Comprehensive Guide to Thematic Apperception Test (TAT) in Personality Assessment

Okay guys, we are talking about another projective test. We call the theatic a perception test,

theatic perception test. Quickly remember to subscribe, please like and share and comment to in our comment box.

So thermatica perception test is an instrument a projective instrument uh introduced by Harry Murray and

Christrista Morgan in of Harvard University. Yes. 1935. Yes. That is that is uh um the owners or the people that

propounded it. Yes. So is is in fact this instrument is is widely used than any other projective test. Yes. Research

has proven that according to wood 2003. Yes. Yeah. They've shown that the theatic perception test is widely used

more than even the raw chart and everything. Right. It's and is widely accepted in the science scientific

community. Yes. Unlike the the ratches, you remember we talked about the assumption

of Roach, right? The the Roart is more theoretical but this theory is based on um Henry Mur's um um

um need need theory. Yes. His theory of need. Yes. And you see that it has been used this theatic perception be used so

much in getting um about personality researching personality um even needs to needs. Even David

McLaren uh is 1960 theory of need that talked about

achievement need power need social need. You understand that um with this instrument he was able to do those

things and we can use it to get a lot of things about your personality characteristics.

Yes. According to Abraham 1999 we is the in fact the use of theatical perception is as in nonclinical population is as

good as is using clinical population although it was majorly for nonclinical population but it is as good as also in

as that in clinical population. Yeah, that is research, right? Abraham99, not me talking, right? So, so like I said,

Mland 1999 has also done a lot with his achievement needs and you understand that when we talk about achievement,

it's talking about parental perception, what your parents want you to be, what do you want to be and even you, the

goals you've set for yourself and every other thing, all of those things. Yes. So, the the We have 30 cards here.

31 cards, please. Yes. 31 or let's say 30 pictures, but one is

blank, making it 31 stimulus or 31 cards, but 30 is with um pictures and one is just blank. And this instrument,

unlike the rushers, has some specific ones. Sometimes for male, some for female, some for

older adults, some for children and some cards also general. Yes. Some are really appropriate for young ones and some

[clears throat] are appropriate for older ones. Yes. But few cards are uh appropriate for general um person

categories. Example is card one. So the card one is a good description we are going to have and we must be able to

understand like the wellgroomed child very neat and everything he was sitting on the table throwing his face one side

and there is a violin on the table where he's sitting and that is card one right and on the theme the the topic on the

card we going to talk about that letter we what is written mur said contemp contemplating the guitar.

Contemplating the guitar. So when a a a client is given that right, he's expected to make sense. We get we'll get

to that, right? Then card four is almost a general card where there is a a man throwing his face the other side and a

woman is dragging him to herself. Right? So you see these things when is given to individuals.

We we understand how it is done when we are in there. So you understand that just like um

um the raw charge the stimulus the clinician would want to give the cars also one after the other. For example,

the clinician may decide to say okay I'm giving you I'm going to give you show you or give you one of these pictures

or these pictures. I want you to tell me what a story about these pictures, right? Tell me what led up the story,

right? What is happening in that picture? What the character what the characters are thinking or feeling? All

of those things and what do you think that will be the outcome, right? Most times um clinicians want to administer

20 cars and 20 cars in two phases 1 hour each that is 10 10 in each each half 1 hour 10 1 hour 10 right but more often

times uh research has shown that only 12 at the end is administered only 12 yes remember also I didn't point out in

Rochard that the client is expected to or allowed to turn it upside down. Turn the raw chart can turn it upside down to

make sense. But so I just remember that for in theatic is a simple picture right a very clear picture unlike the

ambiguous images produced in Roach. These one are clear and very understandable pictures. Yes. So

so you see there are things that you will note in theatica perception cards. one there is a what we call hero

the needs the press and the themes and the outcomes the hero the needs the press the themes

and the outcomes so like card one I said contemplating the guitar that is the the theme on on the card right the that is

the theme on the card then what is the hero the hero, you know, in a in a in the card. You may however see more than

one image of a person, right? Or a thing or object. But anyone that the client mostly identify with, any of them the

client mostly identify with is known as the hero. For example, the first card the person the client may say okay the

boy is tired and they want him to practice his guitar or that the boy is the hero there. Another person may say I

think the parents are disturbing him too much. I think the parents are tired or are frustrating the child. They want him

to learn all of those things but the boy doesn't want to learn a violin. You see the you see the person's The hero there

might be the parents, right? The one if more than one character is seems to be more important, right? If more than one

the among those important one, there must be one that is more important or that that must look like the features or

the the activities or the behavior of the client then you should be selected as a hero. Right. Yes. Then the motives

You know, we're talking about the dress. Yes. Or the needs, right? So, we talking about the needs of

the hero that is that that person you're talking about. Oh, this this child doesn't like guitar. He want to go and

play ball. You see you you going you are now highlighting the needs, right?

So they consider the intensity the duration the the the the need the intensity of the need the

duration of the need right um the the the frequency of of those needs. Yes. And that will manifest or relate to the

importance of those needs. Yes. Then um what again what again do we need to about this uh I've talked about the

theme. The outcome is the end of the story the person provides. Then again the press

the press according to this sematical perception is the those environmental factors. Okay. Now for example he want

to go and play ball and they wanting to practice violin. Oh the parents are [clears throat] this the parents are

that and this and that. These are the press that are affecting the need of the hero in that picture or in the story. So

we also check the intensity, the frequency, the duration of that press also.

Do you understand? So very important and as a matter of fact um you may you may you may be expecting this also as a

student of University of Nigeria. So right final year student you may be expecting what we are about to talk

about now. Lindsy 1957 Lindsay 1957 provided the assumptions several assumptions for tat

interpretation t them theatic perception test limbs 1952 please. So there is first the primary assumption

in completing the in completing the unstructured situation right the the client reflects their own

characteristics and when we say talking about their thrivings their needs right um their

dispositions their conflicts right this is the first and the primary assumption

In completing an incomplete or unstructured situation, individuals or clients reveal their characteristics,

thrivings that they driving, their their dispositions, their personality, their needs. It is that is the first

assumption of this theatic assession test as provided by limbs in 1952. So you may see in exam state the li's

assumption this is 1952 assumption of the t you should be ready. So number the primary we have talked about it other

assumptions includes yeah that the storyteller often identify with one hero that is with the

characteristics of that person right and when we're talking about this imaginary hero is talking about the the feelings

the thrivings the frustrations the needs of that hero that is the first one then the tellers characteristics may be

represented um symbolically. Yeah, I'm trying to either Yeah, either directly or

symbolically. Yes, that is the next assumption that the storyteller's um representation could be

uh represented directly or symbolically. Those characteristics they may not be direct with it. They can represent it

symbolically. Then all stories are not of equal importance. All stories are not of equal importance.

That's number number three. Yes. So number four, the stimulus that are less likely um

that less represent the the the the hero, right? Uh

let's say they are less likely to be represented to to the ones related to the stimulus material. The ones that are

less likely to the main character are less likely to represent or reflect the characteristics of the

of the client. Right? I hope I'm making sense with

this. I'm trying to remember them. Now there are the ones we call the recurrent themes.

Anyone that you check the intensity the frequency and they are recurring recurrent among the stimulus they are

more likely to reflect. Yes to reflect or mirror the characterist of a storyteller. Those ones you see that

frequent or recurring in most stimulus that is assumption five right very important.

Yes. So so the stories the moment really reflect those characteristics.

Yes. And they could be aroused by uh temporal environmental factors.

Yes. They could be aroused by temporal environmental factors. Then again the assumption says that these

things may reflect some past defense like defense or hidden things about the storyteller

or uh and most times this assumption said that this past about the storyteller may not be when I say s I

mean the client it may not be uh uh personal exper experience but

things he experienced from others around around him or her. Yes. So

but but if the client is manifesting those or reflecting them in the story, it is telling you that they have impact

in the person's characteristics. Person that has gone through rape or have seen somebody going through that or

armed robbery, right? and they talking about it, it means that it has impact on them. That is that seventh assumption.

Yes. And sometimes eight number eight assumptions say that these stories may still show uh um their relationship

about group membership or other social cultural factors concerning the storyteller. Yes. Then

those dispositions and conflict. Number nine, those disposition and conflicts. Those they they could be uh what should

I use? They could be from unconscious. They should be they may be unconscious

and they may not be reflected overtly or you like meaning that you may not see the person acting those things out but

this could be a subconscious manifestation. Right? So I have tried drop this and

these are limbs 1952 assumption of theatical perception and this is where we'll draw the cutting

concerning today's um video. Thank you and see you in the next video.