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64 Cards in this Set
- Front
- Back
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case studies
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ideographic approach (looks for the uniqueness of each individual case)
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case study: significance
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based on soundness of the analysis, opportunity to discover (induction), can provide counter-evidence
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case study: rules
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be truthful and accurate, clear in objective, professional and respectful, recognize context, evaluate in terms of original objective, write using ordinary language.
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Psychobiography: definition
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systematic use of psychological theory to illuminate or "explain" a life
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psychobiography: approach
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focus is individual life (counterplayers recognized), idiographic, not wed to single psychological theory (but dominated by psychodynamic approaches)
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psychobiography: criticisms
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too theory dependent (esp. psychoanalytic), too pathological, too methodologically loose, too simple-minded.
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Freud's proscriptions
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avoid arguments built on single clue, aviod pathographizing or idealizing the subject, aviod drawing conclusions from inadequate data.
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Da Vinci's psychobiography
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written by Freud, violated his proscriptions. determined that Da Vinci was a homo- projection and identification for Freud.
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Salience markers
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emphasis, omission (esp. affect), error/distortion, isolation (what doesn't fit), incompletion
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counterplayer
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Erikson's term to describe how one individual's life intersects with another in important ways (eg Bush and Saddam)
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Psychobiography: ethical questions
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death, affect surviving family, consent from both, public figures, cross cultures.
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Why tell stories? Interpretive
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for the self: to see purpose in human experience, to show we have effects, to put behavior in a moral context, to affirm self-worth
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Why tell stories? Interpersonal
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Relating to others: to obtain rewards (sympath, respect), to validate identity & moral worth, to inform others (socialize, warn of danger), to attract other (as portrayed, or as a good storyteller)
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historical truth: Paradigmatic mode
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what "really" happened, that "facts"
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narrative truth: Narrative mode
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how we subjectively make sense of our experiences
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False stories: appearance
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fewer 1st person pronouns, more concrete descriptions, less evaluation, less complexity
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The person as a story
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out of our own experiences, we develop stories that we tell ourselves and others; how others (and we) respond further shapes our experiences and the way we view ourselves, continuously tell and revise stories/life story
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hermeneutics
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the study and interpretation of texts, extended to the study and interpretation of life stories
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what makes a story good (narrative mode)
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internally coherent, continuous plot line, embody closure and aesthetically pleasing, probably our natural mode, generative
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Paradigmatic mode
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logical and rational, scientific and objective, unchanged meaning. Love story? behavior potencial=expectancy + reinforcement value
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annals
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listing of events in chronological order
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chronicle
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telling of events in chronological order
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story grammar
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rules that structure a well-made story with central subjects, proper beginnings, middles, and ends, and a coherence that permits us to see "the end" in the beginning.
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stories have
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a setting, human like characters (agentive), intentions, thoughts, feelings, initiating event, consequnce(s), reaction. Emphasis on problem solving
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High-point analysis: definition
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events that lead up to high/suspension points are then resolved. Emphasis on reference (what happened) and evaluation (how the narrator feels about what happened)
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high-point analysis
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orientation, complicating action, a high point, resolution and coda.
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Stories and health: Pennebaker
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After writing about traumatic event, health improved. Disclosure led to decreased stress which led to improved health.
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Adler: early memories
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reflect style of life: life goals and ways of meeting them. Memories are reconstructions, may not even be "real."
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storied life: motives
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strive for superiority- great upward drive; social interest: innate sense of connection
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fictional finalism
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the self-centered endpoint
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Tomkins: basic emotions
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hard wired, feel different and associated with unique facial expressions
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Tomkins: affect
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It motivates because of the positive affect associated with certain activities; emotions are usually about something
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Tomkins: scene
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1 affect and 1 object
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Tomkins: scripts
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Connects scenes, helps you interpret and respond, more self-validating than fulfilling, organize and give meaning to your life.
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tranisent scenes
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of no lasting consequence, unscripted, represent much of our life
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habitual scenes
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routines, habits, have many scripts (nuclear, committment and addictive)
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How do you connect scenes to form scripts?
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Psychological magnification, affect is driving force: positive- richness in variation; negative affect- close similarities, restrict feeling (habituate)
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nuclear script
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rules that lead to ambivalence, confusion about life goals (tragedy)
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nuclear script: in childhood
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specific scene in which good things (anticipation) turns bad. negative affect connects it to other scenes
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committment script: definition
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clear, long-term goal to make the world better, to better yourself.
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committment script: formation
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origins in childhood: bad things turned good, or promise to
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sedative script
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based on scene with negative affect, affect separated from cause, sedative behavior (drinking, smoking, eating) reduces the affect. Not addicted
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preaddictive script
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starts with a sedative script. No longer simply respond, but anticipate the negative affect and respond. Not addicted.
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addiction script: pre-conditions
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experience more negative than positive affects, have a sedative script and a preaddictive script.
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addiction script: definition
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Sedative becomes an end in itself, vigilant about its absence, fear absence more than negative affect. Addiction governs behavior
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positive affect savoring scripts
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Experience more positive than negative affect (occational cig after coffee or big meal), you can take or leave the behavior.
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Tomkins: bottom line
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each person carries many scripts, scripts are interconnected and unique to each individual, affect underlies scripts and early on, magnification of scenes determines scripts.
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McAdams' Life Story Model
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Identity=life story; origins or raw material from childhood; story making beings in adolescence (fables); (re)constructed in earnest in early adulthood and continues throughout life.
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McAdams' Life Story Model: exercise
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divide life into imp. chapters, relevant ages, key events and characterss, overall sense of affect.
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McAdams' Life Story Model: need to identify
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tone, imagery, themes, nuclear eposodes, ideological setting and imago
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Narrative tone
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origins or raw material from childhood. Basic sense of the story: optimism- comedy, romance; pessimism comes from attachment and sense of self.
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Narrative imagery
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The feel of the story: drawn from the environment and culture. Affectively charged: warm, safe and happy vs. hostile, cold and sad. Bleak streets and lack of green spaces.
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Narrative theme
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motivation over time; themes of agency and communion, related to narrative tone.
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Narrative ideological setting
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Beliefs and values, once set setting changes little.
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Nuclear episodes: Adolescence and thereafter
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Turning points, selected out and reconstructed from past, possibly seemed trivial at the time.
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Narrative imagoes in Adulthood: definition
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idealized personifications of the self, includes ideal and ought selves, abstraced view of social role (profession), categorized in terms of agency and communion, one dominant imago
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imagoes
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have an origin, reflect aspects of a significant other, generally consistent with personality traits, motives and goals and philosophy of life
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anti-imago
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opposite imago, our divided selves
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Imagoes: Class 1
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High Agency: mastery, self display, assertive and powerful. eg Zeus, James Bond.
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Imagoes: Class 2
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High Agency and Communion: social power, promote relationships, actions help self and others. eg Apollo, Erin Brokovitch
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Imagoes: Class 3
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High Communion: surrender, cooperation, care and concern. Renee Zellweger in Jerry McGuire.
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Imagoes: Class 4
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Low Agency and Communion: survival and perseverance, escape. Just trying to get by. eg Tom Hanks in Castaway, John Cusack in High Fidelity
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Imagoes: Empirical findings
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most people rated themselves as low agenct and low communion (40%)
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Imagoes: Developmental progression
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none identifiable (6%), only one (24%), two unintegrated (46%), two integrated (24%).
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