Thematic Apperception Test* MANUAL urpose. The Thematic Apperception ‘Test, familiarly known as the TAT cerpreter some of the dominant P: a method of revealing to the trained i ntiments, complexes and conflicts of a personality its power to expose the underlying inhibited tendencies drives, emotions, Special value resides which the subject, or patient, is not willing to admit, or can not admic because he is unconscious of them. Utility. The TAT will be found useful in any comprehensive study of personality, and in the interpretation of behavior disorders, psychosomatic illnesses, neuro- ses, and psychoses. As now constituted it is not suitable for children under four years of age. The technique is especially recommended as a preface to a series s. Since the TAT nterviews or to a short psychoanal nation of the: eld complementary information, the comt fective. of pictures co of psychotherapeut and the Rorschach y two tests, as Harrison and others have pointed out, is peculiarly Rationale. The procedure is merely that of presenting a s a subject and encouraging him to tell stories about them, invented on the spur ‘of the moment. The fact that storics collected in this way often reveal sig- nificant components of personality is dependent on the prevalence of cwo psychological rendencies: the tendency of people to interpret an ambiguous human situation in conformity with their past experiences and present wants, and the tendency of those who write stories to do likewise: draw on the fund of their experiences and express their sentiments and needs, whether conscious or unconscious. If the pictures are presented as a test of imagination, the subject's interest, together with his need for approval, can be so involved in the task that he ff defending it against the probings forgets his sensitive self and the necessity © of the examiner, and, before he knows it, he has said things about an invented character that apply co himself, chings which he would have been reluctant co confess in response to a direct question. As « rule the subject leaves the test * Copyright 1943 by the President and Fellows of Harvard College. © Copyright 1971 by ‘Henry Alexander Murray. Printed in the United States of America ary unaware that he has presented the paychologiet with naam possible co get along without any pictures by dene’: Alot wis Ply diecennt® ie wi sake up a story.” 1 has been found (1) cha pice sting ye 9 ay the imagination: (2) that they serve 0 force the suljece'® Meeting Mic ways with certain classical human situations: and finaly (0 fh ipamages of using standard stn are ere, asin other tet ccd the adv and we hope almost final. series of pictures, selecyah shh Pra The present is the third revision of the original set distributed WP i matic grounds. Harvard Psychological Clinic in 1936. In estimating the effectiven picture we waited in each case yn lity of the subject taking the test had, with the help of othe ms } personality o . has wi =a een thoroughly studied and understood; and then we rated the piece ; 0 che amount of information contributed to the final diagnoni hy se cording ¢ sory ithed evoked. The average of such ratings was accepted ase measure of the stimulating power of the picture. This is the most dependable methes cy the efficacy of any non-specific diagnostic procedure. In selecting the able experience and sound advice judging present series we also relied on the consid of Drs, Rapaport, Sanford, Shakow, and others: Experience has shown thac in the long run the stories obtained revealing and the validity of the interpretations is increased if most of the are more as the subject. This does not ifferent sets of pictures, since pictures include a person who is of the same si mean that it is necessary to have wo completely some pictures of proved value contain no human figure individual of each sex, and in others the sex of the one figure show questionable, In fact, eleven of our pictures (including the blank card) have been found suitable for both sexes. Our experience has been limited almost entirely fourteen and forty years of age, and the present set of pictures reflects this limitation, most of them conforming to the principle that one figure itr the picture should be, not only of the same sex as the subject but not much older, not old enough, say, to be a contemporary of his (or her) parents. We have been informed by Dr. R. Nevitt Sanford, however, that in testing children this Principle is not of critical importance, and thar most of the present lot of pictures, with a few necessary substitutions, is appropriate for ages seven w fourteen. Other workers have obtained Satisfactory resules with still younger others. portray is y to testing subjects between ond + Fave fy ty a daNe osely more unusual, dramatic and bizarre than chose separated cing pur Of the first. One full hour is devoted to a series, th b by a day oF more ADMINISTRATION, Preparation of the Subject. Most subjects (patients) do not need any prepar ‘of being given some acceptable reason for taking the cest. Bur ly dull-witted, unresponsive, resistant or suspicious, who tion beyond th. na less those who are p% are pecu have never taken sk (a test of intelligence, mechanical aptitude, Rorschach, ete) ng introduced to the TAT. Children usually do beter after several 1 in making up spoken fantasies wich clay or toys. The air of friendliness (imparted by che the aesthetic tone of the office and nd personality of the examiner of the subjects n educational or psychological cest, had better be give imposing before be sessions sp ‘Avmasphere of the Testing Situation. secretary and other members of the staff), jee furnishings, as well as the sex, age, manner all capable of affecting the freedom, vigor and direction ce the examiner's goal is to obrain the greatest amount of st quality possible under the circumstances, and since this ness and the momentary creativity involuntary process chat imagination. material of the highe ment depends entirely on the willir is a delicate, largely ff, frigid, intellectually superior, oF other hat the subject have good reason goodwill atta of the subject, and since creativity not be forced to flourish in a sti | atmosphere, it is important mpathetic and to anticipate receptivity, cnn wise uncongen' to feel the environment as and appreciation from the By adopting encouragement cone will diminish the frequency of the kind of story that is sometimes ev oked by an examiner who is coolly indifferent or aggressively critical toward is subject’s compositions; one will sacrifice the illumination gained from such responses for a greater over-all valuc: the standardization of an attitude that in ducive to the best functioning of the creative the long run will prove most con examiner. and appreciation as the best routine atticade, The subject is seated in a comfortable n the case of a child or and the instructions, 1 rst Session. preferably (except i process. Procedure, Instructions. 1. Fi chair or stretched out on @ couch, ic patient) with his back to the experimenter : R : vo of the evo following forms, arc slowly rex (0 him. Form A (suitable for adolescents and | cation). “This is a test of imagination, one form 0 you some pictures, one at a rime: and your task will be © ‘as you can for cach. ‘Fell what has led up 10 the evens shown in the and sophisti- for adults of average intelligence 0 show f intelligence. 1 am going co make up as dramatic picture, a story describeters ate feelin 1 thoughts as they come tay Hen for ten pleture, mu mind, Pletutes, you can devore att wv whar ie happenin then give the you have fifty anerstandl? wntrres ro each oor Here le che frst plocure,” yee (ouicable for chikiren, for adates of litle education oF ince in a story-telling tent, T have some pictures here hae 1 eg 804 fog pave hories) T Po for each picture I Want yOu (0 make Up a sory. Tell wha hag ME pre ama what is happening, now. Say what the people are feeling and Ms happened peeve will come out, You can make up any kind of story you ple inking an tow and? Well chen, here is che fies picture, You have five minutes ie aig. See how well you can do,” make ops The exact words of these instructi¢ personalicy, and circumstance of che sub peti ic an opportunity for free imagination,” as a evokes the suspicion in the subject that the examine cencenr of his free associations (as in a psychoanalysis) or sae the spontaneity of his thought. He should believe that the examiner is soll jnterested in his literary or creative ability. he first story the subject is commended (if there is any ground for Afcer finishing « ip. and then reminded of the instructions (unless he has obeyed them faithfully), For example, the examiner might say: “Thar was certainly an interesting story, but you forgot to say how the boy behaved when his mother criticized him and you left the narrative hanging in the air, There was no real outcome. You spent three and a half ry. Your others can be a little longer. Now see how well you can may be altered to suit the age, j ay hen it i, truction of this sor someting, to inerpret the miner to say nothing for the rest of the hour except he is much ahead or behind schedule, as ix is es and that he devote about the same amount of ith a little praise from time to time, as there is 4; and (3) if the subject omits some crucial derail, come, to prompt him with some brief remark yn?” On no account should the examiner allow with the subject. has become too long and rambling by asking, the subject thac what is wanted is a plot and ome too minutely involved with a literal ly reminded that this is a test of imagina- which is nor clear, the examiner should reply, ” ‘The subject should not be allowed to tell he is disposed to attempt this he should be story. nd psychotics often need a good deal of cremely dministering the test to ex aeOne criterion by wh function is the length of the sation wh words i Land fifty hier, lacking down the ox newer inv thie. wa method, We is to have a stenogeapher sitting in another ¢ better tel transmitted by means of ed 1 concealed microphone, Or, th be seated nearby behind a thin partion Or earena ea bat phone record of the stories can be made ‘ nt for the second session the su In making the appoints told o led to believe that he will again be asked to ma in mind he is likely to prepare hirn cen, and 90 6 if he hast nts of books he ha read or movies he ha " ial than he could have marshalle k pur of the moment hhould intervene between similar to that id had it the more impersonal 1 6 on the for him to concoct » I, Second Session, Ac | second sessions, The procedure in the latter i former, except in one particular: an instructional emphast freedom of the imagination. one day onl) ame as before excell Farm A. “Vhe procedure today is th: freer rein 10 your imagination, Your first ten stories were yourself pretty much ¢0 the facts of everyday life. Now can do when you disregard the commonplace realities and let Jere is Picture No. 1 its way, as in a myth, fairy story, oF allegory. F Fenn B, “Veda, Vay going co show you some more pictures. It you this time because the pictures | have here are much better, more i told me some fine stories the other hv” want to sce whether you a few more. Make them even more oxi! you did last time if dream or fairy tale, Here is the firse pictus Blank Gard. Card No. Fé iaaccompanied by a specta k card. Imagine some pictur "See what you can see on this blan’ to me in detail.” Ifthe subject does not succeed in doing this, the ex Bae Afier the subject has given a full d Now tell me a story about It id Vik vg than | instruction, T Close prion of his iption of hSubsequent Interviews i incerpreting, the material j¢ jg . ~—_ ‘ex of the various stories, [ the soure pending on circ PFul ny tee made at once oF postponed for afew days The sean the int be Fat quentions by explaining that he is studying che factor whieh 7 pl ‘ bis quterion of literary plots, oF he may make up some oxhar Pate ing! > comity secure a couperative attitude, At all events the subjecc ible sage metimember the sources of his ideas, whether in each case the hat 10 try ‘ derived from his own private experience, from the expe they ; rience of fre, sanaves. or from books or movies. He is then reminded of the ’ friends om Jenifcane story in carn and encouraged (0 speak freely and openty/ yet ach prenide numerous provocative starting points for free associato Monies : hi i. Tiaining ofthe Interpreter. layman with rehined intraceptive intuitions ‘luck can often, without any experience in testin, . pear inferences by feeling his way into the mental cmon sithor of a set of TAT stories; and even an old hand at the game muse ure the same process—empathic intuition first and last, disentangled asf" possible from personal elements. No true scientist will scorn the use of 5 function which when properly disciplined is capable of yielding precise ant pertinent information. Of course intuition alone is highly unreliable; wha i required is a rigorously trained critical intuition, Besides a certain flai n interpreter of the TAT should have a observing, interviewing and testing patients much below the surface, knowledge of in translating the imagery of dreams and psychological components. In addition he in the use of this specific test, much practice to check each conclusion against the known Interpretations in vacuo often do more plausibility of clever interpretations creates onfirm the interpreter in the error of his ‘ portunities for the projection of one’s own the amateur psychoanalyst who is disre- to make a fool of himself if, in interpret- imagination. The future of the TAT hangs interpreter (psychology’s forgotten instru g the material. | g to interpret a set of stories the psycholo- \ facts: the sex and age of the subject, | ages and sexes of his siblings, hiswhich wi mend is that of analyzing ‘ force or fe manating from the hero, and (b) the force or f manatin from the environment An environmental forc alled a press (plural p with whom the subject has identified himself: (1) the char seory-teller was apparently most interested, whose point of view whose feelings and motives have been most intin portray ic usually (2) the one who most resembles the subject on indivi sex, of about the same age, status or role, who shares some « This character, called hero (whether it be male or femal depicted in the pi sentiments and aims. lly (3) the person (or one of the persons) he leading role in the drama (hero in and is most vitally involved in the (4) the person who plays ¢ ), who appears ac the beginnit ¢ hero (readily distinguish: with certain ourcome Although most stories have but oni criteria), the interpreter should be prepared co deal 1) the ide ion of subject with character sometimes sh! (first, second, third, surse of the story: etc.). (2) Two forces of the subj different characters, for example. science by a law-enforcing agent. I Gantemnal dramatic situation) with wvo component heroes tell a story that contains a story, such as one 1% which the hears about events in which another character pathy) is leadingly involved. Here we would speal hero. Then (4), the subject may identify with a character of the oP! and express a part of his persona ty just as well in this fashion (In a man this is commonly a sign of a high feminine component and in a woman of abi masculine component.) Finally, there may be no discernible single heros either (5) heroship is divided among a number ol equally significant equally differ entiated partial heroes (e.g. 9 BrOUP of people); or (6) the chief character (hero in the literary sense) obviously belongs to the object side of the subject-object situation; he is noc a component ot the story-teller’s personality but an element in other words, has not identified with the of his environment. The subject. ati there is a sequence of hero ect’s personality may be represente by a criminal and cor th complication d by cwo during the co n antisocial drive re we would speak of an endopsychic thema (3) ‘The subject may hero observes of (for whom he feels some sym ary k of a primary and a seconde posite Sex ighIieest extent, but has observed him as The subject hint « Ct himsele in acter to the Mwith whom he had co deal principal cre person with Soo oes by the interpreter should include dt”) criminal nelude the fallow, tt mental abnor ’ mee Pcrerization of the h lity). inferiority Characteriza mority (power nae oe eadership. and quarrelsomeness (the depen ot ality ‘eed in interpersonal conflicts). BPE 10 wht Jing: of the heres. The interpreters nex tan that each of the ewenty oF more heroes fet «8 Feels, he bern, ed and observe in great detail © verythi aan does. noting evidences of type of personality or of mental illness mon bur as everything th: sae yeh on low in intensity or frequency. (To be able to discriminave yet the interpreter must have had a good deal of experience with in . since no satisfactory , is unusual: uncommon ot unique: ot com anusually js unusual rest, must have studied at ‘ndards or tables of frequency In describing or formulating the reactions of the heroes the interpreter is free 50 or more sets of sto re as yet available.) sta He may analyze the behavior in I scheme which gives every psyche. to use any set of variables he choose accordance with a comprehensive concept logically significant variable its due place or he may confine himself to the observation of a few traits. It all depends on what he wants to know about hic dences of extraversion-introversion, of subjec A masculinity-femininity, of ascendance-submission; or he may be looking for guilt or inferiority: or he may want to trace certain deep-rooted , he may wish to include all of these and He may be interested in signs of anxiety sentiments to their source; or, agai more in his plan of study. : Our practice is to use a comprehensive list of 28 needs (or drives) classified according t0 the direction or immediate personal goal (motive) of the activity. ‘A need may express itself subjectively as an impulse, a wish or an intention or objectively as a trend of overt behavior. Needs may be fused so that one action satisfies owo or more at once; or one need may function merely as an instru- mental force, subsidiary to the satisfaction of another dominating need, Besides the needs, our list of variables belonging to the hero includes a few inner states and emotions, ‘The strength of each variety of nced and of each variety of emotion mani- fested by the hero is rated on a 1 (one) to 5 (five) scale, 5 being the highes possible mark for any variable on a single story. The criteria of strength are intensity, duration, frequency and importance in the plot. The slightest sugg of a variable (e.g, a fl irritability) is given a mark of 1, whereas an intense form (e.g, violent nger) oF the continued or repeated occurrence of a milder form is scored 5. Marks of 2, 3, and 4 are given for