributes of the client. The hypotheses were stated in the null form.Fifty-six subjects volunteered to participate in the study. Subjects were first stratified into groups of equal size according to gender. Utilizing a table of random numbers, one-half of the female subjects was assigned to the female client treatment group, and the other half of the female subjects was assigned to the male client treatment group. The same procedure was utilized in assigning the male subjects to the two treatment groups. These procedures resulted in four groups, each containing fourteen persons. The subjects were all students in master's level classes in counseling, enrolled in Ball Stated University's European Program.The clients in the study were portrayed by two individuals, one male and one female, who presented the same text dealing with personal and professional issues. This role-play, recorded in color on video-film, was presented to the subjects as a client discussing personal issues. Each subject viewed either the male or the female client on video-film.The counselor's perception of the client's psychological attributes was measured by comparing the number of favorable versus the number of unfavorable adjectives of the Adjective Check List (ACL), which, for purposes of this study, was utilized as an observer report. All subjects were tested during the Summer Quarter of 1982, utilizing a Posttest-Only Control Group Design.Hypothesis I was tested by means of a Two-way Analysis of Variance. The results of the first hypothesis were not significant at the .05 level, and the null hypothesis was not rejected. Hypothesis II was also tested through a Two-way Analysis of Variance, and the results were significant at the .05 level. Therefore, the null hypothesis for the second hypothesis was rejected. Hypothesis III was tested through a One-way Analysis of Variance, and the results were also significant at the .05 level. Consequently, the null hypothesis was rejected.

There is no abstract available for this dissertation.

The purpose of this investigation was to explore the relationship between various indices of marital role conflict and measures of marital adjustment.

The aim of my thesis was to find out how the current family of preschool children works, with emphasis on the father's role in the family. In the theoretical part I have focused on the problems of current families, gender issues, respectively gender stereotypes, the importance of a father in a child's socialization process, the influence of the father on the child's upbringing. In the theoretical part, I have also followed up the issues of the kindergarten cooperation with family, with emphasis on the role of the father in it. The empirical part of the dissertation has two levels. The first one is the status of the father in the current family, the second level relates to how kindergarten teachers perceive fathers and their involvement in co-operation with kindergarten.

Jane Austen was the first English novelist to see the witty woman as a central figure in comedy. In this she draws from a tradition that had been inaugurated in English drama by Shakespeare. The figure had assumed a related though somewhat different manifestation in the vastly different theatrical conditions that produced Restoration Drama. . This tradition is resumed and introduced into the novel by Jane Austen, who corrects in doing so, some of the changed attitudes to wit in women engendered by the amiable and sentimental traditions of the eighteenth century, both in the novel and in drama. Having established some issues in the tradition of the witty woman in Jane Austen, I then discuss those issues with reference to two other novelists in the nineteenth century to examine the transmutation of this tradition through a century of change. Thackeray's Becky Sharp and Meredith's Clara Middleton and Diana Warwick are also crucial, as witty women, to the comic content of the hovels in which they appear. The tradition revolves around a female figure of liveliness, vivacity and charm. She is outspoken and critical, and concerned to proclaim her independence. She is shrewd in her assessment of men, and a critic of convention rather than victim to it. She possesses thus the capacity to be the focal point of a comic social order that functions as critic, if not corrective, by representing an alternative order to the outside world; She is engaged in a dialectic of wit most often with her male counterparts, and by this means sexual differentiation within the comedy becomes less significant than intellectual differentiation. The attitude of her creator towards a woman who is witty in the above sense, is well illustrated by her role in the action of the comedies. For where her wit is presented as a moral virtue, it is an avenue to her complete maturity, instead of an obstacle to it. Of the latter case, v/e have two examples in this thesis - Jane Austen's Mary Crawford and Thackeray's Becky Sharp. Becky, in her aspect as social climber becomes both a comment on her society and an example of the flexibility inherent in the figure of the witty woman in the 1840s. As a late century exploration of. the figure in comedy we have examples in George Meredith. Clara Middleton in The Egoist exemplifies the connection between the comic Muse and the witty woman. Diana in Diana of the Crossways is both an interesting portrayal of the type in comedy of manners, and symptomatic, in her aspects as 'New Woman', of the tensions in comedy of the 1880s.