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Creativity In Children: A Study Of The Relationship Between Temperament Factors And Aptitude Factors Involved In The Creative Ability Of Seventh Grade Children With Suggestions For A Theory Of C...

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Creativity In Children: A Study Of The Relationship Between Temperament Factors And Aptitude Factors Involved In The Creative Ability Of Seventh Grade Children With Suggestions For A Theory Of C...

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Content CREATIVITY IN CHILDREN: A STUDY OP THE RELATIONSHIP BETWEEN TEMPERAMENT FACTORS AND APTITUDE FACTORS INVOLVED IN THE CREATIVE ABILITY OF SEVENTH GRADE CHILDREN WITH SUGGESTIONS FOR A THEORY OF CREATIVITY by Sheldon Frank Gardner A Dissertation Presented to the FACULTY OF THE GRADUATE SCHOOL UNIVERSITY OF SOUTHERN CALIFORNIA In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY (Psychology) January 1963 UNIVERSITY O F S O U T H E R N CALIFORNIA GRADUATE SCHOOL UNIVERSITY PARK LOS A NGELES 7. CALIFORNIA This dissertation, written by under the direction of hJ..5..Dissertation Com mittee, and approved by all its members, has been presented to and accepted by the Graduate School, in partial fulfillment of requirements for the degree of D O C T O R O F P H I L O S O P H Y Dean ACKNOWLEDGMENTS This study was, in many ways, a group effort. For much of the financial support the United States Office of Education has the continued gratitude of the author. In the planning and conducting of the research, the signifi cant assistance of the following persons Is gratefully ac knowledged r Dr. J. P. Guilford, Dr. Philip Merrifield, Mrs. Anna Cox, Mrs. Ann Gardner, and the staff of the Aptitudes Research Project, Department of Psychology, University of Southern California, Los Angeles, California. The author is deeply appreciative of the cooperation and Interest of Mr. Foster Beggs, Superintendent of the Manhattan Beach City School District, Manhattan Beach, Cal ifornia, and of the generous assistance of the entire staff of the school district. To Mr. Byron Burgess, Assistant Superintendent, who served as liaison with the University, and Mrs. Moyes and Mr. Remington, the principals of the two junior high schools involved in the study, go the author's sincere thanks. A special debt is also owed to the eight een seventh-grade teachers who helped proctor the test ses sions and spent many hours rating children on the graphic scales. Of course, the most important and most appreciated contributions were made by the 59k Manhattan Beach seventh ii graders, who were the subjects of this study* Assistance in processing data and running IBM equip ment was provided by Mr, Arthur Gershon, Mr, Kazuo Nihira, and Mr, Eugene Bouvier of the Aptitudes Research Project, and Mr, Anderson, Director-of the Western Data Processing Center, Special acknowledgments are due to three individuals whose assistance and support were indispensable for this study. Dr. J. P. Guilford provided the inspiration, theo retical orientation and technical guidance. Dr, Philip Merrifield, Assistant Director of Aptitudes Research Proj ect, provided administrative assistance as well as guidance in the statistics and test construction Involved in the study. At every stage in the progress of this research, however, was the influence of the author's wife. To Ann, who worked with unselfish devotion and Incredible sacrifice, from the preparation of the prospectus to the typing of the final draft, goes heartfelt and undying gratitude. This research became a labor of love because of Ann. iii TABLE OP CONTENTS Page ACKNOWLEDGMENTS................................... II LIST OP TABLES................................... v Chapter I. INTRODUCTION............................ 1 II. A REVIEW OP THEORIES OP CREATIVITY .... 6 III. AN ORIGINAL THEORY OP CREATIVITY........ 26 IV. A REVIEW OP RESEARCH ON CREATIVITY..... 6l V. AN INVESTIGATION OP DIVERGENT THINKING IN SEVENTH-GRADE CHILDRENr INTRODUCTION AND OBJECTIVES Ill; VI. HYPOTHESES.............................. 119 VII. DEVELOPMENT OP DATA GATHERING INSTRUMENTS . iSk VIII. PROCEDURE................................. 201; IX. RESULTS.................................. 213 X. SUMMARY AND CONCLUSIONS................... 285 APPENDIX A ....................................... 291 APPENDIX B ....................................... 305 APPENDIX C ....................................... l;71 APPENDIX D ....................................... L | _ 7 9 APPENDIX E ....................................... 14.88 iv LIST OP TABLES Table Page 1. Predictions of Correlatins between Variables, Boys1 Samples ........ l i j . 7 2* Predictions of Correlations between Variables, Girls' Samples • • • • ........ l£o 3* Conversion Table ‘ for Aptitude Scores • • • • 163 ! { . « CTMM I. Q. Score Means, Part 1 • . • •••• 205 Conversion Table for CTMM I. Q. Scores, Part 2 ..................................... 206 5* Battery Guide for Administrators •••••• 208 6* Descriptive Statistics of Aptitude Test Scores .............. 2 1 l j . 7. Intercorrelations of Aptitudes, Boys' Sample .................... •••••••.•. 217 8* Intercorrelations of Aptitudes, Girls' Sample ••••••••••••••• ........ 218 9. Descriptive Statistics of Temperament Trait Scales, Boys' Sample, Part 1 * ............ 219 Descriptive Statistics of Temperament Trait Scales, Girls' Sample, Part 2 * . « . . a s . 220 10. Intercorrelations of Temperament Trait Scales, Boys' Sample ••••»• .......... • 222 1 1* Intercorrelations of Temperament Trait Scales, Girls' Sample •••••••••••• 223 12* Descriptive Statistics of Rating Scale Scores, Boys' Sample, Part 1, Raters: Homeroom Teachers ............ .. 22 l j . Descriptive Statistics of Rating Scale Scores, Boys* Sample, Part 2, Raters: Non- Homeroom Teachers........................... 225 v Table Page 13# Descriptive Statistics of Rating Scale Scores* Girls’ Sample* Part 1, Raters: Homeroom Teachers • •••••• ............. 226 Descriptive Statistics of Rating Seale Scores* Girls’ Sample* Part 2* Raters: Non-Homeroom Teachers » ................ • • • 227 l l j . . Intercorrelations of Ratings* Boys’ Sample* Raters: Homeroom Teachers ........ 229 15. Intercorrelations of Ratings, Boys’ Sample, Raters: Non-Homeroom Teachers............ 230 1 6. Intercorrelations of Ratings* Girls' Sample* Raters: Homeroom Teachers •• ............ 231 17. Intercorrelations of Ratings* Girls' Sample, Raters: Non-Homeroom Teachers • •••••• 232 1 8. Correlations between Aptitudes and Tempera ment Scales, Boys' Sample ......... 23I 4. 19. Correlations between Aptitudes and Tempera ment Scales, Girls' Sample........... 235 2 0. Correlations between Ratings and Aptitudes* Boys* Sample , Ratings by Homeroom Teachers • • 2 l j . O 21. Correlations between Ratings and Aptitudes* Boys' Sample, Ratings by Non-Homeroom Teachers .................................. 2 l j . l 22. Correlations between Ratings and Aptitudes, Girls' Sample, Ratings by Homeroom Teachers • 21+2 23. Correlations between Ratings and Aptitudes. Girls' Sample* Ratings by Non-Homeroom Teachers ••• •• • •• • •• • •• . •• • • 21+3 21+, Correlations between Ratings and Temperament Scale Scores, Boys' Sample, Ratings by Home room Teachers ........................... 250 25. Correlations between Ratings and Temperament Scale Scores, Boys' Sample* Ratings by Non- Homeroom Teachers ....................... 251 2 6. Correlations between Ratings and Temperament vi Table Page Seale Scores, Girls' Sample, Ratings by Homeroom Teachers • •••••• ............. 252 27* Correlations between Ratings and Temperament Seale Scores, Girls' Sample, Ratings by Non- Homeroom Teachers ••••••• ............. 253 2 8. Summary of Findings Related to Correlational Hypotheses, Boys' Sample* • • . • • ......... 260 29* Summary of Findings Related to Correlational Hypotheses, Girls' Sample • ••••••••• 265 3 0. Summary of Multiple Correlation for Boys' Samples, Part 1, Raterst Homeroom Teachers • 272 Summary of Multiple Correlation for Boys' Samples, Fart 2, Raters: Non-Homeroom Teachers • • • • • • • • • • • • • ..... 273 3 1. Summary of Multiple Correlations for Girls' Samples, Part 1, Raters: Homeroom Teachers ..................••••••••• 27k- Summary of Multiple Correlations for Girls* Samples, Part 2, Raters: Non-Homeroom Teachers. • • • • .................... 275 32. Summary of Correlations with CTMM I. Q., Boys' Sample.................................. 276 33. Summary of Correlations with CTMM I. Q., Girls' Sample •••••••••••••••• 277 vii CHAPTER I INTRODUCTION The history of psychology reveals trends in the focus * of attention in which a phenomenon, relatively ignored for as long as decades, suddenly becomes an object of intense interest. This is true of creativity which seems to have declined In importance during the first half of the Twen tieth Century. As Rollo May suggests, "In academic psy chology after the time of William James and during the first half of this century, the subject has been generally avoided as unscientific, mysterious, disturbing and too corruptive of the scientific training of graduate students" (1959, p* 55)* Guilford noted that of 121,000 titles list ed in the index of Psychological Abstracts until 1950, only 186 bore on the subject of creativity (1950, p. l | l j . 5 ) • During the last ten years, however, theorists, psy chometricians, educators, clinical psychologists, and in dustrial psychologists have undertaken to investigate and/ or speculate about creativity. Bibliographies and compen dia of titles reveal scores of recently published articles on creativity. Many authorities in the field have noted that interest in creativity is part of the Zeitgeist. Guilford (1959a) suggests that one reason for the revival 1 2 of Interest was the intensification of the competition be tween the United States and the Soviet Union in the aca demic-scientific field as well as the military. Guilford notes the increased emphasis on invention and new discov eries that marks this competition. Peters and Gardner have pointed out that "...there are frequent complaints that contemporary American science is characteristically involved in the exploitation, tech nical development, and elaboration of ideas which almost invariably seem to be imported from foreign nationals." (1959, p. 182)* They also suggest that "...even our na tional security and survival might depend upon the capac ity of American science to be creative and productive." The shocking recognition, following the first Sput nik, that the Soviets were further advanced than we had realized has led to a drastic reevaluation of our educa tional system. The current concern with creativity is one aspect of a tremendous increase in educational re search. Intense interest in creativity on the part of educators who are concerned with school curricula was demonstrated during a Symposium on Creativity conducted by the University of Southern California Department of Education in the summer of 1961. This writer noted at that time, "...there is hardly a school district in the country where some research-minded school psychologist is not conducting a study of gifted children or of ere- ativity in children” (Gardner, 1961). Two current trends in psychological theory have also influenced the selection of creativity as a topic of great interest. Traditionally, creativity is a phenomenon which appealed to or was consistent with theorists who were "ten der-minded” rather than "tough-minded” and holistic, per- sonallstic theorists rather than elementallsts or reduc tionists. Murray (1959, p. 98) suggests that interest in creativity reflects an "...evolution of the human spirit which is in league with the possibility of a better world” and is a result of holistic theory. "Gestalt psychology, first applied to perceptual events, and organismic psy chology, derived from the observation of biological phen omena, have been expanded and elaborated, in conjunction with field theory, to correct the deficiencies of element- alism, and today we have systems theory and propositions pertaining to the continuation and restoration of the steady state of systems." (Murray, 1959* p. 98). For Murray, the historical trend toward holistic theories is the prime reason for the emergence of creativity as a "focus of interest." The current popularity of "tender-minded" theorists, who in modern dress appear as "self" theorists like Rogers, Existentialists such as Rollo May, humanists such as Maslow and "ego psychologists" such as Rapaport, have probably contributed much to the acceptance of creativity as an important concept. Most "tender-minded” theories of human behavior include an idealistic belief in human potentialities and a process of "actualization” or "re- alization" of these potentialities. Among the functions usually postulated to unfold toward potentiality is cre ativity. Still the most influential theory of learning is re inforcement or S-R theory, which is usually reduction- istic, analytic, or, as Murray maintains, elementalistic. Guilford suggests that the stlmulus-response model is not adequate for an explanation of creativity: "...when we come to the higher thought processes, particularly to pro blems of creative thinking, the limitations of the (S-R) model become very apparent. In approaching these problems it becomes more important than elsewhere to develop con cepts pertaining to what goes on within the organisms." (1959a, p. llj.2). The reinforcement theory usually con siders the learning of a single "best," most efficient or most appropriate response to a problem. Hilgard agrees, in part, with Guilford’s conceptualization: "There are kinds of creative thinking, however, that go beyond these ’correct-answer’ problems. There are solu tions that, even if correct, are highly original, and are to be judged by their originality rather than by their correctness" (Hilgard, 1959# P* 16U). There is currently a need for novel solutions to pro- blems, many that have never been presented or solved be fore, which has lead to concepts such as "creative en gineering" and "brainstorming." The relative inability of the S-R theory to provide an explanatory model or to sug gest methods of training creativity has led to new ap proaches and conceptualizations. CHAPTER II A REVIEW OP THEORIES OF CREATIVITY Creativity is a complex, somewhat abstract concept, that is currently a concern of Individuals with widely dif ferent orientations* Articles, books and papers dealing with creativity are being written by business executives, industrialists, government officials, military leaders, chemists, architects, art instructors, and journalists, as well as by social scientists. One of the amazing features of this literature Is the degree of apparent agreement in the theoretical considerations of people who would have been expected to arrive at more diverse ideas* The similar ities between theories of creativity are most striking and make a systematic ordering possible* In the following review of current theories of crea tivity an attempt was made to analyze the most Influential and best known theories and to describe selected common features* This review Is somewhat limited to theoretical formulations of social scientists and most often represents the views of psychologists* Types of Creativity Almost every prominent theorist separates creativity into qualitative categories. This Is usually In addition 6 to creativity described as various positions on a contin uum in terms of quantitative categories. One common dif ferentiation is that between the talent displayed by the artist and the creativeness with which "all individuals are endowed." It should be noted that most theorists treat the special talent of artists— often seen as an in herited difference— in a similar way. There is, however, less agreement in the description of the creativity of more average people and this is where more idiosyncratic concepts occur. Maslow calls special talent, "Mozart type" creative ness, which he postulated is different from creativeness of nonartists (Maslow, 195^ and 1959)* What amounts to a third category is the creativeness of "self-actualized" people, a rather rare occurrence which represents the state of potentiality fully realized and can be thought of as the highest point on the quantitative continuum that describes creativeness In nonartists. Maslow maintains that "...the creativeness of the self-actualized man seems rather to be kin to the naive and universal creativeness of unspoiled children. It seems to be more a fundamental characteristic of common human nature— a potentiality given to all human beings at birth." (19!?^) • Although this differentiation into types is only in frequently a topic of research (Maslow, 1951*.)» it Is easily the most common categorization and appears to be increasingly acceptable to theorists. In fact, such con cepts as "actualization of potentialities," the inherent, all-inclusive creativity of children and other related formulations derived from Maslow*s categorization are of ten considered by theorists as facts rather than assump tions . Rollo May also distinguishes between "talent" and "creativity" but the distinction is not one of mutually exclusive attributes. In fact, May's "subjects" are artists, studied either through criticism of their art or through Existential analysis on the couch. May's "cre ativity" emphasizes one of the attributes of the creative ness of "self-actualizers" that Maslow calls the "Peak Ex perience." According to this view creativity is an act involving a mystic experience, a state of heightened con sciousness, "engagement with reality," and "joy" (May, 1959, p. 60). For May "talent" includes "originality, musical ability and so forth; these capacities may well have their neurological correlates, and can be studied as •given* to a person." May also distinguishes between neu rotic art and healthy art, but this is not emphasized in the theory. Anderson is an example of those theorists that make creativity such a broad construct that It becomes synon ymous with self-actualization or an optimal life's pro cess. His theory is also representative of the increasing 9 trend to see the Individual as the frame of reference of creativity rather than the product and to make personality development the crucial factor in creativity. Anderson calls special talent part of innovation or "the ability of inventive genius" a concept that Includes all that which various other theorists consider to be creativity. More Important for Anderson, however, Is "psychological or soci al invention," which involves the processes of differenti ation and Integration so that "...a person...is becoming more and more an Individual...at the same time (is) seek ing and finding an increasing personal unity with those about him." (Anderson, 1959, p. 128), Ghiselin’s attempt is to differentiate between "lev els" of creativity in terras of the product (1958). Th® "higher" type of creative action alters "the universe of meaning by Introducing into it some new element of meaning or some new order of significance." The emphasis in Ghiselin's theory is on originality, the degree of cre ativity appearing to be a reflection of how drastic the Innovation is from established knowledge. Ghiselin’s "lower" level provides for an application of previous knowledge, a concept which few theorists would include as applicable to creativity: "further development to an established body of meaning through initiating some ad vance In Its use." Although Guilford’s research leads to an emphasis on 10 quantitative differentiation of creative ability, theoret ical notions derived from his "structure of intellect" sug gest quasl-qualitative differentiation based on hypothe sized differences in patterns of "divergent thinking" apt itudes. The suggestion has been made, for example, that painters and architects may have differentially high scores in "figural content" aptitudes while writers may surpass in "expressional fluency" or other "semantic content" aptitudes (Guilford, 1957)* Although not generally re cognized as such, the hypothesis of "divergent-thinking abilities in the behavioral column" suggests a concept of creativity similar to that of Anderson's "social inven tion" described above and to Fromm's view of creativity, Guilford, for example, suggests that "behavioral content" aptitudes should be "useful in contributing to better hu man relations, whether between persons or on the political or industrial scenes or in international affairs" (1959a, P. 157). Self-Actualization and Potentiality Perhaps the most widely accepted theoretical notion concerns the origin of creativity. Most theorists accept the assumption that all men have a potentiality for cre ativity, probably innate, and that the "realization" or "actualization" of this potentiality is an important fac tor of personality development. This position is speci fically postulated by Sinnott, Dow, Fromm, May, Rogers, 11 Maslow, Murray, Anderson, Hilgard, Stoddard, and Mead (Anderson, 1959)# It may be added that earlier Kurt Goldstein, Jung, Adler, and Homey had all formulated sim ilar concepts of human potentiality and actualization. What is remarkable is that no other assumption concerning the origin of creativity is currently widely entertained by humanists. It is interesting that the psychoanalytical theories of the origin of creativity, for example, those of Freud and Adler, are often now rejected even by adherents of these schools of thought. Especially in the case of the Freudians, the view that creativity arises from "sublima tion," or the defensive change in aim of unacceptable im pulses, has undergone considerable revision.Kris (1953)* for example, talks about "esthetic potentiality" and pre sents the thesis that creativity is a result of the "integrative, and in this instance autonomous, powers of the Ego." Kubie (19^8) also rejects sublimation, quite emphatically, as an explanation of creativity and main tains that, lit would not be accurate to maintain that the posi tion of "classical" Freudians has changed In any of its essentials. However, the current revisionists, such as Kris, Hartmann, and Kubie, present substitute concepts for sublimation, and the revisionists are gaining in prominence In the Psychoanalytic movement. 12 "Where unconscious influences play a dominant role, the creative process In science or art becomes almost Identical with a neurotic pro cess, merely transmuting unconscious conflicts into some socially and artistically symbolic form." Kubie further suggests that artistic products born of sublimation tend to show "stereotyped and rigid" features that are opposite to those features he considers to be es sential to creativity. May (1959, p. 56) attacks Adler’s point of view, the "compensatory theory of creativity," as being only parti ally true. The theory that "human beings produce art, science, and other aspects of culture to compensate for their own inadequacies" is hardly ever acknowledged to day, even by Adlerians. It may be well to consider why theorists so frequent ly consider creativity to be universal, to arise, so to speak, out of "human nature," and to be an attainable goal of life. Part of the acceptance of this rather al truistic and sometimes mystical assvimption can be attri buted to the idealism and humanistic values of the social scientists that address themselves to the problem of cre ativity. The assumption that man has an innate capacity to produce innovations, utilize unexpected talents and, in many theories, to approach an ideal state of health and effectiveness does seem to be related to the interest in the "possibility of a better world." *3 A second influence is probably the increasing re luctance to accept the once-dominant view of human nature espoused by Freud that man’s impulses and potentials are socially undesirable, destructive and animal-like. As noted above, the reluctance to accept this view is evi denced even by the Freudians when they discuss creativity. It should be noted that authors disagree somewhat con cerning whether the innate "given” is creativity itself or the potentiality for creativity. Although this difference is of crucial significance in the theory of creativity In children, it is possible to arrive at a "self-actualiza tion" concept regardless of one's position on this point, since most theorists who postulate "universal" creativity for children also suggest the "loss of creativity" through environmental pressures. This issue is discussed more fully in subsequent sections of this paper. Loss of Creativity Theorists tend to agree that at some time In child hood the creativity or creative potentiality decreases or disappears so that adults are relatively lacking in cre ativity. Many theorists are quite dramatic In their des cription of what happened to the creativity: for Maslow it is "lost or buried or inhibited as the person gets enculturated," (1959, p. 86), for Stoddard it Is "stifled in millions of school children" by rote learning and con formity (1959, p. 181), for Fromm the process of educa- 14 tion leads to a loss of the "capacity of wondering, of being surprised" (1959* P* 48)* Anderson "domination" leads to a "throttling of the child's spontaneity and a stifling of his creativity" (1959# p* 138)* There Is considerable agreement among theorists in assigning the blame for loss of creativity in individuals; society's pressure for conformity is almost always the villain* Anderson's conclusion is representative of the position of most theorists: "That life is creative and that children are born with qualities and capacities for creativity were major premises of most of our authors and were not denied by any* That adults are not creative, that they are passive, fearful con formists, was admitted and bemoaned* Perhaps the most consistent protest in the book is against conformity" (Anderson, 1959, p* 258)* Despite the insistence that society demands an inhi bition of creativity or even destroys creativity, none of the recognized theories describes how or when this process takes place. If, as Anderson and others suggest, it is inherent in the process of socialization that creativity be curbed, then the process of extinction must take place or at least begin during early infancy.2 it may be that ^It may be that the inhibition of creativity Is con current with socialization and is thus a gradual and continuous process* It may also be argued that, as Freud suggested, the most significant inhibitions occur in early childhood and that maturity involves Increasing Inner con trol. The author prefers to reject the extinction notion entirely in favor of a view of the emergence of creativity as an ability. 15 this is why the loss of creativity is not yet adequately described nor has serious research been attempted.^ Thus far, authors have been satisfied to substitute new epithets for the pressures for conformity* It is interesting that Freud, who is often attacked for pessimism and a view of human nature that is unflatter ing, views the development of creativity as an emerging function. Rather than predetermined or given at birth, the ability to use sublimation is formulated as a result ant of many early experiences but one which is directly related to increasing maturity rather than to infantilism (Freud, 191+8) • Originality Virtually every theorist gives special emphasis to the unique, novel idea in his theory of creativity. In fact, many theorists equate originality with creativity. Ghiselin, an Important writer in the area, describes a creative product as: ■^Research evidence for the extinction of creativity that is usually presented tends to be Indirect. In many of the studies cited children are shown to be less fluent or less free to express Ideas when, for example, teachers or leaders are autocratic. Because subjects do not show independence or express their ideas when they are in a situation where this behavior is discouraged, there is no reason to suggest that they cannot be creative under more favorable conditions. That is, although the expression of creative ability can be demonstrated to be inhibited by negative sanctions, it has never been demonstrated that the development of creative ability can be retarded by an undemocratic atmosphere. 16 "..•intrinsically a configuration of the mind, a presentation of constellated meaning, which at the time of its appearance in the mind was new in the sense of being unique, without spe cific precedent..." (Ghiselin, 1957)* It is interesting that theories which define cre ative ability almost exclusively in terms of original responses also tend to emphasize that creativity is a function of the healthy, sane mind. However, to be con sistent, it would seem that a psychosis, primarily in its delusions, could generate very original ideas and should thus be accepted as a source of "creativity." Guilford (Guilford, Christensen, Prick and Merrifield, 1957) and others (for example, Israeli, 19J+6) suggest that originality is merely one component of creative ability. It might be argued, as Taylor (1956) does, that the quantitative aspects of creativity, the "fluency" as pects, are as important as the quality of the product. The research on creativity clearly indicates a multidi mensional, multifaceted view of creativity, in which even the quality of originality can be analyzed into narrower subcategories. Originality, in the sense of a unique response which is "without precedent," is a difficult phenomenon to study. In a strict sense, very few individuals could qualify, Guilford (1962, p. 382) takes the view that a "unique" response is "worthless to the scientist because there is no way of knowing that an idea has never existed before." 17 He suggests the substitution of the criterion of "statis tically uncommon" in an individual's population. Guilford's work Includes also the criteria of "cleverness" (rated by judges) and "remoteness" (based on a Judgment that a response is not a direct association to a stimulus nor obviously follows from conditions set by the stimulus, what Getzels and Jackson call "stimulus-free thinking.") Most theorists, however, consider originality to be a more general condition of a person than an ability or apti tude. When this point of view is associated with creati vity as "personality growth," originality is often made synonymous with "spontaneity" and "unconventionality." Unfortunately the theoretical concept of originality as a temperament attribute is too often a vague, loosely de fined term and the relationship between aptitudes of cre ativity and unconventional, nonconformist behavior most often proves to be questionable according to research findings. Creativity of Children Most theories of creativity suggest that children have "universal" creativity or potentiality for creati vity. Life is purported to be a quest for this creati vity which is supposed to be lost because of dominating parents, society's demand for conformity, or restricting, autocratic educational policies. Very few theorists elab orate on these details, even though they make childhood 18 creativity a crucial assumption. Freud has maintained that sexual impulses place an "extraordinary amount of energy at the disposal of ’cul tural' activities" by changing their aim without losing greatly in intensity. He suggested that there are indi vidual differences in the strength of the sexual instinct and in the capacity for sublimation (Freud, 1908a). Freud attributed the major source of energy of creativity to the Oedipal period. He also stated that the impulse for knowl edge and the desire for Investigation are related to "a sublimating mode of acquisition and, on the other hand, it labors with the energy of the desire for looking." (Freud, 1910). Although for Freud the origin of creativity is in early sexual interests, creativity is seen as a defense against infantile wishes: "the adult's wishes may evoke phantasies of which he is ashamed, because they appear childish and as something prohibited" and "imaginative creation, like day-dreaming, is a continuation of and substitute for the play of childhood" (Freud, 1908b). Fenichel summarizes the Freudian viewpoint: "...the ob jects of sublimation are pregenital strivings...success ful sublimation cannot occur without genital primacy" (19^5). In other words, there must be relative maturity for creativity. 3he most comprehensive theory of childhood creati vity is that of Phyllis Greenacre (1957)• Creativity may 19 be (1) "a spontaneous, rapid unfolding of the inner de manding pressure for unusual growth in some way inherent in the child himself," (2) due to adult demands, or (3) a "result of neurotic conflicts," usually a compulsive at tempt to counteract masturbatory addiction. Consequently, a defense against impulses is not a necessary ingredient of creativity: "...in very gifted people a process comparable to sublimation in those of more average endow ment (may) not occur, inasmuch as they possess much more mobility of libidinal energy, and change of aim and object is achieved with greater flexi bility, although often accompanied by outer dis plays of disturbance" (Greenacre, 1957)* Greenacre maintains that children may be creative, talent being expressed after an Oedipal period Which is only partially resolved. The child who maintains an "appar ently relinquished" love object, idealizes it and presents a glorification of the love object as a "gift of love" has the ability to produce creative products. Despite the speculations and metapsychology of these Freudian conceptualizations, they are far more amenable to scientific investigation than the cliches of Maslow, Anderson and Stoddard, for example. The evaluation made by Levey, who was generally very adversely critical of Freud's view of sublimation, is still appropriate today: "The writings of non-psychoanalytic schools up on the subject reveal both a less scientific attitude, and a more subjective technique for evading the problem than have been described for psychoanalysts" (Levey, 1939). 20 Creativity and Mental Health Despite the high incidence of insanity or at least serious emotional difficulties among the recognized artis tic geniuses, almost every current theorist agrees that creativity is a function of a sound, healthy mind and that mental illness decreases creativity or distorts it. Theo rists such as Fromm, Maslow and Anderson almost equate mental health or personality integration with creativity. It is usually suggested that emotional conflicts drain energy and make an individual less efficient and less able to concentrate on bis work. This is the view of Hilgard, for example, who also emphasizes that many artists are also neurotic and childish. (1959» P» 175)* Hilgard’s suggestion that creative people would be more creative without their neuroses is a not altogether suc cessful attempt to deal with a logical inconsistency that almost every other current theorist leaves unexplained. Historically, the belief in the affinity between in sanity and creativity has been based on an investigation of more or less selected cases of outstanding artists. These studies are probably the first psychological-type research on creativity, beginning with Lorribroso in 1891. Two similarities suggested by Lombroso are "the exhaustion and excessive concentration of sensibility" and "Original ity. . .likewise common to both the genius and the insane, though in the latter case, it is usually aimless and com- 21 pletely Idiosyncratic” (Lombroso, 1891)* Interestingly, Maslow finds the traits of originality and concentration to be attributes of mentally healthy self-actualizers. A* C. Jacobson, who wrote many of the early papers on the relationship between insanity and genius, suggests a genetic basis, specifically the "consequence of mixing ethnic stock.1 1 His thesis is that "the genius is usually, if not always, of insane temperament, but his creative work reflects the man at his best, that is to say, sanest" (Jacobson, 1926)* One important difference Jacobson notes is that "••• the genius is one who possesses a super-criti cal attitude toward his own product, which is totally ab sent in the psychotic" (1912). Common to botfy he adds, are that they are immature, childish, physically inefficent, intensely egotistical, poorly adapted to their environment, etc. If creativity is related to maturity and sound mental health, can it also be equated to the attributes of chil dren? Artists, who are often childlike, are often neu rotic and worse.^ However, the converse is not true; adults who reveal many childlike attributes are usually neurotic and are seldom creative. Because artists are often neurotic and neurotics are generally not overly cre- ^Anna Roe concludes from her research that creative, eminently productive men are basically mature individuals deeply involved in and devoted to their area of interest, i.e., neither neurotic nor childlike. 22 ative, the relationship between mental health and creativ ity, if such a relationship exists, must be exceedingly complex. Anastasi and Foley have published a survey of the literature on the relationship between "artistic behavior" and "abnormal behavior" (19lj-l)» They suggest because of flaws in research methodology, the usually found "insanity" of artists may represent a spurious relationship. They conclude that most studies fail to show a differentiation of the artist as a "distinct personality type." The Creative Process In 1913, Poincare suggested a theory of the creative process, based upon his reflections on his solving of mathematical equations (Poincar/, 1913). He noted that when conscious effort was not meeting with success, the imageries of a "sleepless" night produced "inspirations" that led to a solution of Fuschlan functions. The stages suggested by Poincare^ which included "sudden illumination" of his unconscious and the later "conscious verification," have been elaborated and refined, mainly by Wallas, and have provided a relatively unchanged, influential theory that is held by most theorists today. Wallas1s stages, preparation, incubation, illumina tion and verification, suggested in 1926 (Wallas, 1926), were such persuasive concepts that theorists as diverse as Thurstone (195>2), Ghiselin (19f>2? 19f>6), and Rosen 23 (1953)» a psychoanalyst, all use this system. It Is In teresting also that artists, themselves, describe these same stages when reflecting upon their creative produc tions (Ghiselin, 1952). Except for the Poincare-Wallas theory, there is no widely accepted idea of the creative process. The Freudian notions expressed by Rapaport, for example, are too incomplete to be impressive (Rapaport, 1950). None of the individual, newer theories have inspired much in terest. It is suggestive that the theorists who discuss creativity in Anderson’s 1959 book typically ignore the problem of the temporal sequence of creative production. Because it is difficult to create a new methodology to study such a personal, subjective phenomenon as the creative process, the results of introspective studies, most of which are almost 50 years old may provide all that we shall be able to establish about this phenomenon. Per haps Thurstone’s suggestion, "it is conceivable that we may discover how to select people with creative talent before we can learn much about the nature of that kind of talent" (1950), is appropriate. Guilford’s Theory In a series of articles and reports Guilford has presented a theory of creativity that Is based on the concept of "primary traits," dimensions of personality along which "individuals differ systematically" and which, It is assumed, individuals possess "in common but to dif ferent degrees” (Guilford, 1959b). These trait concepts are arrived at inductively from results of factor analytic studies or generated from Guilfordfs theoretical "struc ture of intellect" (in psychology's analogy to chemistry's Periodic Table). Guilford conceives of creativity as a complex of component talents and temperaments. The cognitive or In tellectual abilities most important to creativity, diver gent-thinking aptitudes, are described later in this pa per. Some aptitudes not yet isolated by factor analysis are included, based upon predictions from the structure of intellect. Ihe most significant contributions of Guilford's theory are the clear, unambiguous operational definitions of concepts and the reluctance to accept unnecessary as sumptions, such as "self-actualization" and "universal" creativity, and the possibility of establishing a catego rization of creativity-types based on established primary traits. Guilford makes no claim that he has a comprehensive theory; creativity is, after all, only one of the phenom ena to which the structure of Intellect is applied. He does not emphasize the creative process as a temporal sequence, or devote much time to the nature-nurture prob lem, the relationship between creativity and insanity or the specific details of environmental influences on the development of creativity. Because Guilford’s concepts and research findings are the most promising and provoca tive thus far suggested, the original theory, presented in the next section, will be based upon the core of Guilford’s theory. CHAPTER III AN ORIGINAL THEORY OF CREATIVITY Creativity is the ability to solve a problem which requires one or more divergent thinking aptitudes for its solution. An ability is a global concept used to describe those elements of the total personality that contribute to the successful solution of a problem.^ An ability includes motivational features, conditions of attitude, traits of temperament, and perceptions, as well as aptitudes. An ability can be observed and measured. An aptitude, on the other hand, refers to an "under lying dimension of ability discovered by factor analysis” (Guilford, 19£9b, p. 31+2) • It is a theoretical construct U3ed to describe differences between individuals in the "capacity" to perform various tasks that are known to be similar because they are correlated. Because these tasks are performed under conditions where the influence of "nonaptitude” personality components is minimized by sara- ^Many of the ideas concerning the nature of problem solving presented here were suggested by Merrifield’s theory. 27 pie selection and experimental control, the common vari ance of these tasks is said to be attributable to the "capacity1 1 component. "Pure" tests of creative aptitudes provide predictions of creative ability with other factors controlled or held constant. The effect of "nonaptitude" variables on creative ability usually reduces the validity of these predictors. Another source of lack of equivalence between ability and aptitude is in nonaptitude influences of the test sit uation. Despite the attempt to make aptitude tests "pure," aspects of the test situation, such as "test-taking" at titudes, test anxiety or excitatory motivation, need for achievement and perception of the intent of the test, are expected to Influence the results of the test and usually to reduce the validity of the aptitude test. By this definition a creative task involves what Guilford calls "divergent thinking" aptitudes. This cate gory of aptitudes refers to the capacity to produce many alternative, acceptable responses. A creative problem usually requires the use of several divergent thinking aptitudes, the most important of which are the fluency factors, flexibility and originality. However the combin ation of aptitudes does not follow a regular pattern; which aptitudes facilitate the solution of a particular problem are determined by the structure of the problem. That the combination of aptitudes varies from task to task is sug 28 gested by factor analytic studies which have successfully isolated divergent thinking aptitude factors and estab lished them as independent constructs. Several nnondivergent thinking" aptitudes are also undoubtedly involved in creative ability. Most of these are involved, usually more influentially, In many other types of problem-solving. The category of aptitudes called "evaluation" by Guilford would enter into the solu tion of creative problems where there is less explicit structure or less feedback concerning the acceptability or appropriateness of a solution. One such factor called "sensitivity to problems," which is the capacity to recog nize deficiencies in present conditions, for example is often found in factor analyses where divergent thinking aptitudes are Isolated. Factors described as using the operation of "cogni tion" would similarly be involved in creative problem sol ving. The most prominent of these aptitudes, which are often isolated in factor studies of creative thinking, are verbal comprehension and general reasoning. These apti tudes, which are Involved to some degree in almost any type of problem solving, are among the nondivergent apti tudes of which creative ability is partially composed. The point of view presented here is that divergent thinking aptitudes are the sine qua non of creativity. The confusion between nondivergent aptitudes and diver- gent thinking aptitudes has often led to serious problems as shown, for example, in the work of Getzels and Jackson (1958). Their research strongly suggests that the identi fication of "gifted" children entirely on the basis of I. Q. will overlook or even penalize children who are su perior in creative ability. These writers present evi dence that teachers highly value nondivergent or ncogni tive" aptitudes and tend to confuse these aptitudes with creativity. Torrance (1959) has reported comparable re sults in a school setting. Similar attitudes were dem onstrated in the research of Allen, Guilford, and Merrifield (I960) when ratings were made by scientists and "experts" on creativity. Divergent Thinking Aptitudes The three dimensions used by Guilford in descr5.bing aptitudes are "operations," "contents," and "products." An "operation” refers to the process that an individual can be inferred to have employed in producing a response. Although "operations" that Guilford calls convergence, evaluation and cognition are undoubtedly also involved in creative acts, the operation of divergent production is most prominent and the one essential for creativity. Operations acquire specificity when the "content," or type of test material, is considered as well as the type of product generated. Rather than use the scheme suggested by Guilford’s systematic "structure of Intel- 30 lect" (Guilford and Merrifield, I960), we shall use the more common, traditional names of creative aptitudes which are listed below. Because divergent production involves a qualitative aspect as well as a quantitative aspect, the aptitudes in this category reflect this division. The fluency factors emphasize quantity; the flexibility factors and original ity emphasize the quality of performance. All divergent thinking, however, requires the production of more than one response to a test stimulus. The three fluency factors most clearly relevant to creativity are ideational fluency, associational fluency and expressional fluency. Ideational fluency has most recently been defined by Guilford as "the rate of generation of a quantity of ide as" (Guilford, 1962, p. 382). The ideas produced fall in to a class specified by the structure of the problem and only the number of acceptable ideas is considered. Ex amples from tests are the capacity to list many things that are "edible solids" or to produce many titles for a short story. It is Guilford's view that "...the person who is capable of producing a large number of ideas per unit of time, other things being equal, has a greater chance of having significant ideas" (Guilford, 1950). Associational fluency refers to the production of many responses that have a certain relationship to the 31 stimulus, the relationship being specified by the external structure of the problem. Whereas in ideational fluency the requirement is to produce ideas that belong in the same class as the stimulus idea, in associational fluency the ideas produced are "associated" or related to the stimulus idea as are, for example, antonyms and synonyms, which are used by Guilford as test measures of this apti tude. If, on a test of associational fluency, the task was to write antonyms for the word "light," a person who scored high on this aptitude might consider various mean ings of the stimulus and respond with "dark," "heavy," "serious," and so forth. Guilford has described expresslonal fluency as the capacity to "put words into organized phrases and sen tences" (1959c). Although this established factor appears, according to this definition, to refer to a very specific aptitude, it is speculated by Guilford that expresslonal fluency may be found to "...pertain to organizing ideas into systems. If it is as broad as the latter suggestion, it should be of considerable consequence, perhaps in some thing as important as the trial-and-error development of a scientific theory" (1962, p. 382). It has been the practice of Guilford to separate flexibility into two categories of aptitude, spontaneous and adaptive flexibility, depending upon whether the in- dividual chooses to change his set and/or approach or must change to meet the demands of the test situation (Guilford, 1959c). Actually all creativity could be similarly sepa rated and it would be possible to speak of the "art for art’s sake" creativity as opposed to "problem-solving" creativity. Because it is the author’s opinion that cre ativity should be considered an ability to solve particular problems, which are determined by the external demands of che presented problem, "spontaneous" creativity and "spon taneous" flexibility would not be included as necessary attributes of the creative process or of the creative per sonality. In any event, the spontaneity in changing set because of personality disposition should be considered an aspect of the nonaptitude components of personality. Guilford’s definition of flexibility is "...a change in the meaning, interpretation, or use of something, a change in understanding of the task, a change of strategy in doing the task, or a change in the direction of think ing, which may mean a new interpretation of the goal" (1962, p. 382). Some degree of flexibility, so defined, may be involved in every creative task, since this apti tude is more or less implied in the operation of diver gence. Although "spontaneous" flexibility is rejected by this author as a creative aptitude on theoretical grounds, the usual instructions stated for current tests of sponta neous flexibility to produce "many different uses" of an 33 object, are probalby explicit enough to qualify the tests as flexibility tests.2 This is also true of Ways to Use It, the test used in this study, where the results suggest that the subjects did, In fact, interpret the instructions to mean ’ ’change set” even though the test is officially one of "spontaneous flexibility," Guilford’s recent suggestion that "originality" may be "adaptive flexibility" does not seem consistent with the original separation of spontaneous and adaptive as de fined in his same paper (1962, p. 3814 .), The instruction to produce a "novel," "unusual," "clever," or "remote" response in Guilford1s originality tests is no more ex plicit than it Is on "spontaneous" flexibility tests. Originality, or the capacity to produce "unusual, far-fetched* remote or clever responses" (Guilford, 1962, p* 302), may be a temperament aspect of personality rather than an aptitude. Because, however, originality Is so heavily emphasized in the common theoretical formulations of creativity and because these qualities of responses, even when judgments are used as scores, have yielded clear factors In Guilford*s research, originality should be in cluded In the category of necessary ingredients for cre- 2 This suggestion was made by Victor Goertzel, Re search Psychologist, Camarillo State Hospital# 3k atlve ability.3 The decision that a response or production is "orig inal " usually reflects a judgment or an opinion of others. Guilford is one of the very few workers in the field to have attempted to objectify and make explicit the judg ments concerning "unusual,1 1 "clever" or "remote" responses. In summary, the categories of aptitudes isolated and defined by Guilford, which are usually called fluency, flexibility and originality, are considered to be the most common divergent thinking aptitudes found in creative abil ity. Other divergent thinking aptitudes, for example, production of figural units, figural flexibility and elaboration ("semantic implications"), If required for the solution of a problem, would also qualify the ability demonstrated to be considered creativity. In fact, the last example given, elaboration, is used in this study. Criterion of Creativity: Product or Potentiality The product of the creative process is the only en tirely appropriate criterion of creativity. If everyone who could generate creative products did so, then the problem would be relatively simple* One's creative abil ity could be determined from what was produced. But per- 3Although it would be logical to consider three or more different types of "originality," results of factor analyses suggest that there Is only one originality factor when the content is "semantic." 35 formance is not perfectly correlated with possession of aptitude. Because creative ability is made up, in part, of non-aptitude factors, the concept of "creative poten tial" becomes useful. There are so many pressures on persons in this cul ture to inhibit the expression of creativity that only a select group of somewhat outcast persons would be con sidered if actual performance was strictly adhered to as a criterion. Because it is so crucial, in a practical sense, to identify persons who may be able to produce something creative, the measurement of creative potenti ality has become crucial. Despite the vague, loose use of the concept by "ac tualization" theorists, there is no reason why creative potentiality should be a mystical concept or be useless for prediction. This theory contends that the aptitude component of creative ability provides a reasonable estimate of potential and that the various nonaptitude factors contribute to the discrepancy between potential and performance. It is further hypothesized that divergent thinking aptitudes are relatively unaffected by experience and are, therefore, also an approximation of innate differences in creativity. The identification of creative potential by measured aptitudes provides a basis for making predictions of possible creative performance in the future, and this 36 is of utmost concern and importance in our society today. Individual Differences in Creativity There are individuals whom society recognizes as particularly creative and inventive. It is usually as sumed that individuals other than artists, musicians, novelists and scientists also possess at least potential creative ability and that almost everyone shows strengths in some aspects of creativity. There is ample research evidence to support the notion that the aptitude and temperament attributes that characterize artists are found, in some degree, in all persons. A theory of creativity must explain the source of differences between nonartistic persons and those people who are at the top end of the continuum of creativity. In order to discuss differences in creativity, the theorists must consider various ways in which individual differences may become manifested. The following dimensions are ex amined in the next section: the differentiation betweenarb* ists and nonartists; the separation of individuals ac cording to "profiles" of specific creative aptitudes and related temperament traits; a discrimination between "creativeness," the ability that refers to the total pat tern of many aptitudes, and "creativity.” Theoretical notions concerning creativity in children, which are pre sented in a later section, consider the differences be tween adults and children as well as differences among 37 children. Types of Creativity Special Talent Most theorists separate special talent or extraordin ary accomplishment in creative pursuits as an essentially different phenomenon from the run-of-the-mill creativity of average people. However the assumption that superior or specialized ability is freakish or a "gift of the gods" (Greenacre, 1957) and should be excluded from considera tions of "normal" creativity serves to discourage compar isons between clearly recognized creative persons and others. When the creativity of artists is excluded, not only is an important criterion of validity eliminated, but also those exploratory studies designed to isolate criti cal variables that differentiate artists and "nonartists" are discredited. It seems adequately established that creativity is not based on a single aptitude but, as a trait, should be seen in terms of component aptitudes and perhaps of fairly specific nonaptitude variables. An artist may differ from others because he possesses a high degree of one special aptitude or because he is relatively superior when some combination or the total pattern of his cre ative aptitudes is considered. It may even be that art ists do not exceed others in creative aptitude at all, but that temperament factors, emotional conflicts or the 38 viscissitudes of life led to a life’s dedication to cre ative pursuits. Uiis last point of view, which is certainly at var iance with -those of theorists described above, is one al so suggested by Anne Roe. Roe indicated that the trait found common to leading artists was "...willingness to work hard and to work long hours” (Roe, 19U6). This con clusion would cause one to doubt the necessity of consider ing artists to be too different to be included in a gen eral theory of creativity. Artists are recognized as unusually creative and productive primarily because of the social value attri buted to their products. Whether the highly valued prod uct is obtained through superior innate endowment, hard work or perhaps even accident (what Cannon called "ser endipity," I9I 4 O) is the crucial issue. There is evidence to suggest that artists vary among themselves in what is the most important determinant of success. Conversely, there is little to suggest that, as a group, artists are actually very different in creative ability from non artists. It is the opinion of this writer that, although few successful artists are inferior in divergent thinking aptitudes, most artists are able to produce creative ideas more as a result of motivation, temperament, tech nique and training than of absolute superiority in cre ative aptitude. 39 Profiles Baaed upon Creative Aptitudes It Is the assumption of many theorists that although artists have a special, Inherited kind of creativity, av erage people have generalized, undifferentiated ability similar to what we call "creativeness" later in this paper. It is sometimes suggested that the most important di mension of difference Is a single continuum of creativity and that people who are creative In one area should be creative in other areas. The major evidence against the general trait theory of creativity comes from factor ana lytic studies of creative ability. The fact that ortho gonal or independent factors emerge suggests that (1) peo ple differ from each other in differentiated creative apti tudes and (2) the creative aptitudes of a given individual are probably not correlated in most cases. If differentiated aptitudes should be found to have relevance to differentiation on a trait level, then a separation into types of creativity, on an empirical basis, suggests itself. Creative ability could then be conceived of in terms of many fairly independent continue, so that a person could be described according to his position on several divergent thinking aptitudes. It should be possible to describe specific "creati vity types" In which one or a few creative aptitudes are predominant in an individual. While it is possible that aptitude variables which an Individual possesses to a ko lesser degree may be "potential!ties” In the sense of hid den or undeveloped talents, it is more likely that the ap titudes in which an individual excels are estimates of quasi-innate creative potentials themselves. Individuals probably display what seems like "general ized” creative ability, but it is because they are able to solve problems that are similar, i.e., problems which re quire similar aptitude or aptitude-temperament patterns. A mathematician may be able to solve equations In a new way and also write good detective stories because he uses a- daptive flexibility in both endeavors rather than general creativity. Creative typologies can be expanded to include a great deal of human variability. To the traditional names of divergent thinking aptitudes can be added the type of material with which the person with a particular aptitude profile works best (a suggestion which follows Guilford’s "contents” dimension of an aptitude). Temperament traits should also be added, since the expression of creative ability is dependent to some degree on the individual's temperament. For example, two individuals with equal ap titude in producing original ideas orally would show dif ferences in performance if one was self-confident and the other lacking in confidence. .Creativeness One assumption made concerning the "universal" ere- 41 ativity of children or the "optimal" or "actualized" state of adults is that really creative individuals should be creative in all areas and in all endeavors. Previously we have contended that the general trait theory of creativity is not supported by factor analytic research findings and that there is little evidence that even the greatest art ists have unusual creative ability. We might consider, however, whether or not there may be individuals whose creative aptitudes are correlated, who cannot be described according to an aptitude profile because no one aptitude or pattern of aptitudes is pre dominant. In a succeeding section is a brief discussion of individuals described as "creativity defectives," per sons who are uniformly lacking in all creative aptitudes. The persons who excel in all creative aptitudes Maslow calls "self-actualizers." "Greativeness" is the term used in this paper to describe creative ability when the total pattern of apti tudes and nonaptitude aspects are considered. Creative- ness refers to the ability to solve any creative problem regardless of the requirement of special divergent think ing aptitudes or specific temperament traits. It may be possible to design a test to measure cre ativeness in a manner similar to that of "global" intel ligence tests. Would a score on such a test contribute much to the prediction of creative performance? Creative J*2 ness would logically provide the best prediction of success in a problem If the aptitude demands are not specified or known. However when the divergent thinking aptitudes necessary for the generation of a specific creative prod uct are made explicit, then information concerning speci fic aptitudes would be more valuable for prediction of success than global creativeness. If a continuum of creativeness could be established, would the persons who are at the top of the list be espe cially equipped to solve creative problems? If the cre ativeness is high because of the contribution of extra ordinary superiority In one or a combination of a few apti tudes and a particular problem requires those specific aptitudes, then this type of "high creativeness” person would be expected to succeed. If, on the other hand, the problem requires aptitudes that are not among those that contribute to an individual’s high creativeness, then there would be no reason to expect him to be successful. Different limitations might be expected of the "well- rounded" high creativeness, that is, of the person who is relatively superior on all or most specific aptitudes. Except for problems that require numerous divergent think ing aptitudes, this person may be only a mediocre cre ative-problem solver. Generalized creative ability may be no more than success in those aspects of a problem that require similar to specific aptitudes; that is, a person may appear to be creative in areas that are different only on the surface, areas actually requiring similar aptitudes. Generalized creative ability probably is seldom a function of crea tiveness, especially in artists. Innate Differences Infants probably possess innate differences in apti tudes and temperament that are relevant for the solution of creative problems. The gross gene transmission, which provided the basis of the earliest heredity-oriented theo ries led, for example, to surveys of the relatives of art ists. There are probably also constitutionally determined ’ ’potentials” that set biological limits on the development of creative ability. That is, infants should show differ ences in creativity and also differences in aspects of creativity that emerge during ”optimal" periods or during the maturation of undeveloped abilities on a morphological level. Assumptions concerning the genetic influences on cre ativity are, of course, exceedingly difficult to investi gate scientifically. Studies that provide evidence that children of creative persons are more likely to generate creative responses can be interpreted to be as much a reflection of the beneficial effects of an encouraging en vironment a3 a function of inherited genetic structure (Garrett, 19^6). to Nevertheless, the assumption of a morphological basis of creativity is a logical one and is consistent with the view of creativity as a phenomenon falling in the category of abilities. Ihis position concerning innate differences is more defensible than the dominant current position, that everyone is born with creativity and most people lose it. To maintain that all persons are born with equal, universal creativity provides a "democratic" basis of this ability. However most theorists then explain the observed differences in children and in adults as a loss of infantile creativity. This common theory seems to sug gest that essentially intellectual or ego functions de crease with age, an assumption that is not consistent with the usual development of other human abilities, the gen esis of which is far better established. T3ie theory of decrement of ability with age was once popular in discus sions of I.Q. distribution curves, although I.Q. was said to begin to diminish much later than creativity is sup posed to decline. The I. Q. decrement has been demonstra ted to be at least partly fallacious, since the most im portant intellectual factors, verbal comprehension and reasoning, and those not measured by speed tests do not show loss with age. Since many intellectual factors related to the solu tion of creative problems clearly show regular increments with age, especially at the earliest ages, it is reasonable to postulate that divergent thinking aptitudes show a sim ilar regular progression rather than sudden regressions or retrogressions. The Process of Differentiation One method of integrating the "generalized creativity of children" concept with the usual findings that adults have rather specific abilities is to postulate a "growth" trend, called, in most cases, differentiation. This theo retical position is traditional in embryology, education and psychology, especially in relation to biological drives or behavior influenced by biological maturation. Although longitudinal studies do not provide unequivocal evidence for the differentiation of childhood traits into specific adult traits, this writer accepts the notion of differentiation as a working hypothesis to explain the observed tendency of children who are creative to be cre ative in many activities. Empirically the generality of traits would emerge as high correlations between measures or incidents of a behavior. Factor analyses in children should yield fewer common factors than one with similar measures in adults. Anderson maintains that the "...proposition that growth is a process of differentiation is consistently accepted by psychologists as a psychological principle applying to personality and to learning" (Anderson, 1959, p. 123). Very simply he states, "Biologists tell us that the cells become differentiated. The cells take on spe*^ cialized functions and specialized structures, and we call them by different names." Garrett more specifically suggested the theory that at birth a child has one general undifferentiated intel lectual ability and that differentiation of primary abil ities occurs later (Garrett, 19^6). Guilford’sevaluation of the research findings related to this theory is that they are equivocal in that some studies have found a de velopmental trend toward an increase in number of factors but others have found a decrease in the number of factors when the same tests are administered to older subjects (Guilford, 1959, pp. 1+0U-U05) • Allport makes differentiation one of the major growth trends in all organisms. He concludes that "...much of the infant’s initial behavior is random and diffuse, mere •mass action.’ Prom this matrix in some way specialized skills and precise adaptive responses gradually become differentiated." (Allport’s italics) (Allport, 1937* p. 132). Allport reports the research by Coghill of the reflex action of the Amblystoma and the detailed obser vations of Irwin of infants during the first ten days of life. A study by Bridges (nee Banham) on the emotional de velopment of the child offers support of the different!- ation hypothesis. Daily observations of sixty-two Infants led to the theory of an initial "general excitement," manifested by an "undifferentiated response," which is considered to be the original emotion from which other emotions gradually and systematically develop (Bridges, 1930). The theory here postulated considers a process of gradual differentiation of creative ability, a process which is primarily maturational but which is also slightly influenced by experience. In children the creative abil ity Is expected to produce higher correlations than in adults not only between component divergent thinking apti tudes, but also between divergent thinking aptitudes and other personality attributes. This is especially true of the correlation with aptitudes or abilities involved in the solving of creative problems; the correlation with "general" intelligence, for example, should be very high initially and then show a gradual decrease as creativity and intelligence become increasingly differentiated. There are people who seem destined never to be able to solve a problem or who are abnormally unable to perform on a task that requires any of the divergent thinking aptitudes, just as there are people who seem to be unable to solve other types of problems. They might be thought of as having "creativity deficiency" similar to the mental deficiency that describes individuals who are unable to solve problems presented by Wechsler's or Binet's tests. One source of creativity deficiency, it is suggested is In inheritable defects in divergent thinking aptitudes, defects that are relatively impervious to training or pro pitious experiences. A second source would be in a rela tive lack of nondivergent aptitudes necessary for the solution of a problem; so that, for example, there may be a minimum I. Q. below which no creative ability would be manifes ted. Creativity in Children Although the assumption of greater generality of cre ativity in children is accepted here, the other two fre quently presented hypotheses that all children are cre ative and that creativity in young children exceeds that of adults, are rejected. Ihe first of these, that all children are creative, seems eminently illogical if creativity is seen as an ability. All reported research has found that many chil dren, at every age for which there are data, are complete ly unable to perform on tasks requiring divergent thinking aptitudes or related intellectual aptitudes. Scores of "zero” on these tests are very common (Guilford, Merrifield, Cox, 1961; Schmadel, I960). It is the as sumption of this author that for some children a score of "zero” represents an actual lack of creative aptitude or functioning ability so low that the production of ere- lj-9 active ideas is impossible. There are serious methodological problems in doing research on growth curves of creative ability. The re search findings of Torrance, for example, although showing generally a progression in "creativity" (actually measured by tests combining modified divergent thinking tests) with age, also point out the difficulty in methodology (Torrance, 1959)• There is clearly so much nondivergent aptitude variance in even the best established tests that it has been impossible to administer exactly the same test at different age levels.^ Because writing speed, reading comprehension, vocabulary, general reasoning, and other factors show such great increments with age, tests must be modified to some degree so that any child can perform on them. Contrary to the assumption made by theorists that children are more "creative," there are good reasons to ^Re cently results have been presented to suggest that similar factors from standard intelligence tests with child subjects may differ from adult factors in subtle ways. One common finding is that many tests have significant verbal comprehension variance for children. Similar differences should be expected with creative aptitudes. Although many of the same divergent thinking factors might emerge; sev eral nondivergent aptitudes (e.g., verbal comprehension) or even "irrelevant" aptitudes (e.g., marking speed and reading comprehension) might be much more important in children than in adults and tests of these aptitudes might load more often on divergent thinking factors. 50 suspect that children are less able to solve creative problems than adults. As suggested previously, the in feriority of children in nondivergent factors that are in volved in creative ability probably sets greater limits to creative performance than it does to performance on divergent thinking aptitudes. Children's score means on divergent thinking tests, even those modified in an attempt to decrease nonrelated variance, are consistently much lower than those for adult groups (Schmadel, I960). It is unlikely that these differences are not somewhat a reflection of actual dif ference in aptitude. Rather than intellectual aptitudes or divergent thinking aptitudes, it is temperament variables or "per sonality1 1 traits that theorists emphasize in their con tention of the superiority of children in creativity. It is the opinion of this author, however, that most of the differential attributes of children probably interfere with creative performance rather than facilitate it. It has been suggested that children are more flexible than adults. Although it is easy to observe that few children stick to one task for long periods of time, it is usually a shorter attention span and relatively poor frustration tolerance that is mistaken for flexibility. The kind of inability to maintain performance on a task, which is typical of early childhood, would be a detriment 51 for creativity, since some degree of perseverance is re quired for any problem solving. The idea that lack of ego defenses and the ability to "communicate with the unconscious" are positive assets for creativity is of doubtful validity. Ihere seems lit tle value in the suggestion that availability of uncon scious material or of desires that adults find unaccept able is necessary or even desirable for creativity. Freud, for example, finds the source of creativity in the process of exerting intellectual control ("secondary pro cess") over impulses, in the defense against awareness of unconscious material, rather than in primitive impulses, and he concludes that it takes some degree of maturity to be able to "sublimate" (Freud, 1930). The concept sug gested by ego psychologists such as Kris of "regression in the service of the ego," in which early, forgotten material is tapped for creativity, requires also a mature ego, not infantile personality development. Although Ruble's position is generally very different from that presented here, his view of the influence of unconscious information is similar. He stated that there is an "... erroneous assumption that it is that which is unconscious which makes us creative, whereas in fact, the unconscious is our straitjacket, rendering us as stereotyped and as sterile and as repetitive as is the neurosis itself" (Kubie, 1958). Children are certainly less socialized than adults, a fact emphasized by those theorists who present demands for social conformity as the villain that snuffs out creativity. The argument usually presented is that conformity to group values impels restriction of freedom in thinking as well as of freedom in social behavior, an argument that is based more on the emotional reaction of theorists toward authority and conformity than on logic. Children who are able to conform to the demands of a benign authority should develop into adults who have internalized values and need not devote their energies to a constant battle against external value systems (Fheud, 1923; Maslow, 195^» Riesman, 1950)* A mature adult should have greater "free dom" to indulge in creative thinking, since external pressures to conform are less influential than with chil dren. Children who successfully avoid socialization or who are not able to develop any inner controls are not more creative than those that do. To take an extreme example, autistic children described first by Kanner, who may be said to have the most success in rejecting the impact of external control, are certainly not spontaneous, flexible or creative or, in fact, adept at solving any type of problem (Kanner, 19i|3)* Autistic children and others whose emotional disturbance involves extreme nonconformity and the inability to internalize moral values generally display rigidity and perseveration in behavior as well as considerable lack of purposiveness in goal seeking. It is the position of this author that optimal crea tive performance requires maturity (Freud), internaliza tion of moral and social values (Riesman), and purposive ness of goals (Maslow)• Without any controls over the flow of ideas, thinking is chaotic and creativity is im possible, bome degree of conformity and purposiveness is as necessary for creative problem solving as is relative freedom from external pressure. The Freudian view, that of a Hegelian synthesis of Impulses and societal demands, seems more tenable than the theory of the all-creative infant.£ In summary, although the view that creativity In children is more generalized than it Is in adults is accepted, the postulation of greater creative ability in children is not considered reasonable. The following reasons are suggested for the relative Inferiority of cre ativity in children when compared with adults: (1) adults’ performance on divergent thinking aptitude tests is superior to that of children, (2) nondivergent apti tudes related to creative ability show regular progres sion with age, (3) many temperament or "personality" Creativity might be seen as a synthesis that emerges from a conflict of wills. Very frequently in the life of famous productive artists is the active discouragement of parents and society. $k factors typical of children probably have a detrimental effect on*creati^ity because children (a) are relatively lacking in perseverance, (b) are less able to inhibit or sublimate unconscious impulses, (c) lack socialization and consequently are engaged in a constant battle over conformity, and (d) children who are most successful in avoiding maturity are least creative. Maturation and Learning Ihe combined effects of maturation and learning upon human behavior have become axiomatic in psychology. It is interesting that there is usually no explicit acceptance of this theoretical notion by most creativity theorists. There is an almost exclusive emphasis on the maturation of special talent in artists and an even more exclusive emphasis on learning or unlearning with average people, who are thought to be more influenced by experience and social pressure. It is suggested here, that both learning and matur ation of biological givens influence the development of creative ability and that these influences are so inter related that they cannot be conveniently separated at any point in time. It can certainly be argued, if extremes are selected for illustration, that many persons whose native endowment does not place them at the upper end of a "creative potential" continuum become acknowledged as outstanding artists because of ambition, neurotic 55 conflicts or special training. On the other hand, a per son most superior in inherited potential may slip, when compared to others, because of experiences unfavorable to creative expression, to a position of generating quite mediocre creative products. Although there is evidence that training can produce increments in performance of some divergent thinking apti tudes (Maltzman, et al., 1958a, 1958b), it is here postu lated that the most important changes in aptitudes related to creativity are a result of maturation.^ The matura- tional processes suggested previously are a regular pro gression of increment with age and a trend of differentia tion from general to specific aptitudes. Temperaments by definition are relatively enduring personality attributes. Most theorists agree that the roots at least are laid down in early infancy and that they can be modified only slightly by later experience. McClelland (1951# P* 3^1) has presented logical explana tions for the greater influence of the earliest learning as well as selected confirmatory evidence. Although the influence of learning probably exceeds that of matura tion in the case of temperaments, the dispositions to be- ^Research on the effect of training on divergent thinking too often has involved information that adds to the instructions to the subject in a way that changes his perception of the task. Increments in performance in many cases can be attributed to learning "what they want," a function of test-taking influences. 56 have are less reversible than creative theorists such as Anderson suggest or the behaviorists such as Pollard and Miller Imply (1950). That the component elements of creative ability are relatively consistent and constant has clear implications for a theory of creativity. Parents, peers and teachers probably do influence the expression of creativity, es pecially in an indirect way through temperament, but the influence on creative aptitudes and temperaments is prob ably far less than educators and theorists think. It is likely more difficult for parental disapproval, negative sanctions or teachers’ attempts to "dominate" (Anderson), to extinguish, or "stifle" creativity and similarly for encouragement, acceptance, or "democratic progressive" education to foster creativity. The Influence of Experience Ihe experience of success and failure, of reward and punishment, must be considered to exert an important in fluence on the overt manifestation of creative ability. Theorists such as Fromm, Anderson, Maslow, and Stoddard suggest that reward and punishment are used by persons in authority to demand conformity to established pat terns of behavior, cultural values and even perception of reality. The effects of learning in these areas cannot be disputed. It is not so clear how these pressures in fluence creativity. Despite Anderson's suggestion that society "brain washes” children, it is more reasonable to suppose that social pressures are less drastic. Children may be dis couraged or even punished for saying or doing something that authority figures or the peer group considers "silly, stupid, odd or queer." Many of these acts or expressed ideas may, in fact, be creative, i.e., require the use of divergent thinking aptitudes. It is very doubtful that the evaluation and prohibitions of others could pre vent ideas from being thought or solutions to problems from being considered. Pressures for conformity probably restrict the public expression of creative ideas, the generation of creative products, but it is hardly likely that they could "kill” or "smother" the maturation of an ability that is based on innate aptitudes. The point of view expressed here is that the initial success of a child in solving creative problems leads to a minor facilitation of the differentiation process. Of course, the praise or criticism of parents and teachers provide an important source of information concerning the success or failure of creative problem solving. Hie opinions of others probably lead to a retraction of a particular response or product or solution, since external pressures would suggest that a response is not acceptable or appropriate. It is not reasonable that parents or teachers could £8 deny the existence of problems that require creative abil ity. By depreciating creative problems in comparison with those problems that have one "correct" answer, individuals may not practice the solving of problems that are obvious ly dependent on divergent production. Because other types of problems, not as obviously "creative" in the sense of artistic, may require some involvement of divergent think ing, practice and experiences of success probably play an important, albeit indirect, role in emphasizing certain special aptitudes that are in part a reflection of innate structural differences. The position espoused by this author can be illus trated by a more concrete example. A boy who has the ability to produce "wild," unconventional ideas may be disposed to suggest one to a teacher in a chemistry course. If the answer he gives is "incorrect," he may learn that original responses are not acceptable in that class. The same aptitude will probably lead to success in a creative writing course and most certainly will stand him in good stead if he has also the temperament to tell jokes "with a new twist" to his friends. Even in situations where all external evaluations of his work are opposed to originality, this aptitude could conceivably help him to arrive at a solution acceptable to others, since it Is the product, not the process, that is exposed to public scrutiny. This example suggests one way in which nonaptitude factors influence the development of sbility. An indivi dual who is successful, because of aptitude, in solving one type of problem may perceive another problem as re quiring the same aptitude. An individual who has high divergent thinking aptitudes may practice and improve his creative ability in situations where creativity is not at issue because of his perception of the generalized situ ations. The aptitude to change set, as described by Guilford's spontaneous flexibility, may be practiced by persons who tend to make many "false starts" but are suc cessful because the correct approach is among the alterna tives considered. It is not likely that the teacher's injunction, "We don't do that problem that way," will ex tinguish flexibility if the individual finally produces the "correct" response. Summary A theory of creativity is suggested which is intended to bring creativity closer to the traditional content of psychology and to facilitate and stimulate further re search on creativity by making more concepts "operation al." Creativity is viewed as an ability to solve a part icular type of problem, that is, one which requires one or more aptitudes which Guilford includes in his "struc ture of intellect" under the category of divergent pro duction. Problems such as kinds of creativity, creative potentiality, nature-nurture, differentiation, influence of experience, and creativity in children are discussed in terms of relevance to the phenomenon of creativity. It is postulated that creativity, like other abilities, shows a regular progression with age and a general-to-specific trend. It Is further suggested that the influence of ed ucation, social pressure, and restriction of behavior may be less than most theorists imply. CHAPTER IV A REVIEW OP RESEARCH ON CREATIVITY The recent revival of interest in creativity has pro duced research that is considerably different in emphasis from that of the first quarter of the oentury. The differ ences can be related to changes in theoretical considera tions, in data gathering instruments, and in research meth odology. Although there are historical antecedents for the current research on creativity, many of the earlier re search interests have been abandoned. The earliest studies were scholarly, speculative and somewhat philosophical. Many of these investigations would not be considered research today. There was not the clear differentiation between theory and research or between the orists and researchers that prevails today. Current re search typically does not arise from comprehensive theories, there is little interest in accumulating information to build a theory and findings have no appreciable influence on popular theories. There are five major research interests in studies of creativity: (1) the process of the creative act; (2) the relationship between art (or the productiveness of eminent men) and insanity; (3) the influence of heredity; 61 62 (i+) the comparison between "artists" and "nonartists";1 and (5) the identification of personality attributes re lated to creativity from studies of individual differences# Although all five areas continue to be of some concern to theorists, only the last two areas listed are currently subject to serious research activity. The Process of the Creative Act. In almost every case research on the creative process, that is, the tem poral sequence of events that an individual follows in creating a product, has used the introspective reports of creative persons. The description of the method used in arriving at mathematical solutions, which Poincare^ re ported (Poincare, 1913) has been elaborated into a theory that is virtually unchallenged after almost 50 years. Poincare's observation that he stopped active problem solving, rested, and then had a "sudden illumination" is the basis of the only widely accepted theory of the crea tive process* Wallas later (1926) expanded Poincare's notions into the theory of the four-stage creative process and named the resting stage the "incubation" stage. Biographical analyses have almost always confirmed Poincare's findings •^The term "artist" is used throughout this paper to refer to individuals recognized as creative and unusually productive regardless of profession or materials used for creative expression. An attempt was made, when referring to people who draw, paint, etc., to qualify the term— "art students," "commercial artists," etc.--for those in the graphic art areas of specialization. 63 (Wallas, 1926; Dashiell, 1931; Patrick's study of poets, artists, and scientists, 1935* 1937> 1938; Hadamard, 19i|5; Hutchinson, 19U9; Ghiselin, 1952). Ghiselin's well known work provides ample evidence of the continued acceptance of the theories of Poincare and Wallas and of the intro spective report method of investigating the creative pro cess . It is significant that one of the only laboratory type experiments relative to the creative process does not confirm the Poincare-Wallas idea. Eindhoven and Vinaeke made observations of groups of artists and "nonartists” as they produced paintings in the laboratory. They con cluded that there was "...no evidence of four separate and distinct stages In the creative process..." but that the "stages" postulated by Wallas are aspects of the processes which occur at various times during the process (Eindhoven and Vinacke, 1952). The Relationship Between Art and Insanity. A second very early interest in creativity research involves the hypothesized relationship between art and insanity. The approach has almost always been to study the biography or autobiography of artists. Often there has been the re finement of a statistical survey of selected samples of artists. One of the earliest influential researchers, Lombroso, who published in 1891» more or less set the pace for later studies. Basing his hypothesis on the idea bk. that Insanity is functioning "...under the domination of the unconscious" or of an "irresistible impulse," Lombroso saw the same characteristics In creative persons. He said, "The coincidence of genius and insanity enables us to un derstand the astohishing unconsciousness, instantaneous- ness, and intermittance of the creations of genius" (Lombroso, 1891). His method of documentation is to list recognized artists and geniuses who were also epileptic, psychopathic, psychotic, etc. This has been a frequently used research methodology. Although theories of insanity have changed since Lombroso and, thus, the explanation for the correlation between creativity and insanity, later researchers differ little in methodology. Examples of the survey-type docu mentation are Jacobson (1909)» Lange-Eichbaum (1932), White (1930), Bett (1952), and Ellis (190l|). Although Ellis’s work was not restricted to creative ability, but included all types of Britsh intellectual geniuses, his statistical survey is much more comprehensive and rigor ous (especially for 190i^) than most others. Ellis found the Incidence of emotional disturbance to be quite rare among geniuses. Anastasi and Foley, on the basis of a review of the research in this area, question the validity of most of these early studies (19l|l). They point out that the "anecdotal" method provides no controls over the selec- 65 tion of cases and most studies are obviously biased in the selection of examples. Another type of study related to the problem of art and insanity is one where creative production of mentally ill persons are obtained and compared with the productions of normals. Although the research in this area has been almost uniformly fruitless; it can hardly be doubted, from the point of view of observation, that the art of psychotic patients is qualitatively very different from normals or from the same patients when they are in a lucid state. That creative productions are obtained and evsluated by clinical psychologists for the purpose of diagnosing men tal illness suggests the assumption that art is affected by mental condition. It has not been the finding, however, that the mentally ill is more "creative” but rather that he is more restricted in his productions. As was discussed in Chapter II, current theorists in creativity are almost unanimous in rejecting the hy pothesis of a relationship between art and insanity. The accepted idea today is that emotional illness detracts from creativity and, in fact, many theorists equate cre ativity with sound mental health. The Influence of Heredity. The influence of heredity on creativity, as a research interest, has decreased ap preciably in the last 50 years. The use of "pedigree charts" was the usual method of Galton whose studies of 66 the ancestry of eminent men included artists and other cre ative persons (I87O). The early theories of heredity were typically gross and unrefined; however, Jastrow suggested that originality is a specific ability "manifested in only one direction" (1898). Although Gal ton (1911) also used many of the psychological measures that he had invented and findings from many different sources (descriptions of monozygotic twins, observations of animals, laboratory experiments, etc.), his contemporaries, such as Cattell (1917), Kretschmer (1931), an< 3 Brimhall (1922, 1923), limited their studies to biographical surveys. Research on heredity using standardized aptitude tests with artists became popular in the 1920's and 1930’s and the theory of simple transmission of "genius" genes gave way to an emphasis upon the interaction of heredity and environment. Stanton's study of musical ability us ing the Seashore test, although not a rigorous study, suggested that both heredity and environmental "encour agement" were influential in outstanding musical ability (1922). Many current theorists accept the idea of the in heritance of special talent, but few make heredity an important consideration. Because environmental and ex periential factors are more observable and manipulatible, they are given more weight in terms of both theoretical emphasis and research interest. The last three decades I 67 have yielded virtually no published studies of heredity and creativity. Comparisons Between Artists and Nonartists. There have been two major methods of studying personality attri butes related to creativity: (1) comparing artists, sci entists, poets, etc. with "normals" and (2) investigating individual differences in aptitudes or other attributes which facilitate creative performance. Although both types of study are increasingly frequent, the latter me thodology, especially with factor analytic designs, has become predominant. Even as early as the turn of the Century, research findings suggested widely different conceptualizations of the personality of the creative person. For example, he might be expected to be preoccupied, highly original, dominated by his "unconscious" and most likely insane or epileptic (Lombroso and others). On the other hand, the creative person might have been described as possessing character traits related to "good genes"--great energy, excellent health, large head circumference, perseverance and practical business habits (Galton, l87h). He might be ashamed of his wish-fulfilling fantasies that origin ated in prohibited sexual desires in childhood (Freud, 1908b), or he might be motivated to actualize his poten tials and be able to "bear anxiety" (Goldstein, 1939). As Thurstone suggested, the identification of tal- 68 ented persons in our culture has grown in importance be cause of the social need, even though the basic facts concerning creativity and the creative process have not yet been established (1950). Using 1950, the year suggested by Guilford, as the line of demarcation between early and current research, there is a tendency to compare artists and nonartists with increasingly sophisticated data-gathering instruments but the statistical analysis of data has remained relatively constant. There are few studies reported for the forty years between 1910 and 1950. Two studies by Brighouse on aesthetic appreciation compared results of trained artists (graduate students and faculty members) with those of un trained adults, children and even feebleminded subjects. In one study (Brighouse, 1939a), paintings were presented tachistoscopically to test several popular hypotheses concerning preferences, perception, developmental trends, etc. Tentative findings from this study offered negative evidence for most of the tested concepts: perceptual types, psychical distance, association theory, eidetic imagery, etc. One interesting conclusion was that un trained adults possess only slightly more "artistic matu rity" than children. This writer concludes from the Brighouse studies that the differences observed between the artists and other groups can be attributed more to 69 training and experience than to primary differences in ability or sensitivity. A second study by Brighouse (1939b) was designed to test the hypothesis of C. 0. Weber that there is greater appreciation of beauty when the perceiver must fuse or integrate elements. Brighouse's findings were in "exact contradiction” of this hypothesis, since age (adult vs. child subjects) and experience (trained vs. untrained) were positively related to a preference for simpler forms. Welch (19ii6) represents the newer orientation in ex ploring differences between artists and nonartists which was most prominent from 1930 to 1950. Like many other investigators of this period, Welch sought new instruments to measure creativity and developed a simple data-gather- ing instrument. Kis conceptualization of creativity as the ability "to recombine ideas according to a plan" is similar to Guilford's concept of divergent thinking. Welch's test also had elements similar to those of Guilford's tests, i.e., component abilities were measured by "completion" type items emphasizing fluency. Welch found statistically significant differences between col lege students and professional artists on items that Guilford calls "figural" but no difference on two "seman tic" items. With a very small subsample, Welch got "high agreement" between ratings of creativity and scores ob tained by artists on his test. 70 Using this same test (Fisichelli and Welch, 19i|7) in a second study, he added 25 female art majors at Hunter College. The total scores did not differentiate profes sional artists and students, but both of these groups ob tained scores significantly higher than the unselected group of students. More recent comparison studies generally have used a battery of data-gathering instruments, often with projec tive tests. In a replication of Roe's study with artists, Andersen and Munroe (19U8) administered the Group Rorschach to college students majoring in (a) creative painting, (b) composition and design, and (c) liberal arts (control group). The only significant differences obtained were between each of the experimental groups and the control group. Painting students were "highly idio syncratic in their evaluation of reality;" while design students were relatively "practical," "objective," and "conventional." These results show "no similarity"to Roe's findings. In fact, the psychodynamics revealed were generally the opposite of those identified by Roe. There were three major ways to select groups for comparison: (1) accept society's evaluation of eminence, (2) have superiors or peers rate subjects, or (3) compare "highs" with "lows" on some measurement. Generally, the creativity research of 1950 to 1961 reveals a trend to ward greater objectivity in the criteria of productive- 71 ness and creativeness. Barron and G. S. Welsh developed a "figure preference test," with stimuli similar to those used by Brighouse to test the same hypothesis. In a series of more refined studies, these researchers have obtained results opposite to those of Brighouse. In the first of these studies (Barron and Welsh, 1952), the writers describe construc tion of the test and a factor analysis that produced two factors: "acceptance-rejection" and a bipolar factor with "simplicity-symmetry" at one end and "complexity-asymmetry” at the other. (This bipolar factor was also found by Eysenck with polygon preferences). Artists included in the factor analysis clustered at the "complexity" pole, a finding opposite to that of Brighouse. An item analysis of preferences of 37 artists and art students as compared with preferences of 150 nonartists resulted in a 65-1tem scale that differentiated the groups at the .05 level or better. Again artists preferred complex-asymmetrical stimuli and disliked the simple-symmetrical drawings. Differences between group means on the 65-item (FPT) scale were highly significant. A cross-validation study yielded similar results (Barron and Welsh, 1952). Rosen (1955) confirmed the results of the Figure Pre ference Test In differentiating art faculty and students from nonart faculty, but there were no significant dif ferences between levels of art training. The correlations 72 between the scores of art students on the FPT with both ratings of an "art product" and grade-point average were low but significant. Barron has reported results of a study in which the factor "complexity" correlated consistently with ratings of personal tempo, verbal fluency, effeminacy and sensu ality in a positive direction; it correlated negatively with constriction, good judgment, rigidity, conformity, and submissiveness. A revised form of the test correl ated with ratings of originality, intellect, sense of humor and "breadth of interest." (Barron, 1953)* Separating a sample of 100 captains of the United States Air Force into a "high original" (N = 15) group and a "low or unoriginal" (N = 15) group on the basis of scores on a battery of tests, Barron (1955) found statis tically significant differences with various measures. To establish the groups on the dimension of originality he used the following measures: three of Guilford’s tests, Unusual Uses, Consequences (remote), and Plot Titles (high); the "0" score of the Rorschach; and three less well-known instruments. "Original" subjects were found to (1) prefer complexity and imbalance (Barron- Welsh scale), (2) be more "complex psychodynamically" (based on psychiatric interviews), (3) be more independ ent in their judgments (modification of Asch’s experiment), and (i|) reject suppression as a control of impulse (index 73 of MMPI items and the Impulsivity scale of the CPI). In a study in which the "scientist” group was highly refined, into categories based on discipline (biology, physics or psychology) and on primary function (research er, teacher or administrator), many differences signifi cant at the .01 level were obtained between scsles of the Cattell Sixteen Personality Factor Questionnaire (Cattell and Drevdahl, 1955). Compared to the general population the group of scientists in general were higher in "general intelligence, ego strength or stability, dominance, de- surgency, lack of group superego standards, adventurous ness, sensitive emotionality, lack of paranoid trends, lack of free-floating anxiety, and compulsive superego (or will control)." Compared to other scientists, the re searchers were found to be more schizothymic, self-suffici ent, emotionally unstable, "bohemianly unconcerned," and radi cal. Drevdahl (1956) conducted a study in which graduate and advanced undergraduate students in art and science were rated by faculty supervisors on a seven-point scale of creativity, divided into two groups at median of ratings and compared through scores on the Cattell 16-PF Questionnaire, Uiurstone PMA, and many of Guilford’s di vergent thinking tests. Most comparisons were made through a 2 x 2 analysis of variance design. Virtually none of the measures differentiated the groups signifi- 7k cantly, with the exception of Guilford’s "originality,” ihurstone's verbal meaning, and Cattell's radicalism, self-sufficiency, desurgency and schizothymia (higher in creative groups). Drevdahl presented many tentative ex planations for his results, which are in disagreement with most comparison studies in the failure of most of the scores to differentiate groups. The explanation that the 50-50 split in establishing groups did not provide an adequate basis for discrimination of ability and "person ality" traits, seems most plausible. In a similar study reported by Lowenfeld and Beittel (1959), the results were generally quite different. Basing the selection of the highly creative and the non- creative groups of art students on ratings of their "per formances in the arts," differences on scores of 36 tests were analyzed. The eight attributes which discriminated the groups were sensitivity to problems, fluency, flexi bility, skill at redefinition, ability to abstract, ability to synthesize, consistency of organization, and originality. The first four of these were found to yield no differences in DrevdahlTs study; only the vari able of originality, was common to both studies. Lowenfeld has commented that his findings are almost identical to the factors isolated by Guilford. Often measures developed through correlational studies or factor analysis will prove to have adequate validity when correlation with a criterion is the method, but comparisons of mean scores of groups, e.g., ’ ’high” vs. ’ ’low” creativity, tend to show nonsignificant differ ences. This is demonstrated in the reports of Chorness, et al. from Lackland Air Force Base. Hie correlational studies are discussed in the subsequent section of this review. In one study (Chorness and Nottelmann, 1957)* 65 civilian employees whose contributions to the suggestion plan resulted in monetary rewards were compared to a matched group of 65 (who had never submitted ideas) on numerous tests of the Guilford battery. None of the dif ferences between group mean scores was significant. Saunders (1956) reports a study of approximately 800 engineers, who were assigned to groups on the basis of supervisors’ ratings. Comparisons on 56 measures were made between various types of engineering "functions” (identified through a sort of job analysis) and between high and low "success" groups within each function. Re search people were found to be superior to sales engineers in aptitude only in a numerical inductive reasoning test (Guilford's symbolic reasoning), while verbal or semantic tests did not discriminate these groups. In interests and temperament measures, the research group was highest in "liking to think" and the sales group lowest; both these groups were higher in "tolerance of ambiguity" than groups representing five other functions; "successful" research and "successful" sales people scored significantly lower on "masculinity" than "unsuccessful" members of their group. Ihe three of Guilford's tests in this study yielded few significant discriminations: "success" groups scored higher in number of "common" responses in Controlled As sociations; the remote score of Idea Classification dis criminated between people of the research function and the sales engineers and the "obvious" score differentiated between "successful" and "unsuccessful" research engineers; Consequences failed to discriminate between any of the groups. SImberg and his associates have published reports of many studies with the A C Test of Creativity Ability, a five part test that yields fifteen scores (Harris and Simberg, 1959). The parts are called consequences, general reasoning, sensitivity to problems, practical judgment and originality. A series of validity studies show signifi cantly higher scores for more original productive employ ees: (1) the total score and seven part scores discrim inated between two groups of 18 engineers whose job was to produce new ideas, the groups were selected on the basis of supervisor's ratings of ability to produce "u- nique ideas;" (2) a group of 22 engineers rated as "sat isfactory" in their performance on creative tasks by their superintendent was differentiated by the total score and all subscores from 13 engineers rated "unsatisfactory;" 77 (3) matched groups of hourly employees (N = 28) who dif fered In number of suggestions made to the Suggestion Plan differed significantly in the total quantity score of the A C Test; (1;) the total score also differentiated signifi cantly between 18 employees who contributed many sugges tions and 13 employees with low suggestion records (Sim- berg and Shannon, 1959). The A C total score correlated with Thurstone scales for the temperaments "vigorous," "active," and "dominant." As part of an extensive study of Industrial research scientists conducted by Stein (1957)# l j - 6 scientists were rated on creativity by superiors, peers and subordinates. Comparisons between the group of "more creative" scien tists and "less creative" scientists led to the following conclusions: "The more creative men did somewhat better on a test of verbal intelligence than did the less creative men...the less creative men were more submissive to authority and more acceptant of tradition*..the more creative men were more devoted to their goals and made greater sacrifices to achievethem...were more dynamic in that they strove for more distant goals and were more integrative in their approach to com plex situations...the more creative men saw them selves as more different from their work groups and from the general population than did the less creative men...." These findings lead to the usual conclusions common to creative subjects, adults and children: they are less submissive and conventional, much more persistent, and perceive themselves as different from the average person. In on© of the few Rorschach studies where a "control" group of nonartists was used, Hersch (1958) compared score categories of 20 eminent artists, 20 "normals" and 20 schizophrenics. The results suggested that artists mani fest significantly greater maturity and cognitive control (Movement and Fbrm Dominant) while having greater accessi bility to primitive material (frequency of Physiogonomic content responses) than either control group. Neverthe less it is notable that many popularly held hypotheses about the Rorschach were not supported by this study. Munsterberg and Mussen (1953) used the "needs and presses" analysis of T A T protocols to study differences between 30 outstanding art students (faculty ratings) and 30 nonart majors. They concluded, "More artists than non artists have quiet, introverted personalities and suffer from intense guilt feelings. In general, they are less likely to have overt aggressive tendencies and, rather than having open conflict with their parents, they seem to prefer leaving home." They also suggest that the art students are "...willing to sacrifice material pleasures, personal success, and personal acceptance." It is interesting that studies using projective tests generally reveal the attributes of creative persons more clearly when there are comparisons with a control group than when the protocols of creative persons are "interpreted" by the traditional clinical method. Al 79 though studies in which projective protocols of productive individuals are analyzed usually do not have a control group with which to compare the results, the clinical or intuitive method actually involves "subjective norms” and an implicit quantitative comparison. In Anne Roe's research, for example, in addition to infrequent comparisons between groups, there are state ments made concerning "increased amounts," "high degrees of" and "high scores in" Rorschach performance that have reference to Klopfer's norms. In one of her earlier studies of 20 eminent American artists (Roe, 19lj6b), she found confirmation of Meier's results with children in the emphasis of "manual skill, energy output and persevera tion." Although Roe found evidence for "aesthetic intel ligence" and "aesthetic judgment," she found no evidence for "perceptual facility" or "creative imagination" from Rorschach protocols. Artists had better than average intelligence, a tendency toward abstract thinking and a passive, feminine orientation. Ihey were found to be self-disciplined and extremely hard working. Roe suggests that these attributes are very similar to those found in other productive men or those engaged in intellectual pursuits and that what differentiates artists is their selection of material (concern with sensory perceptions) and choice of occupation. Roe completed a series of studies with biologists, which is probably the best known research in the area of creativity. A study of 188 biologists (Roe, 19i;9) who were given group Rorschachs revealed interesting differ ences between fields in biology; for example, botanists were most placid and well-adjusted, anatomists were most lacking in ego controls, and physiologists were most con cerned with personal problems. The comparison of the total group with "norms" suggests a somewhat unexpected personality structure involving anxiety, a lack of pro ductiveness and little creative potential (interpreta tions by this author). In a more intensive study of 20 biologists selected by ratings of a six-man committee, Roe (195?la) obtained life histories, Rorschach and T A T protocols, and scores on a specially constructed aptitude test called VSM (for verbal, spatial, and mathematical). She found that parents of subjects tended to be superior in occupational and edu cational level, to highly value education and learning in the home, and that often (1|0%) the family was disrupted by divorce or death of one parent. Roe reports, "An out standing feature in the history of all of these men is the persistence and intensity of their devotion to their work." Although they developed an early interest in re search and biology, the biologists revealed "...a general picture of shyness, lateness in developing interest in or in being able to express interest in girls, and present 81 general disinterest in most social contacts...." Scores on the VSM showed some tendency to differentiate biologists according to area of specialization. The Rorschach re sponses of the total group suggest somewhat high scores in Dr, responses to unusual blot areas; marked restriction in use of M, human movement said to indicate maturity, inter est in people, and creative ability; high incidence of shading and color shock, suggesting anxiety and probable difficulty in adjusting to emotional situations. Roe concluded that although the subjects demonstrated intel lectual control, objectivity, and good judgment and were ’ ’stubborn and persistent," they were unaggressive and their "...social and personal relations lacked warmth." These results were quite similar to Roe's earlier study of biologists (Roe, 191+9), although indications of pro blems in personal adjustment were not as serious as in the previous study. The analysis of T A T stories sug gested that the subjects were "self-absorbed, unaggressive, and not particularly interested in people." Interesting ly, the biologists did not reveal strong drive or high level of achievement motivation. Using the same methodology (Group Rorschachs), Roe studied a group of 1 0 [ | . psychologists and 25 anthropolo gists, who were faculty members of large universities (1952), as well as a group of 61 research scientists (195lh). Psychologists, especially clinical psychologists, 82 showed the greatest productivity (number of responses), best overall adjustment (Munroe’s Inspection Technique Score), highest maturity and creative potential (human movement) and somewhat better ability to handle emotional situations, when compared to other groups or , , norms., , Roe notes the obvious fact that psychologists have the greatest knowledge of the Rorschach, and presents data indicating that the Rorschach experts in her study did, in fact, pre sent the "healthiest" and most desirable personality picture. Anthropologists were generally much more similar to psychologists than either of the other groups. The research physicists (Roe, 1951b) were also given the T A T and VSM tests. Differences between subjects and the correlations between measures were emphasized in this study. The verbal and spatial scores were noted to cor relate significantly in this group. Positive correlations were obtained for measures of "productiveness," i.e., number of problems tried on the VSM test, average length of T A T stories, and number of responses on the Rorschach. Roe concluded from the intercorrelations that there was a cluster that describes a person "verbally skilled, pro ductive on the Rorschach," high in M and low in "sum color." Roe found no relationship between conformity (number of "popular" responses on the Rorschach) and originality (unusual T A T stories). In a more inclusive study comparing eminent men in the four disciplines (Roe, 1953)> scores on the VSM, analyses of T A T performance and life history material from fourteen psychologists and eight anthropologists were compared to similar data collected previously from biolo gists and physicists. Psychologists were found to come from families having the lowest socio-economic status and anthropologists from families having the highest status, when comparisons of the four groups were made. In both social scientist groups overprotection and firm control by parents were common and a majority of the subjects re belled against parental authority and were, in fact, "... still angry or rejecting or disrespectful of one or both parents.” The physicists and biologists, on the other hand, more often withdrew from family conflicts, became somewhat Introverted and lacked rebelliousness and later family difficulty. Age of dating was considerably earlier for social scientists and shyness less of a problem than for the other groups. The VSM scores suggest that speci fic aptitudes related to occupations differentiate the groups. For example, theoretical physicists obtained the highest score on the verbal scale, anthropologists second highest and experimental physicists the lowest; the math ematical scale was too easy for all physicists, and anthropologists had a comparatively low mean score. Among psychologists, the experimentalists had higher standard scores for either spatial or mathematical than for verbal 8U scales. The analysis of T A T stories suggested that the biologists and physicists were leas Interested In and more defensive about Interpersonal relations than the social sci entists who showed concern, tension, and "general helpless ness" in the face of severe problems. Psychologists espe cially were shown to be unhappy, tense, and anxious; while biologists were the most unaggressive group and the most ac cepting of the parental role. The stories of social scien tists suggested dependence upon parental figures and re bellion that leads to guilt and unhappiness; while the other groups "showed considerable independence of parental rela tions without guilt." Rorschach profiles of the social sci entists suggest that they were productive, somewhat impul sive, had a rather uncritical attitude toward their produc tions. They showed considerable anxiety but effective techniques for handling it? a consistent interest in per sons; and rich reactivity to emotional stimulation. The ITS showed good personal adjustment. Both showed free aggression, but the anthropologists were most angry and the psychologists' anger was usually oral and was accompanied by a need for nurturance and A need to be nurturant. The following differences were obtained among the four groups of eminent men In Roe's study? the social scientists were most fluent and productive; the biologists were most constricted and "best adjusted;" physicists were best able to handle emotional stimulation while biologists were unable to deal with emotions; social scientists were interested in people and biologists were most objective. Roe also compared the results of Rorschach profiles of the groups of eminent men with those of the large groups of relatively unselected men in the same fields. The emi nent men were more productive, original, responsive to emotions than the larger groups and less controlled, re stricted in interests, critical and passive. An impor tant critique of projective research on creativity is provided by Roe: T A T stories do not give clues to pre dict greatness in eminent, productive men; Rorschachs emphasize psychopathology too much and most of the proto cols suggested maladjusted personalities (Roe, 1953)* Individual Differences and Correlations. Studies of the personality attributes related to creativity that use no control group are usually correlational studies, some times involving validity criteria or factor analysis. Guilford and Guilford (1931) described a test in which 2i| adjectives are presented and subjects draw a line to represent each adjective. The test was administered to art students who were also rated on a five-point scale of creative ability by instructors. Correlations between test scores and ratings were .58 and .65 for two groups of students; correlations between the test and measures 86 of intelligence were minimal. In a study of inventors (Rossman, 1931) question naires were sent to patent attorneys and inventors. Ac cording to attorneys, inventors do not have "peculiar traits" that differentiate them from average people but have the characteristics of originality, analytic ability, imagination, lack of business ability, and perseverance. Inventors describe the following traits of the successful inventor: perseverance, imagination, knowledge and memory, business ability and originality. Rossman's analysis of the "inventive process" from the responses of inventors suggests "distinct steps" that involve (1) the observation and analysis of a need; (2) a survey of available informa tion; (3) a formulation of all solutions; (i|) a critical analysis of these solutions for their advantages and dis advantages; (5) the "birth" of the new idea; (6) experi mentation to test the most promising solution. Inventors, according to this study, are not introspectively concerned about the origin or process of creating. Using questionnaire data from 19^ scientists to obtain external criteria of creativity, Van Zelst and Kerr performed a cluster analysis, according to Tyron’s B-coef ficient method. Cluster "A" was called creative ability and included variables such as voluntary determination of deadlines and number of inventions and publications; Cluster "B" or opportunity included academic degrees and 87 age; Cluster "C" or Industrlousneas included total home work hours and number of journals read. Using one of these criteria, number of publications and inventions, these investigators studied the correla tions of 56 self-rating scales from 511+ physical scien tists and engineers (Van Zelst and Kerr, 195M• Subjects compared themselves with colleagues on five-point scales. Correlations with age partialled out suggest that more productive scientists perceive of themselves as "more original, less contented, less convention al, More imaginative, more currious, more en thusiastic, more impulsive, more self-confident, more leading, less worrying, less inhibited, less formal, more liking for work, more sub jective, more fastidious, and less acquisitive." In a very early study in which tests were designed to measure a fairly specific creative aptitude, Chassell (1916) administered twelve tests to 100 college students and one inventor. The tests were Wordbuilding, Picture Writing (using Chinese characters), Analogues, Original Analogues, the Chain Puzzle (a riddle), the Triangle Puzzle, Royce's Ring (a geometric demonstration), Comple tion Test, the Code Test, Economic Prophecies (inventing objects or suggesting improvements), the Invention Test (details of a specific invention), and Novel Situations (what would be the results if an event should occur). It is interesting that the inventor did not appear exception ally high in originality. The importance of this study 88 lies in the test ideas, which have inspired many of the current tests of originality. Schimek (195^) also studied originality, but was interested more in developing methods of discovering and evaluating originality through observation of behavior. In addition to a battery of projective tests and ratings by faculty members, 80 graduate students were observed for three days and the observers rated subjects on their two most original performances. Measures of originality from the TAT, Sentence Completion Test, Rorschach, modifications of the inkbot. method, and a test where the subject completes drawings (Franck Test) correlated significantly with the ratings of the assessment staff. Faculty ratings also correlated significantly with rat ings of performance. Originality was said to be related to "intellectual competence and breadth of interests; and independence of mind and self-assertiveness." One important consideration in recent research en deavors is the relationship between intelligence and cre ativity. Representative of the usual findings are those reported by Meer and Stein (1955)* The Wechsler-Bellevue Intelligence Scale and the Miller Analogies Test were administered to 6[| male research chemists who were ranked on creativity by department heads. Although age, length of service in the industrial organization, and total professional experience were not related to creativity 89 rank, Ph.D.’s were ranked significantly higher than non- Ph.D.'s. The correlations between measures of I. Q. and rankings for the total group were significant, but there was no relationship between Intelligence and creativity in the Ph.D. group. These authors concluded "...that where qual opportunity is available, higher I. Q. scores beyond a certain point (approximately at the 95th percentile) have relatively little significance for creative work...." In an article describing his conclusions of several studies of engineers whose "original inventiveness" was high, Peck (1958) lists as characteristics of creative men fairly high I. Q., a drive to be creative and to be differ ent from others and a need to prove the superiority of their ideas. He noted in the life history of these men, a successful rebellion and assertion of independence from dominating parents. Unusual persistence, strong motiva tion to succeed and "permeable" boundaries between con scious and unconscious were also descriptive of creative engineers. Gough (1958) had [j5 research scientists Q sort state ments dealing with attitudes toward science and research. A factor analysis yielded eight syndromes or "stylistic" types. I. the Zealot, who sees himself as dedicated and driven; II. the Initlator, who reacts quickly and gener ates many ideas; III. the Dlagnosticlan, who is a "good evaluator" of strong and weak points, etc.; IV. the Scholar, 90 who claims an exceptional memory and an "eye for detail and order;" V. the Artificer, who prefers to elaborate and perfect the ideas of others; VI* the Esthetlclan, who claims wide interests, analytical mindedness; VII. the Methodologist, who is interested in the methodology and mathematical analysis; and VIII. the Independent, who prefers to work alone and shuns administrative work. Gough compared the 13 highest on Factor II, the Initiator, with the 13 lowest, according to their scores on the California Personality Inventory. High "initiators" were significantly higher on the scales of "Dominance, Social ization, and Self-Control." It should be noted that most studies report opposite trait characteristics for cre ative scientists, except dominance which is sometimes found to be correlated with creativity. Hall (1958) described a second stage in this study. He had the [|5 subjects of Gough's study make mosaic con structions which were rated on six scales by five profes sional artists. These ratings showed no correlations with Gough's eight factored "stylistic" types; no correlation with estimates of intelligence, except for the assessment staff's rating of "effectiveness of intellectual function ing;" no correlation with the Allport-Vernon esthetic value scale; no correlation with Guilford's originality tests, except Unusual Uses. Significant correlations were obtained with the Barron-Welsh FPT "complex!ty-asym- 91 metry" score, a modification of the Gottschaldt Figures and the Mf scale of the MMPI. Based also upon evaluations of the assessment staff, Hall concluded that scientists con structing the more original mosaics were self-accepting, independent, Indifferent to time schedules, dominant and self-assertive, impulsive and rejecting of social conven tions. Woodworth (195>8) reported a third stage in the study of l j . 5 research scientists who were also ranked on 23 per sonality variables. The rankings by eight staff members were normalized and factor analyzed. The five factors obtained were I. effectiveness of intellectual functioning; II. soundness and adequacy as a person; III. dominance and self-assertion (Included also self-confidence and originality): IV. impulsivity (in terms of originality and self-expression but not "pathological undercontrol"); and V. masculinity (in terms of the sex role, not Inter ests). A Summary of Personality Attributes Found and Hypoth esized. Many current and ongoing research studies on cre ativity are reported in the series, Research Conference on the Identification of Creative Scientific Talent, edited by Galvin W. Taylor (195>6, 19£8, 19^9)* Roe has listed predictor variables for creativity suggested by a committee of eminent researchers in a report to the Second Conference. She also presented a summary of "moti- 92 vational attributes" of creative persons discovered in numerous studies, which was reported by a second commit tee to the same conference. The motivational attributes reported were the follow ing: "1. A dislike of interpersonal relations. 2. A fondness for the mental manipulation of things --not of people. 3. A liking for method and exactness. 1;. A liking for autonomy. 5. A dislike of sterile or monotonous routine. 6. A dislike of introversive affect-associated preoccupations, for example, poetry. 7. A certain interest in the problem of taking the wager, of gambling--the liking of ventures involving calculated risk. 8. A preference for the mechanism of repression and isolation in dealing with instinctual en ergy and affect. 9. A peculiar area of sensitivity in the domain of aggression; a distaste for interpersonal contraversy in almost any form. 10. A low Oedipal intensity,— a low tendency to re bel against the father figure and a rather weak tendency to cathect the mother or the mother- surrogate as a love object in any identifiable form. 11. Strong perseveration and strong control of impulses. 12. Strong extra tensive orientation toward the world of things and objects. 13. Low on talkativeness. lip. Low on impulsiveness. 93 15. Low on gregariousness. 16. Liking for abstract thinking. 17. Not especially driven by status aspiration. 18. High tolerance of ambiguity.” (Taylor, 1958)* The second report refers to suggested variables to be explored in the investigation of the potential of a person for creative work. The following are excerpted from the report: "Intellectual aptitudes: Divergent thinking tests Convergent thinking tests Selective measures from cognition and evaluation Such standard tests as Scholastic Aptitude. Temperament: Stability-ins tability Impulse expression - impulse suppression Socialization - asocialization Independence - conformance Energy - inertia Aesthetic interests Self-assertion Complex!ty-simplicity. Motivation and Drives: Inquiringness of mind and curiosity Intellectual persistence--in carrying work to completion and in returning to problems Tolerance for ambiguity Need for variety Need for autonomy Cosmic Involvement Insatiability” (Taylor, 1958). Research of Guilford and Associates on the Creativ ity of Adults. Probably the most widely known factor ana lytic research on creativity has been that done by Guilford and his associates at the University of Southern Califor nia* Tests developed by the Aptitudes Research Project are widely used by other investigators, and Guilford’s the oretical notions, educed from research results, have in spired theories of creativity, one of which is presented in Chapter III of this paper. In a study of l j.0 0 air cadets and Air Force student officers (Wilson, Guilford, Christensen, and Lewis, 195U)» the investigators administered a battery of 53 tests* The factor analysis yielded the following aptitudes: (1) verbal comprehension; (2) numerical facilityj (3) per ceptual speed; CI4 .) visualization; (5) general reasoning; (6) word fluency; (7) associational fluency; (8) idea tional fluency; (9) Thurstone's Closure I and II (these nine factors were also obtained in previous studies); (10) originality, the ability to produce uncommon re mote or clever response; (11) redefinition, the 95 ability to use objects in a new way; (12) adaptive flex ibility, the ability to change set when new requirements make it necessary; (13) spontaneous flexibility, to change set without the imposition of external requirements; and (llj) sensitivity to problems, the ability to recognize defects, needs and deficiencies (the last five factors were new to this study). Hypothesized factors not found were penetration, analysis and synthesis. An article dis cussing the obtained originality factor (Wilson, Guilford, Christensen, 1953)» pointed out that there was no evidence for specific originality aptitudes; tests whose responses were judged or scored to be remote, clever, or statisti cally infrequent in the Air Force sample were found to have loaded significantly (i.e., above .30) on this uni tary factor. In a second major factor analytic study (Guilford, Kettner, and Christensen, 1950), in which a 57 test bat tery was planned to be administered to 630 aircrew train ees and naval air cadets, practical considerations led to what is actually three factor analytic studies. Tests were selected, modified or constructed to measure twelve hypothesized factors and four refernce factors. The purpose of the study was to "verify" by factorial con stancy aptitude factors found in one or more previous studies. Twenty distinct factors were obtained in this set of analyses. Three of the four reference factors, verbal comprehension, general reasoning and ideational fluency, emerged as well as two other firmly established (but not hypothesized) factors, expressional fluency and spontaneous flexibility. Five of the six factors which had been found in only one previous study were verified, among these were originality, associational fluency, and sensitivity to problems. A new creative thinking factor called penetration was found, which seemed to Involve the "remoteness” of association. Other factors which emerged were usually evaluation or reasoning factors. Among the tests which fell on factors that Guilford now calls "di vergent thinking" were Controlled Associations II, Plot Titles, Consequences, Unusual Uses, and Cartoons. Modifi cations of most of these tests have been made for use with children. In a study designed to differentiate several hypothe sized verbal fluency factors (Guilford and Christensen, 1956), a test battery yielding ipl variables was adminis tered to 230 naval air cadets. The tests were carefully constructed to vary only slightly but systematically from each other, according to previous factor analytic studies cited: tests for reference factors were included. The following factors were found: A. Verbal Comprehension (reference) B. General Reasoning (reference) C. Motor Speed (reference) 97 D. Originality (reference): Cartoons, Plot Titles (cleverness), Simile Completion, Simile Interpre tation E. Expressional Fluency: Four-Word Combinations FL, Simile Interpretation, Word Arrangement, Two-Word Combinations, Two-Word Combinations FL, Four-Word Combinations F. Ideational Fluency: Thing Listing lb, Brick Uses (fluency), Thing Listing la, Plot Titles (low), Descriptive Completion G. Eduction of Conceptual Correlates H. Word Fluency: Suffixes, Word Listing I, Word Listing II, Rhymes, Word Listing III, Associa tions III, Two-Word Combinations FL I. Associational Fluency: Simile Insertion, Con trolled Associations Ilia, Controlled Associa tions Illbc, Controlled Associations Hid, Con trolled Associations Ille, Alternate Headlines (word), Inventive Opposites In a study of flexibility in thinking (Guilford, Frick, Christensen, and Merrifield, 1957)» a battery of 28 tests, which yielded 32 variables, was administered to 208 Air Force cadets. In addition to the previously discov ered factors of adaptive flexibility and spontaneous flex ibility, which are among the most important contributions of Guilford’s research on creative thinking, two rigidity factors were hypothesized. Perseveration or ”the tendency of behavior once operating to run its temporal course un til exhausted or disrupted by some intruding influence" was predicted to be the opposite of spontaneous flex ibility; persistence or "the insistence, with continuing motivation, upon pursuing one line of approach to a prob lem in the face of altered conditions" was predicted to be the opposite of adaptive flexibility. Twelve Interpret able factors were obtained, but the rigidity factors hypo thesized did not emerge. The following four reference factors were obtained: verbal comprehension, general reasoning, logical evaluation, and Ideational fluency (Plot Titles--low, Brick Uses--fluency, Riddles--obvious, Rhyming Definitions). Because of the overlap between originality and the flexibility factors and because the adaptive flexibility factor was primarily non-conceptual (now called semantic), Guilford suggested that the origi nality factor obtained (Consequences--remote, Unusual Uses, Riddles — clever, Object Synthesis, Plot Titles-- clever, Figure Analysis, Rhyming Definitions, Chain Asso ciations) might be a specific type of flexibility. The factor of spontaneous flexibility isolated ih this study (Brick Uses — flexibility, Object Naming, Unusual Uses, Brick Uses--fluency, Consequences--remote, Impossibilities Object Synthesis) provided a new definition of the con cept: "the ability or disposition to produce a diversity 99 of ideas (through diversification of direction)...with freedom from inertia and restraints...." Adaptive flex- billty (Insight Problems, Match Problems II, Penetration of Camouflage, Squares, Planning Air Maneuvers, Hidden Figures) in this study seemed to be a "figural-structural" type of originality and was tentatively redefined as "ability to change set...," the opposite of "the persis tence that prevents restructuring." In a study (Guilford, Christensen, Frick, and Merri- field, 1957) of the correlations between creative-thinking aptitudes and nonaptitude temperament factors, a 250-item temperament inventory, which measured l j . 0 variables, was administered to 212 Coast Guard cadets. A factor analysis of the intercorrelations of these variables resulted in twelve interpretable temperament factors: A. Neurotic- Tendency (depression, nervousness, immaturity, etc.), B. Escape-Tendency (need for variety, freedom and autistic thinking), C. Logical Thinking, D. Emotionality, E. Moral Conformlty, F. Orderllness-vs.-Impulsiveness, G. Conver gent Thinking, H. Ascendence-Confidence (including self- confidence and persistence with ascendence), I. Need for Discipline (desire for others to be disciplined and for power to discipline), J. Divergent Thinking, K. Dislike of Ambiguity (self-confidence and creative-expression loaded significantly and negatively), L. Appreciation of Origi nality (includes also sense of humor), M. Meditative 100 Thinking (Impulsiveness loaded negatively) and N. Preci sion* Twenty-four temperament variables were selected, based on this factor analysis, and correlations were ob tained with selected aptitude test scores In the Coast Guard group, 221 naval air cadets and 208 Air Force cadets* Most of the correlations reported were close to "zero*1 * The following correlations were significant at the *01 level: temperaments of Impulsiveness and aesthetic ex pression with Expressional Fluency: Impulsiveness, ascend ance, appreciation of originality and self-confidence with Ideational Fluency: divergent-adaptive, aesthetic expres sion, and in one group (a negative correlation) need for discipline with Originality* None of the correlations be tween the aptitudes of Associational Fluency. Structural Adaptive Flexibility* or Spontaneous Flexibility and any of the temperaments was consistently significant. Many of the validity studies with Guilford's tests have reported adequate correlations, especially when the validation is a prediction of a continuous variable such as performance ratings or grades* Sprecher (19^9) used the following tests from Guilford's battery in a study of 107 engineers: Plot Titles (both scores— for originality and ideational fluency), Synonyms (for associational flu ency), Sign Changes (for adaptive flexibility) and Vocab ulary (for verbal comprehension). Sprecher has re ported the correlation of various combinations of 101 divergent thinking aptitudes with five different criteria* With two of the five criteria, a "work-samplen Mechaniza tion Problem and ratings of creativity by peers, most of the multiple R's were significant at the *01 level* This study demonstrated that divergent thinking aptitudes can contribute variance for the prediction and ultimate devel opment of adequate criteria for creativity* Many of the Lackland Air Force studies conducted by the Chorness group, which generally uses the Guilford bat tery as predictors in Its research, present evidence for the effectiveness of these tests. One study (Chorness and Nottlemann, 1956) involved the ratings of the creativity demonstrated in lectures of fifty-two student instructors, to whom an intelligence test and a battery of Guilford's tests had been administered* The nine rating scales were factor analyzed and the correlations obtained between the predictors, the creativity tests and the intelligence test, and the criteria, four factors involved in creativity in teaching and grade In the instructor-training course* The best single predictor of creativity in teaching was Controlled Associations (associational fluency)* Both creativity and grades were predicted by the factor com posite of divergent thinking tests as well as by the intel ligence test. In fact, the divergent aptitude composite did slightly (not significantly) better in predicting grades. 102 A second study (Zaccaria, Chorness, Garry, and Borg, 1956) Involved the administration of ten of Guilford's tests, which yielded fifteen scores, to 1?0 aviation ca dets, for whom answers to a 2li-item biographical inventory were obtained. A "creative activities" score was derived from the inventory and correlations computed with the ap titude scores. Ten of the correlations were significant at the .01 level and one at the .05 level; variables cor relating highest with "creative activities" were sensi tivity to problems, ideational fluency and originality. Research on Creativity of Children. Theorists gener ally emphasize that children are more creative than adults; children's creativity is often the focal point of the the ory. Nevertheless, there are few individuals currently engaged in research on creativity of children. Many of these studies use modifications of the Guilford battery for use with children and have been completed in the last few years. The Aptitudes Research Project at the University of Southern California has begun a program of research on the creative thinking of school children. In a study with five large samples of ninth-grade students {20l\. children in one school, the T group; 229 boys with I. Q.'s between 95 through 119, the B group; 228 girls with I. Q.'s between 95 through 119, the G group; 206 boys and girls with I. Q.'s 120 and above, the H group; ip5 boys and girls with 103 I. Q.’s 130 and above, the ’ ’Gifted” group), 29 tests of the Guilford battery were administered and factor analyzed (Guilford, Merrifield, and Cox, 1961). Eleven factors were hypothesized based upon previous findings from studies with adults or upon predictions from the "structure of in tellect*" The factors obtained in all were easily inter preted as almost identical with factors obtained in studies with adults. Ten of the eleven factors found were "very similar" for boys and girls and few significant differ ences were found between sexes on these tests. Also noted was that selection based on I. Q. did not make a differ ence in factor structure. The following factors were a- mong those obtained with the following tests representing tests that loaded significantly for all four samples: Ideational Fluency (DMU) Consequences--obvious Plot Titles--low Spontaneous Flexibility (PMC) Utility Test--shifts Associational Fluency (DMR) Associational Fluency Expressional Fluency (DMS) Expressional Fluency Originality (DMT) Plot Titles--high In a study of more than I|00 sixth graders (Merrifield, 10k Guilford, and Gershon, 1963) in which 22 tests, many of which were revisions of Guilford’s divergent thinking tests were used, a factor analysis of the intercorrela- tions of 32 variables resulted in aptitude factors that were similar to those found in adults. Evidence for the predictability of school achievement (Schmadel, i960) with these tests in this group has also been reported. Among the factors obtained were the following: Ideational Fluency What Would Happen— obvious Names for Stories— low Spontaneous Flexibility Different Uses What Would Happen--remote Expressional Fluency Pour Word Sentences Originality Names for Stories--high What Would Happen--remote Elaboration Making a Plan. A study of the same school population (Merrifield, Gardner, and Cox, 1963) in which the scores of an aptitude battery were correlated with factored temperament scales and with teachers’ ratings is presented in full in a later section of this paper. 105 In a study of 78 boys and 113 girls of high school age whose I, Q.’s were ll£ and above (Klausraeier, Harris, Ethanathios, 1962), tests which were revisions of Guil ford’s battery or new tests constructed by Bereiter were administered. A factor analysis that had been performed a year before with the same subjects was summarized in this article and the tests selected were based upon Bereiter’s analysis. In Bereiter’s study only three factors had been obtained In an analysis of II4 . tests and six tests loaded on no factor: Expressional Fluency Four-Word Combinations (revised) Word Arrangement (revised) Object Naming (revised) Ideational Fluency Plot Titles--low (revised) Brick Uses— fluency (revised) Structural Functions (new) Figural Ideational Fluency Product Design (new) Alphabet Design (new) Klausmeier, et al., converted the later scores on these tests to three factor composite scores and added ' ’origi nality" (Plot Titles--clever) . Teachers of special ad vanced classes rated each child on fluency and originality (i.e., cleverness), the scales being based upon Guilford’s 106 definitions. The only correlations reported that were significant at the .01 level were figural ideational flu ency of boys with science teachers1 ratings and idea tional fluency of girls with science teachers' ratings. The authors conclude, "The writers do not consider the teachers' ratings in this study to be an appropriate cri terion of concurrent validity." Unlike the study reported above (Guilford, Merrifield, and Cox, 1961), the differ ences between sexes were substantial both in factor pat tern and in mean scores of ability tests. In a study of 68 elementary school children (grades 3, I j . , and 6) whose I. Q. was above 130 (Fleming and Weintraub, 1962), the authors administered a battery of six verbal tests that were Torrance's revisions of several tests in Guilford's battery (Consequences, Situations, Un usual Uses, Common Problems, Impossibilities, and Improve ments) --the "creative verbal tasks"--and Torrance's revi sions of Guilford's figural tests (Picture Construction, Incomplete Figures, and Circles Test)--the "nonverbal cre ative tasks." Scores for Ideational Fluency, Spontaneous Flexibility, and Originality Indices were obtained as well as total Verbal Creative and Nonverbal Creative scores. These five aptitude measures were then correlated with Fleming's revision of Frenkel-Brunswick questionnaire that measures attitudinal rigidity or intolerance of ambiguity. All of the aptitude measures, except Nonverbal Creativity, 107 correlated negatively significantly at the .01 level with rigidity. Interestingly, Spontaneous Flexibility obtained the lowest of the significant negative correlations and chronological age the highest. In this study the differ ence between boys and girls on Verbal Creativity was not significant, and C. A. and I. Q. correlated "zero" with total Verbal and Nonverbal Creativity scores. In a study done in cooperation with Aptitudes Re search Project by Lauritzen (1961) of 6l girls and 5>1 boys, whose I. Q. was in the range 91 to 120, in the fifth grade, teachers’ ratings on a series of horizontal line graph scales were obtained as criteria. Ratings were of originality, ideational fluency, and elaboration; the scales described specific classroom behavior. Lauritzen revised two of Guilford's tests: Consequences (Lauritzen's What If) and Object Naming (Lauritzen's Name Them). The following tests were not modified from the adult battery used by Aptitudes Research Project: Plot Titles, Alter nate Signs, Planning Elaboration, Figure Production and Possible Jobs. The results suggest that in this age level, children show differential aptitudes in tests of adequate reliability; there is evidence from the clustering of cor relations that originality and ideational fluency are uni tary, Independent abilities. Teachers' ratings were found to be poor criteria of creative aptitude since they corre lated highly with CTMM I. Q. and generally non-signifi- 108 cantly and indiscriminately with aptitudes* In a report of the construction and analysis of a multi-faceted creativity test (Kaya, I960), a series of studies including four factor analyses are discussed* Most of the studies reported were of large samples (more than l j . 0 0 children), usually separated by grade; grades 3-5 re ceiving form Level I and grades 6-7 receiving form Level II* Parts of Kaya1s tests are revisions of the following Aptitudes Research Project tests: Object Naming, Conse quences, Letter Series, Brick Uses, Seeing Problems, Match Problems, Seeing Trends, and others. Generally, the factor analyses failed to yield hypothesized component aptitudes, and few aptitudes of any kind show differentiation in these studies.2 Three factors that are representative of the findings are flexibility. Intelligence, and problem-solving ability. One of the most prolific of the researchers working on creativity of children is Torrance, who has described an attempt to develop instruments that can be used with subjects from first grade to graduate school. In a series of "research memoranda," the Torrance group has reported cross sectional studies of various age levels. One type of The factor analyses in this series Included too few variables to yield many factors; the usual practice of in cluding three or more variables to "over-determine" each hypothesized factor was not followed, and "simple struc ture" was not obtained in the fotational solutions* measurement used was revisions of Guilford’s divergent thinking battery (Torrance and Michie, 1959), for example, Tin Can Uses was a revision of Brick Uses, but these tests were found to be too verbal and inappropriate below the fourth grade. As a substitute for paper-and-pencil tests, toys were presented which were found to "challenge the in genuity" of young children but were resisted by children in the intermediate grades. A new test, the Ask-and-Guess Test (Torrance and Radig, 1959), was constructed, which is responded to orally by children in the first three grades. This test taps many types of aptitudes; one part of the test is similar to Guilford’s Consequences. Growth curves with this test show generally steady growth of creative ability with age (Torrance, 1959a). An often-reported ex ception occurs in the fourth grade where a decline in abil ity was noted. However, because the fourth graders are the first to be required to produce written responses on the Ask-and-Guess Test, this decline may be due to irrelevant factors rather than an actual decrease in aptitudes. In an extensive study using sociometric ratings (Torrance, 1959b), it was found that "high I. Q. pupils are better known by their teachers... considered as more desirable as pupils than the highly creative subjects." Also those of the high I. Q,.-lower creativity group have more friends (peer nominations) than those of the high creativity-lower I. Q. group. It should be added, however, 110 that subjects highest In I, Q. and highest In creativity were the most preferred, both by teachers and peers* Tor rance reports that if high I* Q. Is made the basis for "gifted" children groups, about 70 per cent of the most creative (top 20 per cent) children would be excluded* A very well known study of creativity In children was done by Getzels and Jackson with 28 high I. Q. (mean l£0) adolescents who scored below the eightieth centlle on cre ativity and 26 high creativity (mean I* Q. of 127) who were below the eightieth centlle in intelligence (at a school where the mean I. Q, was above 130)* Reports of this study are published in many articles and papers; the following review is from a recent summary by the authors (Getzels and Jackson, 19f>9)* Creativity was measured by a summated score of five tests taken from batteries of Guilford and Cattell: Word Association (fluency of definitions), Uses for Things (Brick Uses), Hidden Shapes (Figures, hidden in more complex patterns), Fables (produce last line), and Make-Up Problems* Correlations between I* Q* and Crea tivity fluctuated from "zero" to *56* Among the many dif ferences between those groups were the following: (l) per sonal traits valued by the high I* Q* group correlated very high with traits they believed are "predictive of adult success" (based on repeated rankings), while the correla tion between traits valued by the Creative group and the seoond variable was very low; (2) the correlation between Ill valued traits and traits believed "favored by teachers" was similarly very high in the high I. Q. group, while the cor relation between these variables was negative for the Cre atives; (3) the Creatives made significantly greater use of stimulus-free themes, unexpected endings, humor, incon gruities and playfulness in their productions on a TAT-like projective test. The groups did not differ on school achievement or on n:Achievement (McClelland). Although teachers’ preference ratings showed preference for high I. Q. students over the total school population (signifi cance level of .001), there was no difference between pre ference ratings for Creatives compared to total school pop ulation. In early studies of artistic ability in high school children, Meier (1939) compared six talented and six non- talented children. A study of life histories, ancestors and ten years’ observations led to the conclusion that there was evidence for inheritance of a "...general neuro physical constitution that is well adapted for certain kinds of work or the acquisition of certain skills." Factors separating the two groups were manual skill, energy-perse- veration, and intelligence (inherited) and creative imagi nation and aesthetic judgment (acquired). A second study found a high correlation between artistic ability and in telligence (Otis Self-Administering Test). In a third study, high I. Q., talented children were compared with a 112 group of children with comparable I. Q.’s but without in terest in art, and it was concluded that intelligence, al though not the only ingredient in superior talent, "...may partially mark the degree of original!ty...and the range of possible ways of treating a given subject." Other studies related to creativity in children are briefly mentioned. Green (1957) found that creative high school boys were signific-antly superior in intelligence and sociability to noncreative boys, but assignment to groups was based upon teachers* nominations. Flanagan (1959) re ported studies in which a test of Ingenuity was adminis tered to many large samples of high school students. This test, although correlating with various criteria (course grades, achievement tests, grade point averages) also cor related very highly with many other aptitudes, especially verbal comprehension and reasoning, and with many tests of intelligence. Summary. Although historical precedents can be found for much of the current research on creativity, the resur gence of interest in the topic has led to research endeav ors that are primarily concerned with the identification and description of the creative person. Much of the re ported results are confusingly contradictory and most of the questions concerning the attributes of the creative per son and the nature of creativity are still unanswered. Is the creative person childlike or mature? Does he suppress 113 his impulses or act them out? Is he conservative or radi cal? Is creativity correlated positively, negatively or at all with other intellectual functions? Is creativity general or specific? Does one develop creative ability or realize one's potential or perhaps remove emotional Impedi ments that are limiting one's performance? Studies can be cited as evidence for or against almost every theoretical assumption made about creativity and creative persons. CHAPTER V AH INVESTIGATION OF DIVERGENT THINKING IN SEVENTH-GRADE CHILDREN: INTRODUCTION AND OBJECTIVES Research dealing with the creativity of children has generally produced equivocal results on many points. The following study was designed to offer evidence relative to many of the controversial findings. In addition, an attempt was made to test several hypotheses derived from the theory presented in Chapter III. Another major consid eration was to replicate a study of adult males (Guilford, Chistensen, Frick, and Merrifield, 1957)* Studies of creativity in children have often isolated temperament variables which are related to creative apti tudes or combinations of aptitudes. Among those suggested are tolerance of ambiguity (Fleming and Weintraub, 1962), sense of humor (Getzels and Jackson, 1959), perseverance (Meier, 1939), and nonconformity (Anderson, 1959). How ever, there has not been an extensive study in which a multi-factor temperament inventory was used to relate sys tematically many temperament traits to many divergent thinking aptitudes. l ll ^ . 115 The first specific objective of this study was to isolate numerous temperament trait factors thought to be related to creative thinking in children. An attempt was made to construct items which would measure traits similar to those traits identified in the study of adult males. In the theory presented in Chapter III, a matura- tional process was suggested which included a mass-to- specific tendency, or differentiation of personality compo nents of creative ability. A second objective of this study was to compare results of a factor analysis of tem perament trait items in a sample of children with traits identified in a study of adults to determine if there would be less differentiation of traits in the factor structure. The degree of differentiation of creative aptitudes in children Is a source of considerable disagreement in research findings. There are suggestions that only very few factors can be differentiated In the intermediate grades (Kaya, I960; Fleming and Weintraub, 1962) or even in the high school grades (Klausraeler, Harris, Ethanathlos, 1962)• On the other hand, there are suggestions that fac tor structures almost Identical to those of adults can be obtained with samples of ninth-graders (Guilford, Merri field, and Cox, 1961), that considerable differentiation of divergent thinking aptitudes has occurred by the sixth grade (Merrifield, Guilford, and Gershon, 1963), and that there are independent aptitude variables at the fifth 1 1 6 grade level (Lauritzen, 1961). The tests used in the fol lowing study were those best representing factors isolated in the study of Merrifield, et al. with the sane subjects. One previous study (Klausmeier, et al., 1962) suggests that there nay be less differentiation in divergent thinking when the sane subjects are tested a year later than there was in the original factor analysis. The hypothesized dif ferentiation process leads to the opposite prediction. The third objective of this study was to compare the degree of differentiation--estimated by inspection of in tercorrelations between representative tests— in a seventh- grade sample whose sixth-grade responses had been factor analyzed. The generality of traits can be demonstrated by sim ilar behavior in different situations or by high correla tions between various personality aspects within an indi vidual. The results of factor analytic studies, which pro vide a test of the first criterion of generality, are equivocal in the area of creativity of children, although the finding of differentiated aptitude factors is very com pelling. There have been no studies that are broad enough to explore the second criterion of generality; usually there is a very limited number of variables. Because we have postulated greater generality of traits in children, the relationships between aptitude and nonaptitude vari ables were expected to be closer than those found in the 117 study of adult males (Guilford, et al#, 1957)* The fourth objective of this study was to determine the correlations between several aptitude and temperament variables involved in creativity of children and to compare these relationships with those from an adult sample# Significant differences between the sexes in creative aptitudes are frequently reported (Torrance, 1959a; Klaus meier, et al#, 1962), but in many studies these differences are minimal (Fleming and Weintraub, 1962; Guilford, Merri field, and Cox, 1961). A fifth objective of this study was to compare differences between sex groups in scores on di vergent thinking aptitude tests and temperament traits# Conclusions from previous studies have also been equivocal about the relationship between intelligence and creativity# Generally there is a high correlation between I# Q,* measures and creativity tests when subjects have a wide range of I# Q. (Green, 1957; Flanagan, 1959; Meer and Stein, 1955; Meier, 1939)* When subjects are very high in I# Q#, there is usually no correlation between intelligence and creativity (Getzels and Jackson, 1959; Fleming and Weintraub, 1962)# These findings are consistent with many studies with adults# Our theory suggests that a certain degree of nondivergent intellectual ability is necessary in creativity because it is necessary for the solving of prob lems. In low I# Q# subjects as in young children aptitude factors such as verbal comprehension, reasoning and reading 118 comprehension would he expected to correlate higher with creativity than In other groups. The sixth objective of the following study was to explore the Influence of intelli gence, as measured by an I, Q.-yielding test of "general intelligence," on creative ability, temperaments, and teachers1 ratings of creativity. Rating scales were developed as tentative validity criteria for the aptitudes and new temperament scales. Va lidity information is very lacking in these areas. Previ ous studies using ratings by teachers have been unanimously unsuccessful. In most studies the teachers were found to be so highly influenced by intelligence that correlations with other variables were obscured (Lauritzen, 1961; Tor rance, 1959b; Green, 1957)* In one study, where the rating scales consisted of Guilford's factor definitions, the cor relations with I. Q. were "zero;" however, the obtained ratings were not considered to be"appropriate" criteria (Klausmeier, et al., 1962). The seventh objective of this study was to develop validity criteria, teachers' ratings based upon highly specific factor definitions, which may reasonably be expected to reflect the same degree of speci ficity and univocality as the predictors. The eighth ob jective was to evaluate the concurrent validity of the cre ative aptitude and temperament trait predictors. CHAPTER VI HYPOTHESES There were three types of hypotheses for this study: (1) those related to the development of experimental vari ables; (2) those related to the correlations between apti tudes, temperaments and ratings; (3) those related to com parisons between groups based on age and sex* A tempera ment inventory was constructed, a battery of tests of apti tudes of divergent thinking was selected, and graphic rat ing scales based on descriptions of aptitude factors and hypothesized temperament trait factors were constructed in order to investigate the hypotheses. Hypotheses Related to the Development of Experimental Variables Aptitudes The factors of divergent thinking considered in this study had been isolated previously in factor analytic studies with adults (Wilson, et al., 1953; Guilford and Christensen, 1956; Guilford, Christensen, Prick, and Merri- field, 1957)# with ninth-graders (Guilford, Merrifield, and Cox, 1961), and with sixth-graders (Merrifield, Guilford, and Gershon, 1963)* It was hypothesized that the intercor relations among divergent thinking aptitude variables in this study would be positive and low (close to zero), which 119 1 2 0 would confirm the Independence of the divergent thinking factors. The independence of the following factors was hypothesized: Factor I. Ideational Fluency— the capacity to call up many ideas in a situation relatively free from restric tions, where quality of response is unimportant; or the rate of generation of a quantity of ideas (variables 5, 55» 9, and 59).1 Factor II. Aasociatlonal Fluency— the capacity to produce words within a restricted area of meaning; or the production of many responses which have a specified rela tionship to a stimulus (variables 6 and 56). Factor III. Expressional Fluency— the capacity to put words Into organized phrases and sentences; or to pro duce organized discourse (variables 3 and 53). Factor IV. Spontaneous Flexibility— the capacity or disposition to produce varied classes of units when free to do so; or to spontaneously shift the direction of thinking; or to change one's set because an individual so chooses (variables 1 and 51) • Factor V. Originality— the capacity or disposition to produce unusual, far-fetched, remotely associated, or ■^Variable or variate numbers refer to the Identifying code used In the multiple correlation analysis. The com plete list of variates Is listed later in this chapter. 1 2 1 clever responses (variables i j . , 8 and £8). Factor VI# Elaboration— the capacity to supply de tails to complete a given outline or skeleton form, or to recognize many relevant details of a situation or action (variables 7 and 57)* Factor VII* Marking Speed— the capacity to make many "X’s" in closely spaced squares within a limited period of time (variables 2 and 52)* It was further hypothesized that I# Q# measured by the California Test of Mental Maturity (CTMh) would corre late positively, but not significantly, with the divergent thinking variables# Temperament Trait3 It was hypothesized that a factor analysis of the temperament inventory constructed especially for this study would yield the following eight temperament factors Trait A# Impulsiveness— the Inclination to act on the spur of the moment, without planning, often without voluntary control of the behavior# 1* Any money you get hold of seems to go as quickly as it came# 7* You buy things that you later realize you don’t need# 2 ' The test of this series of eight hypotheses is re ported In Chapter VII, "Development of Data Gathering In struments," since the factored scales were used in later correlational studies. Tests of all other hypotheses are reported in Chapter IX, "Results," 1 2 2 13. You like something at first glance or not at all# 19* Before you go shopping, you make a list. 25* It is hard for you to keep from interrupting when someone else is talking and you have something to say. 31# When a friend comes along and asks you to go somewhere, you drop everything and go. 37* You always stop and think things over before act ing. l j . 3 * You often get in trouble for talking before you are called on in class. i j . 9 # Other people usually take longer to get started than you do. 55* You like to spend a lot of time thinking before you buy something. 61. You are the kind of person who says the first thing that comes to mind. 67. You are the type who "jumps to conclusions." 73* A lot of time is wasted in planning. 79# You are quick to take a dare. 85* It’s hard for you to make up your mind. 91# You like to make schedules for yourself. 97# You sometimes make promises that are hard to keep* 103# It is better to do nothing, if you are not sure what to do. 109# You would rather do things without planning. 123 Trait B. Need for Authority— a belief in or need for the maintenance of impartial, rigid, unchanging standards; a desire to have formal and explicit standards and rules; and a need to act as an agent in the enforcement of disci pline. 2. It is always better when the class minds the teacher without asking a lot of questions. 8. You know of some situations where It would be better to have more rules. l i j . . You like to tell people what to do. 20* Children must always be punished for doing wrong. 26. Most clubs could get along without rules. 32. You would like a job where you could enforce miles and regulations. 38. Sometimes it may be all right to break a rule. i | J | . You would like a school with very few rules and regulations. 50. If you were a teacher you would allow more free dom. £6. A person should be excused for breaking a rule he didn't know about. 62. There are too many laws. 68. You would like to be on a committee that decides on punishment for students who have broken rules. 7^. A person may cheat a little to win a game, when the school is counting on him to win. 12k 80. In many ways, a home should he operated like a military camp. 86. You would like to help put criminals in Jail. 92. You carry out orders promptly and to the letter. 98. A good scout troop should he run strictly hy the rules. 106. You like the kind of teacher who lets you get away with a few things. 111. The penalty for the same crime should always be the same regardless of special circumstances. 116. People must have rules to know what to do. Trait C* Interest in Divergent Thinking— a general disposition for production of many different ideas covering a wide range, which may or may not he relevant to any par ticular problem and may aid or impede progress in arriving at a solution. 3. When you feel that the first answer you think of is wrong, it is easy for you to think of other possibilities• 9# You frequently think of many different ways to do the same thing. 21. When your group is trying to think of something different to do, you can usually make a sugges tion. 27. When writing a paper you keep thinking of differ ent ways to organize the material. 125 39. You sometimes do an assignment differently from the rest of the class and still get the right answer• 1^5* You get so many ideas at once that it is hard to keep track of them. 57* You usually get many ideas about how to do some thing • 63* The best way for you to solve a problem is to make a plan and stick to it. 75* You start to work on a problem by thinking of many different ways to do it. 8l. Sometimes you wish you could stay on the subject better than you do. 99. Some people think you are a scatterbrain. 110. Many problems have a number of good answers. 112. You like to examine a new idea from all possible angles. 117# You hardly ever have the same idea twice when faced with the same problem. Trait D. Appreciation of Originality— appreciation of that which is unique, incongruous or unusual in people, ideas, or products, or a desire for these qualities for oneself. I j . . You prefer people who are very serious-minded. 15* Most things your friends say you have heard be fore. 22. You enjoy stories that have a surprise ending. 1 2 6 33• A teacher who telle jokes wastes time. i j . 0 . You like people who have a lot of wild Ideas. 5 > 1. Funny things are always happening to you. 58. You like to be with people who sometimes act silly. 69. Your friends know lots of funny jokes. 76. You like riddles. 8?. You hope to be able to do something no one has ever done before. 9 i j . . You like to write stories. 105. You like art better than history. 108. You like to tell jokes. 118. You like movies where you have to guess the end ing. Trait E. Need for Variety— a preference for frequent change and new experiences. 10. You like to try new kinds of food. 16. It would be fun to change schools. 28. New fads make life more interesting. You would like to go back to the same place every year for your vacation. l j . 6. It would be fun to move to a new place to live. 52. You prefer having a different teacher for each subject. 61f. You would like to rearrange the furniture in your room at home. 127 70. It makes you uncomfortable to do something new. 82. When your clothes wear out you want to get new ones just like the old ones 88, If you liked a movie well enough, you would try to see It again. 100. Small town life would bore you. Trait F. Rejection of Ambiguity— the inability to tolerate uncertainty, indefiniteness and unpredictability; the use of categorical thinking; the need to have clear, explicit, external structuring of a situation. 5. You wish there were more than one way to spell a word. 11. You find it hard to make decisions. 23. You like jokes that depend on a word that has two meanings.' 29. For most questions there is just one right answer once a person is able to get all the facts. i 4. I L • You prefer a teacher who gives you general as signments and has you work out the details for yourself. i j - 7 . You find it difficult to decide whether a paint ing is good or bad. 59. When you ask a question you hate to be told "no body really knows." 6^. If a statement is not one-hundred per cent true, it must be false. 77• You dislike a test in which there are no right or wrong answers* 83. In an argument one person is usually all right and the other all wrong. 95* People who write textbooks should leave out any thing they are not sure about. 101. You wish people would say exactly what they mean. 120* Hiere is some good even in the worst people. Trait G. Persistence— a tendency to maintain a course of thought or action until a task Is completed, even when further effort Is hopeless, unnecessary or fruitless; or when the task Is completed In the face of resistance or op position. 6* It sometimes pays to give up. 17. You have a lot of half-finished projects hanging around. 2J|. It makes sense to continue trying even when the job seems impossible. 35* You can easily understand how a painter might spend hours trying to get exactly the right color. l j . 2 . You are the kind of person who keeps trying, no matter how hard the job is. 53* A good philosophy is, "If at first you don't suc ceed, then quit* Why be a fool about it?" 60. Teachers should allow more time so you could re- 129 ally finish up a job, 71, Sometimes you would like to stay after school to finish a project, 78* You sometimes do things over and over to get them better, even if you don’t have to, 89, Once you start working on your homework, you like to keep working until it is finished, 96, When you get something on your mind, you can’t rest until it is taken care of, 10^, When you are behind in a game, you’d rather give up and start something else, 107• You like to stiok to a task even though it seems you are not getting results, l ll j., You finish what you start even if it makes you appear foolish. Trait H, Self-Confidence--a feeling that one is cap able of coping successfully with most of life’s situations and is sure of acceptance by others, 12, There are some things that you can do better than most of your friends. 18, You would rather sit in the back of the classrocra. 30, You speak in a loud voice, 36, You can really do better than people expect. I 4 . 8, You worry about whether people like you or not, * > ] | , People are right who think you are "on the ball," 66, It is difficult to disagree with others. 1 3 0 72. You feel people are usually Interested in your Ideas. 8 1 j . . Even though you try your hardest you usually fall. 90. You wish you could change your looks. 93* Criticism bothers you a lot. 102. You would point out an error the teacher made on the blackboard. 113* You are usually confident of your abilities. 115* People generally like you. 119# When you grow up you will probably make a lot of money. 121. People think you can do better work than you think you can. The comparison of these factors with those identified in a study of young adult males was made in terms of the number of identifiable temperament factors and on the basis of conceptual similarities. It was hypothesized that the number of interpretable factors in the study with children would be fewer (eight) than those (twelve factors) identi fied in the adult study (Guilford, Christensen, Prick, and Merrifield, 1957)> which would suggest less differentiation of the temperament components of personality related to cre ative ability. It was further hypothesized that there would be no appreciable sex differences in the traits emerging from the 131 factor analysis* This hypothesis was to be tested by in cluding “sex" as a variable ("one1 1 for boys; "zero" for girls) in the factor analysis. The hypothesis of no sex difference in a particular temperament trait would be re jected if the "sex" variable loaded significantly on a par ticular factor. ' However, this hypothesis was not tested in this manner. Because the "sex" variable was seen to corre late highly with many temperament items by inspection of the correlation matrix, separate factor analyses were per formed for boys and girls.3 This is an implicit rejection of the null hypothesis of no sex differences. A direct test of the hypothesis concerning temperament differences between sexes was made later. This test consisted of a comparison of interpretable factors which emerged in the analysis based upon the item factor loadings (see Chapter VII). It was hypothesized that intelligence would not be correlated with any of the temperament traits. I. Q. ratios from the California Test of Mental Maturity were in cluded as a variable in the eight "preliminary" factor a- nalyses of the temperament inventory items. Because I. Q. loaded significantly on a factor in only one of the eight "preliminary" analyses, In which It was the leading Item on table showing the matrix of item Intercorrelations is presented in Appendix B. 132 what appeared to be an "intelligence’ ' factor, intelligence was not included as a variable in either of the two "final" factor analyses* A converted (normalized) I* Q* score was included in the correlational analysis. The hypothesis was ma^e that intelligence would not correlate significantly with any of the sixteen temperament trait scales (eight boys* scales; eight girls' scales) which were included in the correlational analysis (see Chapter IX)* Eatings It was hypothesized that teachers would reliably rate the children in their classes on the following traits, which were hypothesized to be related to creative ability: Behavior Pattern 1* Creativity: the ability, inter est, and personality needed to produce many different in ventive and original ideas, as well as the ability to shift from one task to another* Behavior Pattern 2* Impulsiveness: the degree to which the student acts or makes decisions without first making a plan. A very high rating on this scale means that the student often acts impulsively or sometimes exhibits behavior which is very impulsive, that is, he acts whenever the urge arises, even if the action is socially unaccept able* The student may even give the impression that he cannot voluntarily control his behavior. A very low rating on this scale means that the student either seldom acts im pulsively or acts the opposite, that is, he is very con 133 trolled and restrained. He will seldom do anything without planning beforehand. NOTE: This pattern does not refer to the worth of a plan nor to the ability to produce a success ful plan of action. Behavior Pattern 3. Recognition of Implications: the degree to which the student can recognize many relevant de tails of a situation or action. For example, the student who has this ability to a high degree can plan ahead be cause he can analyze a problem or situation and see what is needed and the many steps involved. Also involved are: the ability to understand the consequence of one’s own actions and thus use the knowledge to make detailed plans; the abil ity to recognize the many implications of one’s own behav ior; and the ability to think of many alternative antece dents to a given situation. Behavior Pattern I j . . Need for Variety: the degree to which the student needs frequent change and new experience. This need is demonstrated by the student who shows an ac tive desire for change for its own sake. A very high rat ing on this scale means that the student is easily bored and desires constant change. A very low rating on this scale means that the student seldom displays a desire far change and may even be reluctant to try something new. Behavior Pattern 5* Spontaneous Flexibility: the de gree to which the student typically shifts his mode of re sponse, or method of approach to a problem, apparently for 13k the sake of the change, even though the first mode or meth od works. This ability is demonstrated by the student who spontaneously shifts from one category to another, when asked to list things. Behavior Pattern 6, Conformity: the degree to which the student is willing to accept and comply with demands made by sources of authority. This tendency is demonstrated by the student who obeys the explicit or implicit rules set up by the teacher, society, and his peers. A very high rating on this scale means that the student never or seldom misbehaves and, in fact, does not deviate in any way from rules and standards. Because he is so attuned to the val ues of the authority or group, the most extreme conformist shows exaggerated good behavior* A very low rating on this scale means that the student seldom demonstrates conformist behavior. Although a student who typically misbehaves would get a very low rating, it is not necessary for the child to be undisciplined, but only that conformist behav ior is generally absent. Behavior Pattern 7. Adaptive Flexibility: the de gree to which the student can shift from one method of ap proach to another, when the shift is made necessary because the original method does not work. The student who demon strates this ability can reorganize a complex design to see many different patterns or can see how to use a given ob ject to solve a problem with which the object is not usually 135 associated. Behavior Pattern 8. Self-Confidence: the degree to which the student has confidence in his ability. This ten dency is demonstrated by the student who feels comfortable in the classroom, certain of being accepted by teachers and peers and positive that he can perform adequately in class. A very high rating on this scale means that the student is almost always sure of his ability or demonstrates unusually extreme self-confidence. A very low rating on this scale means that the student is seldom sure of his ability or ac ceptance by others. The student who appears to be con vinced that he is inferior or inadequate would get a very low rating on this scale. Behavior Pattern 9* Unrestricted Thinking: the de gree to which the student can produce ideas that are not directly or obviously related to the usual aspects of a situation. This ability is demonstrated by the student who is not “stimulus bound." For example, if the child were asked what the results would be if something happened, his answers would go beyond the situation described. If asked what would happen if people no longer needed food, he might respond with something like "world population would increase" rather than "no one would grow food." Behavior Pattern 10. Persistence; the degree to which the student tends to maintain a course of thought or action until a task is completed. The student who is usu 136 ally motivated to finish a task or assignment demonstrates this tendency* A very high rating on this scale means that the student manifests a need to continue tasks even when further effort is hopeless, as when the task is impossible* The student who shows severe discomfort when he cannot fin ish a task exhibits the extreme of this pattern. A very low rating on this scale means that the student usually is not motivated to complete tasks and has many unfinished projects around. In the extreme, the student may lack mo tivation to perform any task that requires sustained effort. Behavior Pattern 11. Originality: the degree to which the student can produce clever, unusual, or "inven tive” ideas. This ability is demonstrated by the student who can think of a novel idea that is different from the type usually produced by the class; he is especially noted for clever or witty ideas. This ability typically involves seeing a situation or problem in a new or unusual way* Behavior Pattern 12. Need for Structure: the degree to which the student needs clear, explicit, external struc turing of a situation and must have specific knowledge of the specific requirements of a task or situation. This need is demonstrated by the student who may ask many ques tions concerning what you want before he begins a task; he appears to feel discomfort in the face of uncertainty, in definiteness, or unpredictability* A very high rating on this scale means that the student cannot begin a task with- 137 out clear Instructions* He may also evidence a strong need to categorize things into rigid classes* usually dichoto mies such as ' ’ good” and "bad*" Behavior Pattern 13* Fluency? the degree to which the student can produce many ideas* This ability is demon strated by the student who can make many contributions when you ask him to list or produce many items that fall tinder a particular category* Two examples of this type of task are* produce many synonyms for a given word; give many words that "begin with the letter S*n Thi3 ability refers to the quantity of ideas he can or will produce, not the quality of his ideas* Behavior Pattern l l j . * Appreciation of Originality: the degree to which the student appreciates unique, clever, or unusual ideas. This tendency is demonstrated by the student who responds positively to unusual points of view, new songs, and novel activities. It may be expressed in preferences for "new twists" or surprise endings in stories. This scale is not intended to indicate the student’s abil ity to produce novel or original ideas himself, but rather the nature of his response to original ideas regardless of source. A very high rating on this scale means that the student has a very great appreciation of originality. A very low rating on this scale means that the student either seldom displays an appreciation of original ideas or ac tively rejects them in favor of older, more familiar ideas. 1 3 8 Behavior Pattern 15. Curiosity; the degree to which the student desires to know about his environment. The student who asks many questions about things and situations should be rated high on this scale. Behavior Pattern 16. :Sense of Humor: the degree to which the student appreciates the ludicrous and funny. It was also hypothesized that these ratings by teach ers, scores on a 2 l|.-point graphic scale, would be adequate criteria for concurrent validity. Hypotheses Related to Correlations between Variables^ Ihe variables developed for this study or selected from previously developed instruments were nine aptitude scores designed to measure the six divergent thinking fac tors and marking speed, which are defined above; eight boys1 temperament scales and eight girls1 temperament scales, which were derived from the obtained factors; and ratings, on thirteen scales, of each child, made by the homeroom (HR) teacher and by the teacher of the "special" course ("non-home room" or "MHR1 1 teacher).'’ These variables were included in a correlational analysis. The variables were numbered for ease in inter- ^Summarles of all the predicted correlations are pre sented in Tables 1 and 2. vThe temperament trait scales and the items composing them are listed in Appendix C. 139 preting tabular presentations of results. The following is a complete list of variables: Boys Aptitudes 1* Ways to Use It (spontaneous flexibility) 2. Marking Speed 3* Four Word Sentences (expressional fluency) I ) . * Names for Stories— high (originality) 5>. Names for Stories— low (ideational fluency) 6. Similar Words (associational fluency) 7. Making a Plan (elaboration) 8. What Would Happen— remote (originality) 9. What Would Happen— obvious (ideational fluency) Temperament Scales 10. Persistence 11. Spontaneity 12. Impulsiveness 13. Need for Rules (Authority) 1 1 1 -. Appreciation of Originality 15. Self-Confidence 16. Adaptive Flexibility 17. Fluency of Ideas Ratings HR NHR H 00 • 31* Creativity 19. 32. Impulsiveness 20. 33. Recognition of Implications 21. 3k. Need for Variety 22. 35. Spontaneous Flexibility 23. 36. Adaptive Flexibility 2k» 37. Self-Confidence 25. 38. Unrestricted Thinking 26. 39. Persistence 27. 1 ^0. Originality 28. J+l. Need for Structure 29. k2. Fluency 30. k3. Appreciation of Originality Intelligence I j l j . * Converted COMM I. Q. Girls Aptitudes 51. Ways to Use It (spontaneous flexibility) 52. Marking Speed 53. Pour Word Sentences (expressional fluency) 5k* Names for Stories— high (originality) 55. Names for Stories— low (ideational fluency) 56. Similar Words (associational fluency) 57. Making a Plan (elaboration) 58. What Would Happen— remote (originality) 59. What Would Happen— obvious (ideational fluency) Temperament Scales 60* Persistence ua 61. Initiative 62* Lack of Restraint 63, Need for Authority 6I 4. . Appreciation of Originality 65. Self-Confidence 66. Tolerance of Ambiguity 67. Moral Relativism Ratings HR NHR 68. 81. Creativity 69. 82. Impulsiveness 70. 83. Recognition of Implications 71. 8 1 ) . . Need for Variety 72. 85. Spontaneous Flexibility- 73. .86. Adaptive Flexibility 71*. 87. Self-Confidence 75. 88. Unrestricted Thinking 76. 89. Persistence 77. 90. Originality 78. 91. Need for Structure 79. 92. Fluency 80. 93. Appreciation of Originality Intelligence 9 Converted CTMM I. Q. Relationships between Aptitude and Temperament Variables Because there are few studies with a sample of chil- 11*2 dren in which numerous specific aptitudes and specific tem peraments were correlated, the hypotheses concerning rela tionships between these variables are based, for the most part, upon studies with adults* In many cases the hypoth eses were made on a logical basis, since previous studies of temperament traits most often considered only one "apti tude1 1 differentiation, that between creative and noncrea- tive individuals. Correlations with Ideational Fluency. Studman (1935) found relationships between a factor which seemed to invdLve ideational fluency and self-confidence, and impulsiveness. There was also a suggestion that the correlation with the trait of independence would be significant. We predicted positive correlations for our measures of ideational flu~ ency (variables 5* 55* 9, and 59) with scales for self- confidence (variables 15 and 65)* impulsiveness (variable 12), lack of inhibition (variable 62), and initiative (var iable 6l). Because of the implication that need for au thority involves the lack of inner standards and values, it was predicted that authority scales (variables 13 and 63) would correlate negatively with ideational fluency. Guilford, uhristensen, Frick, and Merrifield (1957) found significant correlations between ideational fluency and traits of appreciation of originality, impulsiveness, and self-confidence. It was hypothesized that, in this study, ideational fluency would 0 0 rrelate with appreciation ih-3 of originality (variables ll| and 61;), Although ideational fluency was one of the variables found to be related to tolerance of ambiguity by Fleming and Weintraub (1962), the correlations obtained in that study were not considered in t he generation of specific hy potheses for the present study, since the temperament trait correlated highly with all creative aptitudes in the ear lier study. Since ideational fluency was involved in the crea tivity composite used in the study of Getzels and Jackson (1959)* there is an implied justification for expecting sense of humor and self-confidence to be related to idea tional fluency in children. Correlations with Associational Fluency, It is note worthy that previous investigators have been generally un able to predict or obtain significant correlations of asso ciational fluency with temperament factors. This aptitude may have failed to correlate with other personality compo nents because the task, writing synonyms (variables 6 and 56), is not an ability generally considered to be involved in creative activity. In a study by Chorness and Nottel- mann (1956), associational fluency was the best predictor of creative potential in teaching ability. The ingenuity involved in the teacher trainees1 presentation of lecture material may be highly influenced by the facility to pro duce alternative verbalizations of well-known material in the classroom, which may be related to associational flu ency and to the temperament scale called fluency (variable 17)• Primarily on a speculative basis, it was hypothesized that persistence (variables 10 and 60) and fluency (variable 17) would correlate significantly with associational flu ency. Correlations with Expressional Fluency. Guilford, Christensen, Prick, and Merrifield (1957) found a positive correlation between expressional fluency and impulslveneas- spontaneity. A similar relationship was found by Denton and Taylor (1955)* We hypothesized that expressional flu ency (variable 3) would correlate with decisiveness or spontaneity (variable 11)« In addition we included logical relationships between expressional fluency and persistence (variables 10 and 60) and fluency (variable 17), Correlations with Spontaneous Flexibility. Although spontaneous flexibility has not been found to have corre lated significantly with temperament traits in previous studies, Pemberton (1937) found a negative relationship be tween "adaptive” flexibility and "orderliness." This sug gests that spontaneous flexibility (variables 1 and 5l) may be correlated positively with impulsiveness (variable 12) and lack of restraint (variable 62). We were impressed further by the logical predictions suggested by Guilford, Christensen, Prick, and Merrifield (1957) which were re vised to hypothesize a positive correlation with moral relativism (variable 67) and with appreciation of original ity (variables ll\. and 6ij.), and a negative correlation with need for authority (variables 13 and 63)* Interest factors isolated in the analysis for this study, which appear to in volve adaptive flexibility (variable 16) and tolerance of ambiguity (variable 66), were predicted to correlate posi tively with spontaneous flexibility also. It was expected that spontaneous flexibility would correlate negatively with persistence (variables 10 and 60), which in this study included both types of "rigidity" described by Guilford. Correlations with Originality. Barron (1956) report ed a relationship between originality and "independence of judgment" and "self-assertiveness," Schiraek (195k) found these same temperament traits to be correlated with origi nality, This would suggest a positive relationship between originality (variables I 4 . , 5U> 8, and 58) and our traits of initiative (variable 6l), and self-confidence (15 and 65); a negative one with need for authority (variables 13 and 63). From the findings of Guilford, Christensen, Frick and Merrifield (1957) there Is confirmation of the predictions concerning self-confidence and need for structure (rules); also suggested by that study is a positive correlation with the traits of appreciation of originality (IJ4 . and 61^) and adaptive flexibility (variable 16) and tolerance of ambigu ity (variable 66) and a possible relationship with impul- 1U6 siveness. Relationship between Experimental Variables and Criterion Ratings In Tables 1 and 2, hypotheses concerning these corre lations are presented graphically* When the correlation In the table refers to a validity estimate, the entry "V" is used* Other predictions are based on the assumption that a trait when rated by a teacher will be similar to the stu dent’s self-rating or his score on an aptitude test. Hypotheses Related to Comparisons between Groups based on Age and Sex The following hypotheses were made relative to theo rized maturational processes discussed in Chapter III, In most cases, the test of the hypothesis and the basis for the later discussions are in the form of inspections of the current data and comparisons with data from previous studies* It was predicted that the intercorrelations between aptitudes in a seventh-grade sample would be higher than for adults or ninth graders, but lower than for younger children. It was predicted that there would be no sex differ ences between seventh-grade boys and girls in their perfbim- ance on divergent thinking tests. It was predicted that several temperament trait con structs would emerge from a factor analysis of responses to TABLE 1 Predictions of Correlations between Variables Boys' Samples Aptitudes Temperaments 10 11 12 13 1U 15 16 17 1 - + + + + 2 + 3 + + + k r + + + + 5 + + + 6 + + 7 + + 8 + + + + 9 + + + Key: + = Significant positive correlation - = Significant negative correlation V = Validity estimate - P- TAB£E 1— Continued Aptitudes Ratingsa 18 19 20 21 22 23 2k 25 26 27 28 29 30 1 + + V + «• - + 2 + 3 + V + + + + V - + 5 + V 6 + V 7 V 8 + + + + V V + 9 + V Predictions for through 30. variables 31 through i j . 3 are identical with those for variables 18 -P* cc TABLE 1— Continued Temper aments Ratings*5 18 19 20 21 22 23 21+ 25 26 27 28 29 30 10 - - - - V - 11 + + + + + + - + + 12 V 13 - - - V - 14 + + + + V 15 V . + + + + 16 + + + + + + - + - + 17 + + V y . Predictions for variables 31 through. 43 are identical with those for variables 18 through 30. M ■£r vO TABLE 2 Predictions of Correlations between Variables Girls' Samples Aptitudes Temperaments 60 61 62 63 6 k 65 66 67 51 - + + + + 52 + 53 + 5 k + + + + 55 + + + + 56 + 57 + 58 + + + + 59 + + + + Key: + = Significant positive correlation - » Significant negative correlation V a Validity estimate H vn o TABLE 2— Continued Aptitudes i Ratingsa 68 69 70 71 72 73 7k 75 76 77 78 79 80 51 + + V + - • • + 52 + 53 + V 5k + + + + + V - + 55 ♦ V 56 + V 57 V 58 + + + + V V + 59 - + V Predictions for variables 81 through 93 are identical with those for variables 68 through 80* TABLE 2— Continued Temper aments Ratings*5 68 69 70 71 72 73 7k 75 76 77 78 79 80 60 - - - - V 6l ♦ V + + + + + + 62 + - - 63 - - - V mm 6 1 * . + + + + + V 65 + V + + + + 66 + + + + + + - + - + 67 + + + + + - + + ^Predictions for variables 81 through 93 are identical with those for variables 68 through 80. H VJT. ro 153 Items of a temperament questionnaire from seventh graders, but that fewer trait-constructs would be identifiable than in adult groups. It was predicted that there would be similarity in temperament trait constructs between sex groups and between age groups# It was predicted that the correlations between crea tive aptitudes and temperament trait scores would be higher, generally, than those found in a study of adult males. It was predicted that the correlations of all vari ables and general intelligence would be positive, non significant, but higher than with adults. CHAPTER VII DEVELOPMENT OP DATA GATHERING INSTRUMENTS The aptitude factors and temperament traits measured in this study had been confirmed in previous factor analyt ic studies with adults, high school students, ninth grad ers, or sixth graders* Many of the test items and tempera ment questionnaire items had also been used in adult studies (Guilford, Christensen, Prick, and Merrifield, 1957)* On the other hand, almost all the data gathering instruments used In this study have undergone revision or modification of some element, instructions, scoring or scale construc tion* Aptitudes As previously mentioned, the aptitude tests used to measure six divergent thinking factors and one "reference” factor were selected as best "representing" factors ob tained in a sixth-grade study with the same population and most of the same subjects as those of the present study (Merrifield, Guilford, and Gershon, 1963)* An attempt was made, when the adult forms of tests were revised for the sixth-grade analysis and later for the seventh-grade study, to keep the purpose, task, and probable factor content of 151+ 155 of the test constant for varying age groups. The revisions of tests made for the sixth-grade study are described fully in the report of that study.1 General ly, the language of items and of instructions was simplified and the instructions were expanded, made more detailed, and included more examples of the task to be performed. The administration was changed In that all Instructions and items were read to the examinees• Time limits were revised, after some selected pretesting, usually to give subjects more time than that allowed in adult forms. Description of Aptitude Tests The tests used in the sixth-grade study and the fac tor or factors they represent are listed below. In paren theses following the test name are previous names for the test. Ways to Use It (Utility Test, or when one part Is used, Brick Uses)--list many different uses for a common ob ject. "Shift score," for spontaneous flexibility, is the total number of times the class of object is changed during the listing. What Would Happen (Consequences)— list many different consequences of a change. "Obvious" score, for ideational fluency, is the total number of responses that are directly related to the presented change. "Remote" score, for origl- ^evisions of divergent thinking tests were the re sponsibility of Mr. Henry Levy and Dr. Elnora Schmadel. 156 nality, is the total number of responses that are indirect ly or "remotely” associated to the presented change, i.e., the consequence suggested requires one or more intermediate thoughts from the change to the result. Names for Stories (Plot Titles)--write titles for short, one paragraph stories, or nursery rhymes. The "low- quality" score, for ideational fluency, is the total number of acceptable titles judged to be nonclever. The "high- quality" score, for originality, is the total number of titles rated as clever or witty* Similar Words (Associational Fluency or Controlled Associations Ilia)— write as many synonyms a3 possible for common words. The score for associational fluency is the total number of synonyms produced. Making a Plan (Planning Elaboration)— list the details of a planned activity. The score for elaboration is the total number of details listed. Four Word Sentences (Expressional Fluency or Four Word Combinations)— write many different four word sen tences, the first letter of each word being given. The score for expressional fluency is the total number of sen tences produced, weights being given for productions ac cording to the number of original words used, i.e., points are subtracted for words repeated in a subsequent sentence. Marking Speed— make as many "X's" as possible in one minute. 157 Modifications of Teata Modifications in the above teat battery, usually mi nor, were made prior to its being administered to the sev- p enth graders. Generally, tests which had produced a nar row range of scores for sixth graders were expanded by ad ditional parts of items, time limits were reduced to avoid obvious boredom (a frequent complaint of sixth graders), and the number of examples of "high level" responses to the sample item appearing in the instructions was increased. In Names for Stories, the content of the short narra tive paragraphs was changed from humorous anecdotes to famil iar nursery rhymes. This was done in sin attempt to decrease the possible influence of reading comprehension. Changes in scoring standards were made and are described in the next section. The stimulus words of Similar Words were changed. Al though the items in the sixth grade form were selected on the basis of frequency according to the Thorndike-Lorge word count, an inspection of the results of that study re vealed that the mean for each item was seldom more than "one" synonym, causing some doubt that the test was even a divergent thinking test. The items of the seventh-grade form were selected as follows: words appearing on the Thorndike-Lorge count were selected when many of the syno- Ttfodifications for the seventh-grade forms were the responsibility of Dr. P. R. Merrifield and the author. 158 nyms listed In Webster's Dictionary for the word also had high ratings or were Judged to be common in the language of seventh graders. The instructions to Pour Word Sentences were modified for greater clarity. Many of the sixth-grade examinees had complained that they did not understand the instructions. The items were also revised somewhat to allow fora fourth part to this test. One part of What Would Happen was dropped, leaving four parts. A "remote" response was added to those listed for the sample item. The sample responses in the instructions to Making a Plan were made more different from each other to discourage the listing of too similar responses, which might have been inadvertantly suggested in the earlier form. In Ways to Use It the number of response spaces was increased, because a few sixth graders had not had enough room for their responses. The instructions for all the aptitude tests are pre sented in Appendix D. Scoring of Tests The scores on all the aptitude tests and the mechan ics for obtaining them were the same as in previous studies with adults. Both are described in detail in the scoring manuals for the adult forms of the tests. In some tests, however, criteria for acceptable responses used somewhat 159 lower standards than was true of adult populations. In Names for Stories, which yields a fluency score and an originality score, credit for fluency was given for titles which restated part of the text, even in the exact words of the text, so long as the title reflected the es sence of the content of the story. The criterion of "clev erness" for the originality score was lowered to increase the range of scores and the differentiation of the measure. No credit was given for restatement of a nonessential as pect of the story’s text. In Four Word Sentences part credit was given for the sentences in which a word was duplicated from a previous sentence: four points credit was given for sentences with four original words; two points where one word was dupli cated and no credit where more than one word was dupli cated* Misspelled words were accepted as long as the first letter was correct and in a few cases credit was given even when a commonly misspelled word used the wrong first letter (©•g*» "now" for "know"). In Ways to Use It only the ' ’ shift” score was used and in a way consistent with that of the manual In What Would Happen the only major change occurred in the "remote" score (the originality score). Unlike pre vious scoring, any practicable solution to the change de scribed in the item was given a "remote" score. Because seventh graders tended to list consequences in narrow cate- 160 gories, an attempt was made to evaluate the "closeness1 1 of the category of successive responses* For example, a re sponse sequence to "What would happen if no one needed food in order to live?" which listed: (1) "we would not need toothbrushes," (2)"we would not need toothpaste," (3) "we would not need toothpicks" received one "remote" point for response (1) and one "obvious" score each for the succes sive responses. A similar response sequence, (1) "we would not need toothbrushes" followed by (2) "we would not need dentists," received two "remote" scores* In accordance with the manual a very "close" category in responses scored "ob vious" received only one point credit, the remaining re sponses of the category receiving no credit. In an attempt to decrease the influence of listing, also in Making a Plan no credit was given for responses that were judged to be too similar to previous responses* The modification of scores involving lists of responses was made necessary to differentiate the factors vie were trying to measure from word fluency and/or writing speed. Conversion of Test Scores The distributions of aptitude scores were generally highly positively skewed. Because there were advantages in using an estimate of the product moment correlation In the subsequent correlational analyses, the scores were con verted to decile scores. The means from the raw scores are presented In the following list. 161 Te3t Ways to Use It (WU) Marking Speed (MS) Four Word Sentences (FW) Names for Stories— high (NH) Names for Stories— low (NL) Similar Words (SW) Making a Plan (MP) What Would Happen— remote (HR) What Would Happen— obvious (HO) Means If. 77 16.£9 2.78 8.£7 13.89 4.10 10.93 In Table 3# conversion table showing c\it-off points for decile scores is presented; means and standard deviations based on deciles are presented In a later chapter. From the results of the factor analysis of adults (Guilford, Christensen, Frick, and Merrifield, 19E>7), a temperament inventory called Preference for Artistic Think ing (P. A. T.) was constructed. The P. A. T. inventory was used to generate the hypothesized traits for the seventh- grade study and items from that inventory were sometimes used as a basis for new items for children. Eight P. A. T. scales were selected which were con sidered to be appropriate for children. When possible, unipolar traits rather than bipolar traits or "syndromes" were used. The names of the P. A. T. scales are impulsive ness, need for discipline, divergent thinking, appreciation Temperament Traits 162 of originality, need for variety, tolerance of ambiguity, persistence, and self-confidence. Writing Items The 80 P. A. T. items were evaluated in terms of ap propriateness for children. Items were excluded if the content, vocabulary or grammar was judged to be inappropri ate. Items were also revised: negative statements were reworded to avoid "double negative" responses, and whenever possible, qualifications concerning frequency were elimi nated. Only 3I 4 - P. A. T. items survived pretesting. New items were written to measure each of the eight traits.3 The items were statements concerning the habits, values, attitudes, and self-evaluation of subjects. They took the form of statements concerning usual behavior ("You are the type of person who..."), values and attitudes to ward discipline, authority, change, work, and other people ("You believe that..."), acceptance or rejection of axioms (e.g., "It sometimes pays to give up."), and opinions about oneself or the attitudes of others toward the subject (e.g, "You are usually confident of your ability," and "People are right who think you are *on the ball.1"). After each statement were the words "yes" and "no," one of which the subject was to circle to signify agreement or disagreement. Subjects were instructed to respond quickly, they were not ^Items were written by Mrs. Anna B. Cox, Dr. P. R. Merrifield, Mrs. Ann C. Gardner, and the author. TABLE 3 Conversion Table for Aptitude Scores Deciles Aptitudes WU MS FW SH SL sw MP HR HO 10 13-26 91-99 29-56 7-11*. 15-20 21-33 21-30 8-18 17-31 9 9-12 85-90 25-28 6 13-11+ 18-20 19-20 7 11+-16 8 7-8 79-81*. 21-2 1 * . 5 11-12 16-17 17-18 6 13 7 5-6 76-78 19-20 1 + 10 15 15-16 5 12 6 1 + 73-75 13-18 3 9 1 1 + 1 1 + 3-1+ 11 5 3 70-72 13-18 2 8 13 13 3-1+ 10 1 + 2 67-69 9-12 1 7 12 12 3-1+ 9 3 1 61-66 7-8 1 6 10-11 10-11 2 8 2 0 55-60 1-6 0 1+-5 8-9 8-9 1 6-7 1 0 0-51*. 0 0 0-3 2-7 1-7 0 1-5 N* O K jJ 161 j. allowed a "?" or "sometimes" category of response, and they were not permitted to change their minds once they had com mitted themselves. Prom a pool of almost 500 items, 120 items were se lected for the pretest form of the inventory. For each of the hypothesized scales, three subscales were constructed on a logical basis, making 2 i | . subscales with five items per subscale. Pretesting The preliminary form was administered to 50 summer school students who were eighth graders in the cooperating school district. The analysis of data included Kuder- Richardson reliabilities of subscales, item intercorrela tions, intercorrelations of subscales, and frequency dis tributions for each item. Because of the very low reliabilities of subscales (some were "zero" or even negative), it was decided to e- lirainate the separation into subscales. Item revisions for t he final form of the temperament questionnaire were influenced by the following considera tions. An item with which more than 80 per cent of the sample "agreed," i.e., answered the item in the same direc tion, was eliminated. An item having 70 to 80 per cent agreement was either revised or eliminated. Items consis tently correlating low with items written for the same scale were usually eliminated or sometimes revised. An 165 exception was made when "adult judgment" or some logical basis could be found for re-assigning the item to a trait other than the hypothesized trait when it correlated highly with items of the second scale* Adult Judgments^- Eighteen advanced undergraduates and psychology grad uate students assigned all 120 items to eight trait-scales based on trait descriptions which were identical with the descriptions presented in Chapter VI. More than 25 cent of the items were assigned by these judges to scales other than the hypothesized scales. Construction of the Experimental Form The experimental form, called Inventory of Children’s Interests, included 61 items from the pretest form, 3b of' which were P. A. T. items or revisions of P. A. T. items. Sixty new items were written, following the criteria de scribed above, with the added consideration of the pretest results. This 121-items form was then administered to the entire seventh-grade population of the cooperating school district, In a manner described in Chapter VIII; the data collected were used In the factor analytic study. Factor Analysis of the Inventory of Children’s Interests The responses of 227 boys and 216 girls, the experi- %*he study of adult judgments was conducted by Mrs. Anna B. Cox. A full report of this research can be ob tained through Aptitudes Research Project, University of Southern California. 166 mental sample of this study, were punched into IBM cards; ’ ’ yes” responses were punched as "one” and "no" responses were punched as "zero," Descriptive statistics— means and standard deviations— were obtained and the intercorrelations between all items, I* Q., and sex were computed using the WD CORR program at the Western Data Processing Center, Uni- c versity of California at Los Angeles.^ The correlational matrices, one for boys and the other for girls, are pre sented in Appendix B. Prom the correlational matrices, items were selected for eight factor analyses, four for the boys1 group and four for the girls’ group, including 60 or more items and I. Q,. in each analysis* These eight "preliminary" analyses used factors extracted by the principle components method, using the BIMD 17 program at WDPC. Machine rotations by varimax and graphic orthogonal rotations were used to clar ify the factor structures. The "preliminary" factor anal yses were used to select 80 items for the "final" two anal yses; items selected were those appearing in consistent factor clusters and having the highest comraunalities. For the "final" factor analyses the method of extrac ting the factors was again the principle components tech- ^All computations for this study were carried out at the Western Data Processing Center, Graduate School of Business Administration, University of California at Los Angeles, using available programs for the IBM 7090 com puter. 167 niqjue. Because It was noted that the varlmax solutions re sulted in too few items on factors for construction of re liable scales, graphic orthogonal rotations were used throughout the "final" analysis. Because the method of punching responses involved scores of "one" and "zero," there were numerous negative loadings and "positive manifold" could not be used as a criterion for rotations. The only criterion for rotations was simple structure, but, since "yes" and "no" responses fell on opposite ends of plots of factor loadings, rota tions had as their goal simple structure in all four quad rants. The rotations were "blind" In that the item numbers were coded so that the hypothesized trait factor would not bias the factor solution. Obtained Factors Twenty factors were extracted in each study and were rotated. The factors extracted eleventh through twentieth in both studies were generally seen as residuals, i.e., having no or few items loading .30 or above (exceptions are boys' Factor M and girls' Factors K and L). Ten boys' fac tors and nine girls' factors were considered Interpretable and are described below. Boys' Factor A. Persistence (variable 10) No. Loading Item • » i|i>. .58 You are the kind of person who keeps trying, no matter how hard the job No. * 37. *107. * 89. 120. * 59. 61. * 78. 57. * 17. li+. 168 Loading Jtgia is. (M . 28) .1 4 - 6 You always stop and think things over before acting. •45 You like to stiok to a task even though it seems you are not getting results. .36 Once you start working on your home work, you like to keep working until it is finished. (B -.32) .34 There is some good even in the worst people. (G .28; D -.28) -.33 When you ask a question you hate to be told "nobody really knows." (P .25) -.30 You are the kind of person who says the first thing that comes to mind. (B .32) •29 You sometimes do things over and over to get them better, even if you don*t have to. .29 (F .30) .27 You usually get many ideas about how to do something. -.27 You have a lot of half-finished pro jects hanging around. (H .26; M -.36) -.25 You like to tell people what to do. (B .32) 1 6 9 No, Loading Item 6 1 j . , ,25 You would like to arrange the furni ture In your room at home, (G *25>) 113, ,25 You are usually confident of your abilities. (B .27; M .36) * refers to items selected for temperament scale. PersistenceMost of the items loading significant ly on this factor reflect a disposition to stick to a task until it is completed. The leading items are similar to those loading on girls* Factor A, but this persistence factor is not as clearly defined. Caution, deliberation, and suppression of impulses seem to be involved in this trait, but they are likely subordinate to the interest in getting a job done. Some items on this factor also load on self-confidence; it is interesting to speculate whether self-confidence is the cause or the effect of persistence. Interest In working diligently on tasks and motivation to complete tasks are obviously important in problem solving. Many studies of creativity, especially those isolating the attributes of successful, productive men, emphasize the im portance of persistence or perseverance In creative abil ity, Roe, for example, found this trait to be the most im portant personality characteristic in studies of eminent individuals, ^Factors are defined in the order in which the resul tant temperament scales appeared in the subsequent correla tional analysis. 170 Boys1 Factor B. Decisiveness (Spontaneity) (variate ll) No, Loading Item * 67, .39 You are the type who "jumps to conclu sions," * 68, ,35 You would like to be on a committee that decides on punishment for stu dents who have broken rules. # 1+9, *3k Other people usually take longer to get started than you do. 50, .3I 4 . If you were a teacher you would allow more freedom. (E —, I ( . 0 ) - m- 109, ,33 You would rather do things without planning (E -,33) 1 1 1 . , ,32 You like to tell people what to do, (A -.25) 61. ,32 You are the kind of person who says the first thing that comes to mind. (A -.30) 89, -*32 Once you start working on your home work, you like to keep working until it is finished. (A ,36) # 79, *29 You are quick to take a dare. 62. .27 There are too many laws. (M , 2 l j . ) 105. *27 You like art better than history. (F -.21*) 113. .27 You are usually confident of your 171 No. Loading Item abilities* (A .25; M .36) 8* -.27 You know of some situations where It would be better to have more rules. 119. -*27 When you grow up you will probably make a lot of money. (M .30) 26. .25 Most clubs could get along without i*ules. (E -#27; H .25) i j l j - . .25 You would like a school with very few rules and regulations. (E — .I4 . 8) i j . 5. .25 You get so many ideas at once that it is hard to keep track of them. (C .23 108. .22 You like to tell jokes. (F .50) * 31. *20 When a friend comes along and asks you to go somewhere, you drop every thing and go. (E -.26j H .2i j . ) % 71. -.19 Sometimes you would like to stay aft er school to finish a project. (D -.211 . ) # refers to items selected for temperament scale. Decisiveness.— The items loading on this factor de fine a trait which consists of the attributes of making up one's mind, quickly, and acting without deliberation, lik ing to make decisions and give orders, and independence in the absence of external structuring. The trait suggested Is decisiveness, a temperament sometimes found to be re- 172 lated to creativity In scientists (Hall, Woodworth, Gough, Peck, and Schimek)• Because many of the items that loafc very high on this factor describe immediate, unreflective, somewhat uninhibited behavior, the trait name spontaneity is suggested as an alternative* A person who is decisive would be expected to do things spontaneously and the oppo site should also be true. Although this factor is very similar to girls' Factor E, the items reflecting desire for change do not load significantly on this factor, which sug gests that making decisions to change existing conditions does not differentiate boys. Boys' Factor H. Irresponsibility (Impulsiveness) (var iable 12) Ho* Loading Item 1* * L | . 0 Any money you get hold of seems to go as quickly as It came. * 7♦ «39 You buy things that you later realize you don't need. *- 7 i | - « *38 A person may cheat a little to win a game, when the school is counting on him to win. *l4 l. *30 You prefer a teacher who gives you general assignments and has you work out the details for yourself. (K -.27) 17. «26 You have a lot of half-finished pro jects around. (A -*29; M -.36) No, Loading Item 26. ,25 Most clubs could get along without rules. (B .2£; E -.27) *117• You hardly ever have the same idea twice when faced with the same prob lem. • » refers to Items selected for temperament scale. Irresponsibility.--Many of the items loading high on this factor were written for the trait impul3ivenes3, since they reflect poor judgment, lack of self-control and non- purposive acts. In addition, items dealing with disregard for rules and authority ahd with lack of persistence and motivation also load on this factor. The trait suggested is one in which a person is unwilling to accept the re sponsibility for his behavior, lacks Inner controls over his acts, and cannot carry out or complete tasks In a re sponsible way. This trait is similar to the girls' Factor K in definition, but the two factors do not share the same items. The girls' factor describes acts that might lead to interpersonal difficulties, while irresponsibility would more likely lead to difficulties for the individual himselL Research evidence concerning related temperament variables (the specific trait of irresponsibility-responsibility has not been Investigated In relation to creativity) is not conclusive: there are studies to suggest that control over impulses is positively related to creativity (Cattell and m Drevdahl, 1955; Munsterberg and Mussen, 1953* Roe, 1953* Gough, 1958)# Other studies suggest that suppression of Impulses Is negatively related to creativity measures (Bar ron, 1955; Peck, 1958; Hall, 1958; Guilford, 1957). Bar ron (1953) found a negative correlation between good Judg ment and the FFT# Hersch»s study suggested that both ego control and accessibility to impulses were greater in artists (1958). Boys1 Factor E* Need for Rules (Authority) (Vari able 13) No. Loading Item # i|4* -.ij. 8 You would like a school with very few rules and regulations. (B .25) # 50. — #ij.O If you were a teacher you would al low more freedom. (B *3^4-) 62. — # / - | - 0 There are too many laws. (B #27) #116. #35 People must have rules to know what to do. (I -#26) 109# -#33 You would rather do things without planning. (B #33) # 98# #32 A good scout troop should be run strictly by the rules. (I -#30) #106. -.32 You like the kind of teacher who lets you get away with a few things. I 4 . 6# -#31 It would be fun to move to a new place to live. 175 No. Loading Item 90. -.30 You wish you could change your looks. (G .28; M -.36) # 91. .29 You like to make schedules for your self. 16. -.28 It would be fun to change schools. (G .33) * 20. .27 Children must always be punished for doing wrong. (G .29) 26. -.27 Most clubs could get along without rules. (B .25; H .25) i j . 0 . -.27 You like people who have a lot of wild ideas. 31. -.26 When a friend comes along and asks you to go somewhere, you drop every thing and go. (B .20; H .24) #111• .25 The penalty for the same crime should always be the same regardless of special circumstances* (D *25) # refers to items selected for teraper’ ament scale. Need for Rules.— This is one of the clearest factors to emerge. Almost every item written to measure need for authority loaded significantly on this factor. Items sug gest a desire for rules that are impartial, unchanging and rigid, and the opinion that situations require formal and extensive structuring. However, because items related to a need to be the agent of authority do not fall on t his factor, the primary interpretation was need for rules, rather than for authority* Because this trait appears to have some relationship to Frankel-Brunswick»s concept of attitudinal rigidity or intolerance of ambiguity, it may be expected to correlate negatively with various divergent thinking factors (Fleming and Weintraub, 1962). The rela tionship between need for rules and conformity is not clear. It is likely that they are not the same, since one can need external structure without necessarily conforming to it. One aspect of the dynamics of the psychopathic personality, in fact, involves extemalization of moral values prior to circumventing the rules. Many previous studies emphasize that creative, productive individuals are unconventional or nonconforming in their thinking or attitudes, while being quite conforming in their overt social behavior (e.g.. Roe, 19ij.9; Maslow, 1 9 5 > i j - J Van Zelst and Kerr, 1954)* In one study (Hall, 1958) originality was positively related to "rejection of social convention," but Roe consistently found no relationship between originality and unconvention ality. Boys1 Factor F. Sense of Humor (Appreciation of Origi nality) (Variable l l j . ) No. Loading Item • k - 108. -.50 You like to tell jokes. 39. *33 You sometimes do an assignment dif- 177 No. Loading Item ferently from the rest of the class and still get the right answer* (D -.28) * 69. -.32 Your friends know a lot of funny jokes* (D -*28) 78* *30 You sometimes do things over and over to get them better, even if you don't have to. (A .29) * 58. -.29 You like to be with people who some times act silly. 59. .25? When you ask a question you hate to be told "nobody really knows." (A -.33) *-10!?. -*2lj. You like art better than history. (B .27) * • 1|0. -.21 You like people who have a lot of wild ideas. (E -*27) * refers to items selected for temperament scale* Sense of Humor.--The "poles" of this factor were re versed for interpretation so that a negative loading is to be considered a "yes" response to an item. The items load ing on this factor suggest a liking for humorous, wild, silly ideas* Although the factor is confounded somewhat by items not obviously related to humor, the trait represented seems to involve the appreciation and production of humor 178 or original ideas* There is a suggestion that, despite the similarity in items with girls * Factor H, this factor is more related to a self-orientation and to an emphasis on the ability of the individual to be original* Some of the "unrelated” or nonhypothesized items on this factor might represent awareness of attributes indirectly related to be ing humorous (tolerance of ambiguity and lack of perfec tionism, for example)* Some studies suggest positive cor relations between sense of humor and creativity (Getzels and Jackson, 1959; Guilford, Christensen, Frick, and Merri- field, 1957; Barron, 1955)* but the humor variable is not so heavily weighted by appreciation in most cases* Boys* Factor M* Self-Confidence (variable 15) No* Loading Item *115* *38 People generally like you* 17* -*38 You have a lot of half-finished pro jects hanging around. (A -*27;H,26) * 1|7. -*36 You find it difficult to decide whether a painting is good or bad* 90* -.38 You wish you could change your looks. (E -.30; G .28) ■ h- 113* *38 You are usually confident of your abilities. (A .25; B .27) • H - 8 i j . . -*35 Even though you try your hardest you usually fail. * 5 i j - . *33 People are right who think you are 179 No* Loading Item ”on the ball#1 1 119# #30 When you grow up you will probably make a lot of money# (B -#27) 1|3# -#30 You often get in trouble for talking before you are called on in class. 21. .28 When your group is trying to think of something different to do, you can usually make a suggestion. (I .33) l | . 2 # .28 You are the kind of person who keeps trying, no matter how hard the job is. (A .58) 72. .28 You feel people are usually interest ed in your ideas. (D - . i j i j . ) 27. -.26 When writing a paper you keep think ing of different ways to organize the material. • S t i | - 8• -.25 You worry about whether people like you or not. * refers to items selected for temperament scale. Self-confidence.— Perhaps the most readily interpret able factors, for both boys and girls, are those represent ing confidence in one*s ability, assurance that others like an individual and are interested in him, optimism about the future and self-acceptance. This is clearly the trait of self-confidence as is girls1 Factor C. Very few published 180 studies Include self-confidence as a variable. Often there is an implication that creative people are lacking in self- confidence (Munsterberg and Mussen, 1953; Roe, 1953)* In other studies self-confidence has been found to be posi tively correlated with creativity (Van Zelst and Kerr, 19534* Schimek, 1951;; Peck, 1958; Hall, 1958; Woodworth, 1958). In the only extensive study in which self-confidence was included as a variable, Guilford (1957) found significant correlations with the aptitudes of ideational fluency and originality. Boys* Factor D. Adaptive Flexibility (variable 16) No. Loading Item * 72. You feel people are usually inter ested in your ideas. (M .28) #110. -.39 Many problems have a number of good answers. * 73* .37 A lot of time is wasted in planning. '9# -.30 You frequently think of many differ ent ways to do the same thing. (I ,30) * 39. -.28 You sometimes do an assignment dif ferently from the rest of the class and still get the right answer. (F .33) 69. -.28 Your friends know lots of funny jokes, (P -.32) *120. -.28 There is some good even in the worst No# Loading Item people# (A #3/ 4 . ; C #28) 111# #25 The penalty for the same crime should always be the same regardless of spe cial circumstances# (E #25>) 7£# -#25> You start to work on a problem by thinking of many different ways to do it# * refers to items selected for temperament scale. Adaptive Flexibility.— The "poles’ 1 of this factor were reversed so that a negative loading was interpreted as a "yes" response to an item. The interpretation of this factor (and that of girls’ Factor G) posed somewhat of a problem# The items loading significantly on this factor generally reflect the opinion that changing set is desir able, that there are many good answers to problems, that producing many ideas i3 helpful in finding a correct an swer, and that many sides of a question need to be consid ered# One interpretation of this factor is that the items represent a disposition to be flexible in attitude and be havior, and, since the flexibility also seems to be specif ically related to problem-solving, a disposition toward adaptive flexibility. This temperament might then be ex pected to be related to creativity in a manner similar to tolerance of ambiguity, i.e., to correlate positively with numerous divergent thinking aptitudes# 182 Boys* Factor I, Fluency of Ideas (variable 17) No. Loading Item * 57* *37 You usually get many Ideas about how to do something. (A .27) *21. .33 When your group is trying to think of something different to do, you can usually make a suggestion. (M .28) * 9* «30 You frequently think of many differ ent ways to do the same thing. (D -.30) 98. -.30 A good scout troop should be run strictly by the rules. (E .32) * 8l* .26 Sometimes you wish you could stay on the subject better than you do. (C .26) 116. -.26 People must have rules to know what to do. (E .35) * refers to items selected for temperament scale. Fluency of Ideas.--The items loading on this factor reflect a disposition to produce many ideas, a temperament that seems to be specifically related to the aptitude ide ational fluency. The emphasis is on quantity of ideas gen erated, although items loading on flexibility and negative ly on need for authority fell on this scale also. There is a suggestion that the temperament of fluency is recognized by individuals as sometimes a source of difficulty in that 183 it interferes with perseverance. Although there is no pre cedent for a specific ideational fluency temperament vari able, it is logical to expect this trait to correlate posi tively with aptitude factors of fluency. There are simi larities in interpretation between this factor and both boys1 Factor D and girls' Factor G, but there are few items that these factors have in common* Item content of this factor is similar to "interest in divergent thinking" of the adult study. Boys' Factor C* Conservatism No. Loading Item 70. .I4 - 5 It makes you uncomfortable to do something new. 77« *39 You dislike a test in which there are no right or wrong answers. 6. *3 1 4 . It sometimes pays to give up. i|5. .29 You get so many ideas at once that it is hard to keep track of them. (B .25) 120. .28 There is some good even in the worst people. (A .34* D -.28) 2. .26 It is always better when the class minds the teacher without asking a lot of questions. I 4 . 6. .26 It would be fun to move to a new place to live. (E -.31) 1 8 1 4 - No* Loading Item 8l# *26 Sometimes you wish you could stay on the subject better than you do* (I *26) 33. #22 A teacher who tells jokes wastes time. Conservatiam.— Thl3 is one of the factors of which the interpretation is most doubtful, primarily because only three items loaded significantly on the factor. Neverthe less, the trait represented by items is suggestive of a con servative attitude involving a preference for the status quo, a desire for certainty and the maintenance of law and order. This temperament reflects the opposite of need for variety (Guilford), elements of which are found in boys’ Factor G and girls' Factor E. Most studies suggest that creativity is related to the opposite trait, radicalism (Cattell and Drevdahl, Drevdahl, Stein, Van Zelst and Kerr, and Hall). Guilford et al. found no significant correla tions between need for variety and divergent thinking. Boys' Factor G. Liking for Adventure No. Loading Item 16# .33 It would be fun to change schools. (E -.28) 87# .32 You hope to be able to do something no one has ever done before. 97* «31 You sometimes make promises that are 185 No* Loading Item hard to keep* 20. -*29 Children must always be punished for doing wrong. (E .27) 90* *28 You wish you could change your looks. (E -.30; M -.36) 6 i j . . .25 You would like to rearrange the fur niture in your room at home. (A .25) Liking for Adventure.— Another factor which was dif ficult to interpret because there were few significant loadings, this factor has items that reflect a desire for change but also there was a suggestion of a need to accom plish something spectacular and an Item reflecting a lack of concern with convention. The temperament suggests a mild disposition toward adventure, but the interpretation is tentative at best. It is likely that subsequent analy sis will find a unitary need for variety factor including items from boys* Factors C and G. Girls’ Factor A. Persistence (variable 60) No. Loading Item * I 4 . 2. -.^.8 You are the kind of person who keeps trying, no matter how hard the Job is. (D .26) *107. -.ij-8 You like to stick to a task even though it seems you are not getting results. No* * 78. *104. *109. 31. * 71. 1 ^4 - . * 89. 17. 50. 105. 8 4 . 1 8 6 Loading Item -.47 You sometimes do things over and over to get them better, even if you don’t have to. (G .28) *44 When you are far behind in a game, you’d rather give up and start some thing else. (K .30) •44 You would rather do things without planning. (E .30) .38 When a friend comes along and asks you to go somewhere, you drop every thing and go. -.37 Sometimes you would like to stay aft er school to finish a project. .35 You would like a school with very few rules and regulations. (E .31; G .32) .34 Once you start working on your home work, you like to keep working until it is finished. .33 You have a lot of half-finished pro jects hanging around. (C -.34; K .36) •33 If you were a teacher you would allow more freedom. (I *47) *33 You like art better than history. (H .33) .28 Even though you try your hardest you No, Loading Item usually fail# (C -#33) 16, ,27 It would be fun to change schools, (E .31) 77# *26 You dislike a test in which there are no right or wrong answers, refers to items selected for temperament scale. Persistence.?— For the purpose of interpretation the "poles" of this factor were reversed so that a negative loading was considered as a "yes" response to an item and a positive loading, a "no." This factor is clearly the hy pothesized trait of persistence, similar to boys* Factor A in content. Again the items reflect various degrees of sticking to tasks and "achievement motivation." Items loading significantly on this factor suggest a disposition to complete tasks even against difficult odds, to continue working even after experiencing failure, and toward some degree of perfectionism. The "impulsiveness" items that load negatively on this factor refer to leaving a task un completed to start something new, i. e., the trait of per sistence has characteristics opposite to initiative. It may be worth repeating that persistence is the trait most consistently found in creative persons (Galton, Roe, Stein, Meier, Rossman, Van Zelst and Kerr, Peck, and Guilford). Factors are defined in the order of appearance of the temperament scales in the correlational analysis. 188 Girls' Factor E. Initiative (variable 6l) No, Loading Item # I 4 . 6. ,i;5 It would be fun to move to a new place to live# • » 1 ^ . 9 * *3k- Other people usually take longer to get started than you do, # lp., ,32 You prefer a teacher who gives you general assignments and has you work out the details for yourself, (H -.26) 16, ,31 It would be fun to change schools, (A .27) I j l j . , ,31 You would like a school with very few rules and regulations. (A ,35; 0«32) 109• *30 would rather do things without planning. (A . I j l j . ) 68. ,29 You would like to be on a committee that decides on punishment for stu dents who have broken rules. 79* *29 You are quick to take a dare. (I .29) 74* *28 A person may cheat a little to win a game, when the school is counting on him to win. ■ f c refers to items selected for temperament scale. Initiative.— This factor consists of items that were written for three hypothesized scales. First, there are items relating to a desire for change, similar to Guilford's 189 Need for Variety* Secondly, there are items reflecting the mildest form of impulsiveness, which we called spontaneity, involving decisiveness and responding rapidly. The third attribute suggested is freedom from restriction, especially from restrictions involving orders or too much detail in how a task is to be done. This trait may be thought of as a syndrome consisting of independence, responsibility, de cisiveness, spontaneity and a desire for change* All of these components have been found to be positively corre lated with creative ability (Andersen and Munroe, 19^8; Drevdahl, 1956* Van Zelst and Kerr, 1951}-; Schimek, 1951}-; Peck, 1958; Hall, 1958). In the study by Hall (1958) sci entists who created original mosaics had personality traits including all the components of the initiative syndrome. Girls* Factor K. Lack of Inhibition (Lack of Restraint) (variable 62) No. Loading Item * 6l. .1 4 . 6 You are the kind of person who says the first thing that comes to mind. ■ f r 25* It Is hard for you to keep from in terrupting when someone else is talk ing and you have something to say. * 67. . i j i j . You are the type who "jumps to con clusions. " 37• -*39 You always stop and think things over before acting. (D .30) 190 No. Loading Item * 17. .36 You have a lot of half-finished pro jects hanging around. (A .33; C -.34) 14. *35 You like to tell people what to do. (D -.27) 45* *34 You get so many Ideas at once that it Is hard to keep track of them. 6. .31 It sometimes pays to give up. (D .30) * 43• *31 You often get in trouble for talking before you are called on in class. 62. .30 There are too many laws. (I .32) 104. .30 When you are far behind in a game, ‘ you’d rather give up and start some thing else. (A *44) * 97• *29 You sometimes make promises that are hard to keep. * refers to Items selected for temperament scale. Lack of Inhibition.— Almost all the Items loading sig nificantly on this factor were written for the hypothe sized Impulsiveness trait. Several of the items describe behavior that is marked by a lack of inhibition which could cause difficulties In a group situation, e.g., talking in class, Interrupting people and talking before thinking. The trait suggested, which also includes unreflectlve acts, acting without planning, and inability to complete tasks, is called lack of inhibition or lack of restraint. This 191 factor describes less control over Impulses than any of the boys1 factors, but in the only impulsiveness factor which emerged that is similar to the temperament trait usually studied in relation to creativity variables. As pointed out in the discussion of boys' Factor H, the results are equivocal— in some studies, creative persons are found to be impulsive; in other studies, creative persons are more likely to suppress impulses or even to be inhibited (e.g., Cattell and Drevdahl, 1955; Munsterberg and Mussen, 1953 vs. Barron, 1955; and Peck, 1958)* Girls' Factor D. Need for Authority (variable 63) No. Loading Item • f r 83. .I4.2 In an argument one person is usually all right and the other all wrong, ■frill. .i+O The penalty for t he same crime should be the same regardless of special circumstances. (C -.26) - f r 2. .38 It is always better when the class minds the teacher without asking a lot of questions. 21. .33 When your group is trying to think of something different to do, you can usually make a suggestion. 6. .30 It sometimes pays to give up. (K .31) * 37* .30 You always stop and think things over before acting. (K -.39) 192 No. Loading Item *116• *30 People must have rules to know what to do, (G -.27; L .30) 9, .28 You frequently think of many differ ent ways to do the same thing. (G .35) * l l j . . -.27 You like to tell people what to do. (K -.35) i t - 2 . .26 You are the kind of person who keeps trying, no matter how hard the job is. (A - . l j .8) * 98. .23 A good scout troop should be run strictly by the rules. * refers to items selected fca? temperament trait scale. Need for Authority.— This factor is similar to the boys1 Factor E in that many of the items loading signifi cantly were also written for the hypothesized need for au thority. There is very little overlap in item content, however, and this factor appears to be a more general one, Ihe temperament described is more inclusive of attributes composing need for authority. In addition to a belief in rigid, impartial, detailed rules and structure, this trait includes the use of "black and white" thinking, which sug gests Intolerance of ambiguity, and the unquestioning ac ceptance of established authority, reflected in the agree ment with axioms. The trait is suggestive of the "author!- 1 9 3 tarian personality’ 1 syndrome described by Adorno et al. Even more than boys' Factor E, this trait should correlate negatively with divergent thinking aptitudes (Fleming and Weintraub)• Girls' Factor H. Sense of Humor (Appreciation of Orig inality) (variable 6i+) No. Loading Item *106. .37 You like the kind of teacher who lets you get away with a few things. (I .26) * 69. .36 Your friends know a lot of funny jokes. *108, .35 You like to tell jokes. *105. *33 You like art better than history. (A .33) * 33. -.30 A teacher who tells jokes wastes time. *117. .28 You hardly ever have the same idea twice when faced with the same prob lem. i j J L . -.26 You prefer a teacher who gives you general assignments and has you work out the details for yourself. (E .32) * refers to items selected for temperament scale. Sense of Humor.— Although the majority of items load ing on this factor represent an appreciation of humorous m Ideas, there Is a greater emphasis on appreciation and the evaluation of others than in boys' Factor F. In fact, the item loading highest on this factor suggests that girls are freer to manifest appreciation of unusual or witty ideas when an authority figure sanctions it. Because the trait appears to emphasize more the appreciation of humor rather than a disposition to produce humor, correlations with cre ative aptitudes might be expected to be low. Girls' Factor C. Self-Confidence (variable 65) No. Loading Item ■ 3 5 - 113. *39 You are usually confident of your abilities• ■35- 72. .36 You feel people are usually interest ed in your ideas. * 5 > i } . . *35 People are right who think you are "on the ball." (L .28) • 3 5 - 1 1 5 . *35 People generally like you. 17. -•3k You have a lot of half-finished pro jects hanging around. (A .33; K .36) - 3 5 - J 4 . 7• -.33 You find it difficult to decide whether a painting is good or bad. - 3 5 - 8 1 j . . -.33 Even though you try your hardest you usually fail. (A .28) ■ s t - l j . 8. -.31 You worry about whether people like you or not. 111. -.26 The penalty for the same crime should 195 No. Loading Item always be the same regardless of spe cial circumstances. (D . l j . 0 ) * refers to Items selected for temperament scale. Self-Confidence.— Virtually every item that loaded significantly on this factor also did so on boys’ Factor M. The temperament includes confidence, a feeling of being liked, appreciated and accepted. The generally high opin ion of oneself suggests the trait of self-confidence. As mentioned previously findings are not unanimous concerning the relationship between this temperament and creative ability. Girls’ Factor G. Interest in Divergent Thinking (vari able 66) No. Loading Item #120. . l j. 6 There is some good even in the worst people. * 9. .35 You frequently think of many differ ent ways to do the same thing. (G .28) *32 You would like a school with very few rules and regulations. (A *35» E .31) # 39. .28 You sometimes do an assignment dif ferently from the rest of the class and still get the right answer. (L .26) 196 No* Loading Item 70* *28 It makes you uncomfortable to do something new* 78* *28 You sometimes do things over and over to get them better, even if you don’t have to* (A -*lj7) 27* *27 When writing a paper you keep think ing of different ways to organize the material* 116• -*27 People must have rules to know what to do. (D .30; L *30) ■35-26. ,26 Most clubs could get along without rules. (L -.26) * 86. -.23 You would like to help put criminals in jail. * refers to items selected for temperament scale. Interest in Divergent Thinking.--This factor is in many ways similar to boys' Factor D and It poses the same problem in Interpretation. However, this factor is much more confused and is probably confounded. Flexibility does not emerge as clearly. Because the items seem to represent a subtle difference in that there is a disposition to con sider many alternative solutions and different approaches, without an emphasis on changing set, the hypothesis pre sented is that the trait of divergent thinking is involved in this factor. Another difference from boys’ Factor D Is 197 that in this factor there is the proposition that people really do not need rules and restrictions, whereas boys seem to reflect a more generally favorable opinion of oth ers. Girls’ Factor I* Moral Relativism (Need for Freedom) (variable 67) No. Loading Item # 50. .1|7 If you were a teacher you would allow more freedom. (A #33) £6. #36 A person should be excused for break ing a rule he didn't know about. * 62. #32 There are too many laws. (K #30) • 3 5 - 79. #29 You are quick to take a dare. (E .29) 106. .26 You like the kind of teacher who lets you get away with a few things. (H .37) refers to Items selected for temperament scale. Moral Relativism.--The items loading on this factor suggest a tolerance for breaking laws or "stretching" rules when conditions warrant leniency, a less strict and abso lute attitude toward authority and rules in general, and a disagreement with the need for external structure in situa tions. The trait reflects flexibility In the attitude to ward authority specifically and is thus similar to Factor D. and to the "negative" pole of Factor E0 The temperament is 198 also reminiscent of Piaget*s concept of "moral relativity" or " morality of cooperation*" The factor is "independ ent" in that, despite the similarity in interpretation with Factors D and E, few items are shared with these two fac tors* It might be expected that this temperament would perform like tolerance of ambiguity and nonconformity do in relation to creativity, i.e., it should correlate positive ly with various divergent thinking aptitudes. Girls * Factor L* Ambition (Need for Glory) No* Loading Item 87* .Ij- 5 You hope to be able to do something no one has ever done before. 96. .35 You sometimes make promises that are hard to keep* 75* *32 You start to work on a problem by thinking of many different ways to do it. 116. *30 People must have rules to know what to do. (D .30; G -.27) 5^. «28 People are right who think you are "on the ball." (C .35) 91* #27 You like to make schedules for your self. 26. -*26 Most clubs could get along without rules. (G .26) 39# #26 You sometimes do an assignment dif- 199 No, Loading Item ferently from the rest of the class and still get the right answer. (G .28) 71* *26 Sometimes you would like to stay aft er school to finish a project. 81. .26 Sometimes you wish you could stay on the subject better than you do. 102. *2f? You would point out an error the teacher made on the blackboard. 119* *25 When you grow up you will probably make a lot of money. Ambition.--This factor is similar in item content to boys1 Factor G, which also is unclearly defined. However, in this factor, persistence items, self-confidence, and items suggesting an ability to be flexible, rather than a need for variety, combine with a desire to have “unusual success in life. This combination of self-aggrandizement and optimism suggests ambition or, as an alternative, need for glory, which is a tentative interpretation at best. The trait has certain qualities that are similar to "autis tic thinking" temperament suggested by Guilford. Summary of Temperament Factors Obtained All of the hypothesized temperament traits are repre sented to some degree in the obtained factors, but in some cases, the interpretation was doubtful or factor definitions 200 were slightly different from hypotheses. The following factors show almost no sex differentia tion and indicate close agreement with hypothesized traits: persistence (boys* Factor A and girls' Factor A) and self- confidence (boys' Factor M and girls' Factor Cj, One trait in which the boys' (Factor F) and girls' (Factor H) temper ament factors share many items in common is sense of humor, but the obtained factor is conceptually more differentiated than the hypothesized "appreciation of originality," since preference for original or "artistic" subject matter was not generally found to load on these, factors. Another trait in which the factors are conceptually similar, but fewer items are shared in common is need for authority (boys' Factor E and girls' Factors D and I), Also noted in regard to the hypothesized authoritarian syndrome was that the girls* analysis produced two differentiated, fairly in dependent temperament traits. Factors indicating less specificity than was hypothe sized, or perhaps confounding of two or more traits, were temperaments emphasizing flexibility of attitude of which the boys' Factor D includes adaptive flexibility, tolerance of ambiguity and a generally benign attitude, while the girls' Factor G includes interest in divergent thinking and permissiveness in discipline. Boys' Factor I, which seems to have confounded the traits of fluency with lack of per sistence and rejection of the need for authority, was not 201 obtained in the girls' factor analysis. As noted in other studies of factor analyses of chil dren's temperaments, the usual source of confounding is in conformity-nonconformity items. Apparently the child's self-image is heavily influenced by the reflected evalua tion of general ’ 'goodness" or "badness," i.e., obedience or disobedience of rules, and by attitudes concerning external vs. internal control over impulse expression. The factors most related to hypothesized impulsive ness showed more specificity, or differentiation, than was predicted and considerable sex differences. The defini tions of factors above describe the shades of difference in these impulsiveness factors and the names of the traits re flect these differences: decisiveness or spontaneity (boys' Factor B), irresponsibility or impulsiveness (boys' Factor H), initiative (girls' Factor E), and lack of inhibition or restraint (girls' Factor K). Factors related to the hypothesized trait of need for variety showed the poorest definition. Boys' Factors C and G - and girls* Factor L are suggestive that a temperament trait involving need for change may be isolated in a factor analysis with children. Perhaps this analysis included too few differentiating items for this factor to have emerged adequately. Development of Temperament Trait Scales From the obtained rotated factors, eight scales were 202 developed for boys (variables 10-17) and for girls (vari ables 60-67)* The items comprising each of these scales are listed in Appendix C. An attempt was made to select "univocal" items, i.e., those loading on only one factor, and every scale is independent in that no item appears on more than one scale within a sex group. Scoring stencils were cut for each temperament trait, the total scale scores were obtained and punched into IBM cards for subsequent correlations. Temperament trait scale scores were used in all subsequent data analyses discussed in ChaptersVIII and IX. Rating Scales Sixteen graphic rating scales were constructed for this study. In the manual explaining the purpose and meth od of the ratings, the description of each scale was, in most cases, either the description of an obtained aptitude factor or of a hypothesized temperament trait. Ratings were done by scale, that is, a rater evalu ated every child in a class on one scale before going on to a second scale. The scales were horizontal bars with the left side labeled "little” and the right side labeled "much.”® There were no other identifying "anchor points" g The text of the Rater’s Manual and illustrations of the horizontal bar graphs are presented In Appendix E. A more complete description of the rating procedure is found In Chapter VIII, "Procedures." 203 on the scale bar* The bars were staggered to reduce cen tral tendency due to visual cues. The ratings were scored by hand measurements on a 2l).-points, equal interval scale by use of specially constructed "rulers," No score trans formations were made of ratings before they were used in correlations, because the characteristics of the frequency distributions were adequate for meeting the assumptions for product moment coefficients. CHAPTER VIII PROCEDURE Subjects The aptitude test battery and the Inventory of Chil dren^ Interests were administered to the entire seventh grade of a cooperating school district. The seventh grades were located in two junior high schools, called schools "A” and "B" in this study, assignment to schools being made on a geographical basis. The school district is in a beach town southwest of Los Angeles. There is considerable pride and interest in the town regarding the progressive atti tudes and high standards of the educational program, which is subsidized entirely by income from municipally owned oil wells. The children's social-economic statuses have been discussed in a previous study (Schmadel, I960). Although assignment to social status categories is made extremely difficult because the majority of parents are engaged in aircraft, missile or electronics work for which there are no precedents in published methods of determining indices of status, the two schools and the town can be described as predominantly middle class. The town has no slums and no mansions• 2 0 1 } . 205 The subjects of this study took part in a research project a year before, when they were sixth graders, and some form of all the aptitude tests administered in this study had been administered in the earlier study (Schmadel, I960 and Merrifield, Guilford and Gershon, 1963). Of the 59^ total registered seventh graders, the re sponses of 227 boys and 216 girls were finally selected to be included in the present study. Criteria for excluding subjects were the following: failure to complete any part of the testing because of absence, CTMM I.Q. below 90, or no available CTMM I.Q. score obtained within a year of the administration of this battery. In Table i j . (Part 1) the I.Q. 's are presented for the school and sex groups. I.Q.'s were computed as averages TABLE I 4 . (Part 1) CTMM I.Q. Score Means Schools Boys N Girls N Total N A 108.82 100 108.83 108 108.83 208 B 112.53 127 111*. 93 108 113.6^ 235 A and B 110.90 227 111.88 216 111.38 m between language and nonlanguage I.Q.*s in a manner de- 206 scribed in the manual for the California Test of Mental Maturity. Because the exclusion of subjects whose I.Q. was lower than 90 left the distribution trtineated9 the scores were converted to "vingtile" scores (the percentage of cases included for C-scale scores was halved). The conver sion table is included in Table 4 (Part 2). TABLE (Part 2) Conversion Table for CTMM I. Q. Scores C/2 Score CTMM Interval Frequency 20 lij.8 - 158 3 19 m - 11*7 1 18 iko - lk3 6 17 136 - 139 9 16 130 - 135 21 15 128 - 129 11 Ik 12k - 127 29 13 121 - 123 2k 12 117 - 120 kh 11 Ilk - 116 2k 10 111 - 113 38 9 107 - 110 61 8 lOiq - 106 1 ^ . 0 207 TABLE i j . — Continued (Part 2) C/2 Score CTMM Interval Frequency 7 102 - 103 21 6 99 - 101 38 5 97 - 98 15 1 + 95 - 96 30 3 93 - 91+ 11 2 92 9 1 91 2 0 90 8 Total m Administration of Data Gathering Instruments The Inventory of Children’s Interests and seven apti tude tests were administered to almost 600 children in each of eighteen homerooms* Classes were suspended during test ing and the homeroom teacher served as proctor. Adminis trators were graduate-student research assistants on the staff of Aptitudes Research Project. In order to keep the testing to one (1 + 5 minutes) period a day, the instruments were divided into three presentations according to the plan shown in Table 5« 208 TABLE £ Battery Guide for Administrators Tests Instruction Time No. of Parts Time/ Part Total Time Booklet A 33 Inventory 3 1 30 33 Booklet B 37 Ways to Use It 3 2 5 Marking Speed 3 1 1 b Four Word Sentences 3 k 2 11 Names for Stories 3 2 3 9 Booklet C 36 Similar Words 3 2 b 11 What Would Happen 3 k 2 11 Making a Plan b 2 S i b Children who were present for all three testing ses sions but had no CTMM I.Q. score on file were given the part or parts of the CTMM required in the two weeks follow ing administration of the inventory and aptitude battery. Approximately two weeks after tests were administered, a conference was held with the teachers in which the rat er's manual and the rating scales were discussed. At that session rating manuals and forms for rating the teacher's homeroom class were distributed. Two weeks later and four weeks from the time of the test administration, another discussion of the rating procedure was held and forms for 209 rating the teacher’s "non-homeroom" class were distributed* These ratings were used to derive scores that were included in the correlational analysis. In June, very close to the end of the school term and approximately six months from the first ratings, forms were distributed for the re-ratings of homeroom classes. These data are incomplete because of the attrition in teachers and students. The re-ratings of non-homeroom classes posed a special problem in School "B" because a delay in distri buting forms to teachers in this group led to a conflict with the final reports for the end of the year. There was considerable resistence toward re-rating non-homeroom classes. Scoring and Processing of Data Aptitudes Tests were scored by hand strictly according to the standard procedures described in scoring manuals for adult forms of the test. Every score and total score was "triple-checked." After two of the staff members had made independent judgments concerning the score, since many of the scores involve subjective evaluations, the author with the assistance of Mrs. Anna Cox "reconciled" disagreements in scores. Scores, converted to deciles, were punched into IBM cards, after frequency distributions had revealed con- 210 siderable skewing in most variables* These scores were in cluded in the correlational analysis, computed at Western Data Processing Center using the program for BIMD 06. Temperament Traits Responses to the inventory were transferred to IBM answer sheets and were also punched into IBM cards. These scores were used for the factor analyses of Items, which are described in Chapter VII. Prom eight of the obtained factors for each sex group, temperament trait scales were constructed. The Item content of these scales Is presented in Appendix C. Scoring stencils were cut, responses on answer sheets were scored for total trait scale scores, and these scores were punched into IBM cards for use with the BIMD 06 program. The frequency distribution of several trait scales were skewed markedly and these scales were dichotomized. Rating Scales Ratings were made on horizontal bars which had no sub divisions nor real anchor points. Raters made a vertical line to represent the position on the scale of a child and the score was a measurement from the left end of the bar (the "zero" point) to the point at which the rater's verti cal mark Intersected the bar. The measurements were made using a specially constructed "ruler" which consisted of a 2l± point, equal-interval scale. Subjects whose rating on a scale was omitted were given a score of "12." Because 211 the frequency distributions of the rating generally approx imated normal distribution, the raw scores were punched into IBM cards* The correlations between ratings and re ratings were computed as estimates of reliability. Analysis of Data Means, standard deviations and estimates of relia bility were computed for aptitudes, trait scales and rat ings, and are presented in Chapter IX. The reliabilities for aptitudes are split-half reliabilities, those for trait scales are Kuder-RIchardson coefficients, and those for ratings are re-test reliabilities. Intercorrelations between aptitude scores for boys' and girls' samples, between temperament scale scores, and between teachers' ratings were computed by use of the BIMD 06 program and correlation matrices are presented in Chapter IX. Correlations between aptitudes and temperament scales, between aptitudes and ratings, and between temperament scales and ratings were computed and matrices including the correlation coefficients are presented In Chapter IX. These coefficients were also computed by the IBM 7090 computer using the BIMD 06 program. Multiple correlations in which ratings by homeroom teachers and non-homeroom teachers were criteria for (1) aptitude scores, (2) temperament scale scores, and (3) aptitude scores and temperament scale scores were 212 computed by use of the BIMD 06 program and coefficients are presented in Chapter IX, An analysis of the relative influence of intelligence (or I.Q.) on multiple correlations in this study was made by Merrifield (Merrifield, Gardner and Cox, 1962)• Some of the conclusions drawn by Merrifield are included in the discussion of the influence of intelligence appearing in Chapter X. CHAPTER IX RESULTS Aptitudes Reliability The reliabilities obtained for the aptitude test scores used in this study tend to be low. The range of co efficients was from ,1+5 to .82. This is especially true of the two scores derived from What Would Happen, where re liability apparently was lost by dropping an item from the previous form of the test. It Is unlikely that the reduc tion in time limits for items in these tests is responsible for the low split-half reliability coefficients presented in Table 6, since it was unanimously observed by adminis trators that the children had finished responding to items within the time limits. Although reliabilities were too low to permit the use of these aptitude tests in individual counseling or school guidance, they are high enough to demonstrate relationships in research. Independence of Aptitude Measures On the other hand, the intercorrelations between aptitudes are generally high enough to question the inde pendence of the variables, i.e., the uniqueness of the test as a representative of an aptitude factor. Except for 213 TABLE 6 Descriptive Statistics of Aptitude Test Scores Boys1 and Girls’ Samples Variates Names Range of Test (N * 1*3) ^cores Low Median High 1 and 51 Ways to Use It 0 3 26 2 and £2 Marking Speed 0 73 99 3 and 53 Pour Word Sentences 0 15 56 i * and 51* Names for Stories - high 0 2 13 5 and 55 Names for Stories - low 0 8 20 6 and 56 Similar Words 2 11* 33 7 and 57 Making a Plan 1 14 30 8 and 58 What Would Happen - remote 0 3 18 9 and 59 What Would Happen - obvious 1 9 31 TABLE 6— Continued Variates Meansa,b Standard Deviations Reliabilities® Boys Girls Boys Girls *ttB *ttG 1 and 51 5.31 5.21}. 1.70 1.96 .69 .75 2 and 52 1*.79 5.63 1.89 2.10 .82 .82 3 and 53 5.11* 6.01 1 .6 1 1.77 .65 .70 1* and 51* 5.39 5.51* 1.78 2.02 .58 .75 5 and 55 5.00 5.59 1.82 1.98 .75 .79 6 and 56 I*.71 5.60 1.73 2.02 .66 .76 7 and 57 4.77 5.69 1.81 2.03 .61 .77 8 and 58 5.11 5.78 1.62 1.93 •^5 .57 9 and 59 5.09 6.26 1.91 1.81}. .61* .6 1 Reans and standard deviations were computed from decile scores. bB0ys, N a 227; Girls, N * 216. Reliabilities are split-half correlations, corrected by Spearman-Brown formula, from raw scores. ro H VA 216 Marking Speed where the correlations in the boys* sample are high only with fluency tests, the correlations pre sented in Tables 7 and 8 are generally significant at the .01 level. This is partly a function of the large N's, since the coefficients seldom show that as much as 2£% of the variance is accounted for. It is notable that the intercorrelations tend to be higher in the girls* sample. Included in the battery are two tests that yield scores designed to measure the same factors, i.e., originality and ideational fluency. In neither sample are the correlations between Names for Stories (high) and What Would Happen (remote) or between Names for Stories (low) and What Would Happen (obvious) higher than correlations between variables supposedly measuring different factors. These data tend to throw doubt on the orthogonality of the aptitude factors measured, especially when the tests are re-administered to a sample. Temperament Scales Reliability The Kuder-Richardson reliability coefficients, esti mates of scale consistency, are very low for the scales obtained from the factored inventory. The unreliability suggested by the results presented in Table 9 is probably due, in large part, to the small number of items in some of the scales. In the boys' persistence factor scale (vari able 10) a clerical error in punching the stencil might TABLE 7 Intercorrelations of Aptitudes4**5 Boys* Sample (N * 227) Variates 1 2 3 4 5 6 7 8 9 IQ 1. WTJ 03 27 36 06 36 33 26 21 30 2* MS 03 17 06 21 01 -02 05 08 -06 3. FW 27 17 28 17 33 29 22 26 42 4. SH 36 06 28 -23 29 25 22 19 31 5. SL 06 21 17 -23 15 31 15 30 -12 6. SW 36 01 33 29 15 45 32 36 35 7. MP 33 -02 29 25 31 45 36 51 25 8. HR 26 05 22 22 15 32 36 17 28 9. HO 21 08 26 19 30 36 51 17 12 IQ. 30 -06 42 31 -12 35 25 28 12 aDecimal points omitted throughout* ^Correlations of *14 and above are significant at ,05 level; correlations of *18 and above are significant at .01 level (df * 225). [u TABLE 8 Intercorrelations of Aptitudesa»k Girls1 Sample (N * 216) Variates 51 52 53 51* 55 56 57 58 59 IQ 51. WTJ 20 1 * 0 1 * 6 03 1*3 1*7 43 21 46 52. MS 20 1 1 * 12 18 20 22 2 1 * 17 -02 53. PW 40 11* 1*3 12 51 1 * 1 * 41 38 30 51*. SH 46 12 1*3 -1*2 55 31* 32 28 1*4 55. SL 03 18 12 -1*2 05 28 09 20 -15 56. sw 1*3 20 51 55 05 51 46 37 1*4 57. MP 1*7 22 1 * 1 * 3 1* 28 5i 1+4 48 37 V r v CD . 9 1*3 21* 1*1 32 09 1*6 1*4 14 31 59. HO 21 17 38 28 20 37 48 14 22 IQ 1*6 -02 30 1 * 1 * -15 1 * 1 * 37 31 22 ^Decimal points omitted throughout. y. Correlations of . 14 and above are significant at ,05 level; correlations of .18 and above are significant at .01 level (df * 2 1 4). M H CO TABLE 9 Descriptive Statistics of Temperament Trait Scales Boys' Scales Part 1 Variates Names Means Standard Deviations Reliabilities® 10 Persistence (PE) 4.23 1.52 .28 11 Spontaneity (SP) 0.51; o.5o - .55 12 Impulsiveness (IM) 2.81; 1.26 .36 13 Need for Rules (NR) 4.03 1.89 .56 Ik Appreciation of Originality (AO) 0.56* o.5o .45 15 Self-Confidence (SC) 4.29 1.49 .38 16 Adaptive Flexibility (AF) 0.37* 0.48 .41 17 Fluency of Ideas (FI) 0.61 0.1;9 .35 Reliabilities are Kuder-Richardson coefficients based upon proportion of responses in keyed direction* ^Dichotomized for correlational analysis* TABLE 9 Descriptive Statistics of Temperament Trait Scales Girls' Scales Part 2 Variates Names Means Standard Deviations Reliabilities* 60 Persistence (PE) 0.61* 0.1*9 .61* 61 Initiative (IN) 0.51* 0.50 .29 62 Lack of Restraint (LR) OJA* o.5o .61* 63 Need for Authority (NA) 3.59 1.61* .55 61* Appreciation of Originality (AO) 0.1*1* 0.1*9 .1*8 65 Self-Confidence (SC) * 1**26 1.62 .51* 66 Tolerance of Ambiguity (TA) 0.1*5* 0.50 .19 67 Moral Relativism (MR) 2.33 0.99 .1*7 ^Reliabilities are Kuder-Richardson coefficients based upon proportion of responses in keyed direction. ■ “Dichotomized for correlational analysis. r o r o 221 have contributed to a reduction in scale consistency (see Appendix C). Independence of Measures The orthogonality of the obtained temperament factors appears to have been retained in the scales derived from them. Most of the intercorrelations between scales pre sented in Tables 10 and 11 are close to "zero” or account for less than 10% of the variance. It is interesting that although no item is used in more than one scale, the higher correlations between scales are obtained for scales in which the original factors had several items that had significant loadings in common. Rating Scales Reliability In Tables 12 and 13 reliabilities of the graphic rat ing scales are presented. Homeroom and non-homeroom teacher-raters rated the children In their classes in the fall of I960 and again in the spring of 1961, and these reliabilities are correlations between ratings from these two administrations. Although these re-test estimates of reliability are not very high, the coefficients are gener ally as high as are usually reported for ratings by teachers of their students. Interestingly, ratings by teachers who teach the children only one course produce consistently higher reliabilities than teachers who teach the same children all classes but one. It is suggested TABLE 10 Intercorrelations of Temperament Trait Scales Boys1 Sample (N = 227) Variates 10 11 12 13 14 15 16 17 Id 10* PE -19 06 25 -15 13 14 19 -24 11. SP -19 18 -14 16 -07 06 i o -02 12. IM 06 18 09 05 -12 02 -05 -09 13. NR 25 -14 09 -16 -03 01 13 -18 14. AD -15 16 05 -16 -01 04 -05 01 15. SO 13 -07 -12 -03 -01 23 16 02 16. AF 14 06 02 01 04 23 26 19 17. PI 19 -03 -05 13 -05 16 26 01 Id -24 -02 -09 -18 01 02 19 01 aAll decimal points have been omitted* TABLE 11 Intercorrelations of Temperament Trait Scales® Girls’ Sample (N = 216) Variates 60 61 62 63 64 65 66 67 IQ 6 0. PE 02 -22 07 -13 28 02 -17 09 61. IN 02 14 17 01 -03 -01 07 -18 62. LR -22 14 -0 8 15 -26 10 29 -11 63. NA 07 17 -0 8 01 -0 4 -06 06 —46 61*. AO -13 01 15 01 03 00 15 00 65. SC 28 -03 -26 -0 4 03 -04 -18 14 66. TA 02 -01 10 -06 00 -0 4 -01 -07 67. MR -17 07 29 06 15 -18 -01 -20 IQ 09 -18 -11 -46 00 14 -07 -20 *All dec lmal points have been omitted. 223 2211 . TABLE 12 Descriptive Statistics of Rating Scale Scores Boys' Sample Part 1 Raters: Homeroom Teachers Varlates Meansa Standarda Deviations Reliabilities^ 18 10.29 5.21 .70 19 11.01 6.00 .70 20 10.16 5.49 .72 21 11.48 5.62 .25 22 10.70 4.90 .41 23 10.75 5.39 .63 2k 11.24 5.29 .63 25 11.23 5.32 .61 26 11.12 5.66 .67 27 10.50 5 .2 8 .6 4 28 12.52 5.03 .46 29 11.37 5.45 .66 30 12.04 4.44 .51 ®Means and standard deviations are based upon 227 cases• ^Correlation of ratings made in Pall I960 with ratings made in Spring 1961. Re-ratings were not available from some teachers. N = 215. 225 TABLE 12 Descriptive Statistics of Rating Scale Scores Boys' Sample Part 2 Raters: Non-Homeroom Teachers Variates Means® Standard® Deviations Reliabilities^ 31 12.51 5.37 • 7k 32 11.83 5.35 •50 33 12.5k 5*93 •6k 3k 12.07 k.92 .67 35 1 3 .0 0 5.31 .55 36 12.81 5.85 .75 37 12.53 5.63 .67 38 12.56 5.kk .8 2 39 12.72 6.22 .7k ko 12.59 5.5o .73 kl 11.k5 k.97 •k9 k 2 12.69 5.69 • CD H k3 1 2 .2 8 5.k8 .73 cMeans and standard deviations are based upon 227 cases. ^Correlation of ratings made in Pall I960 with ratings made in Spring 1961. Re-ratings were not available from some teachers. N = 86. 2 2 6 TABLE 13 Descriptive Statistics of Bating Scale Scores Girls' Sample Part 1 Raters: Homeroom Teachers Varl&tes Meansa Standard® Deviations Reliabilities^ 68 12.19 5.65 .70 69 7.68 5.56 .67 70 12.58 5.5U .64 71 10.23 4.74 .33 72 10. b2 4.29 .52 73 12.25 5.3^ .69 7U- 11.83 5.oi .58 75 11.63 5.23 .6 4 76 13.62 4.86 .61 77 11.69 5.01 .65 78 11.63 5.11 CO C"\ . 79 12.42 5.27 .69 80 13.20 4.32 .49 ®Means and standard deviations are based upon 216 cases. ^Correlation of ratings made in Pall I960 with ratings made in Spring 1961. Re-ratings were not available from some teachers. N = 205. 227 TABLE 13 Descriptive Statistics of Rating Scale Scores Girls' Sample Part 2 Raters: ‘ Non-Homeroom Teachers Variatea Means0 Standard0 Deviations Reliabilities* 81 12.67 5.11 .57 82 11.17 5.20 .1*6 83 13.39 5.71* .70 81* 11.50 l*.68 .32 85 13.33 1*.93 .31 86 13.32 5.52 .8 2 87 1 3 .0 2 5.36 .66 88 1 3 .0 0 5.17 .73 89 13.51* 5.53 .73 90 13.31 5.11 .55 91 11.16 5.07 .59 92 13.32 5.61* ' .65 93 1 3 .0 0 5 .2 8 .6I 4. °Means and standard deviations are based upon 216 cases• ^Correlations of ratings made in Pall I960 with rating made in Spring 1961. Re-ratings were not available from some teachers. N = 99. 228 that unchanged bias rather than accumulated information about students is involved in many of the ratings# It is also interesting that the rating which consistently ob tained the lowest reliability was Need for Variety, the hypothesized personality variable which did not emerge from the factor analysis of the temperament inventory# Inter-rater reliabilities were also computed from the results of the Fall ratings. These were so low, in fact, some were even negative, that the failure of the scale definitions used in this study to provide reliable, mean ingful behavioral attributes was obvious# Therefore, any conclusions about validity, when ratings provide the cri terion, must be considered tentative at best. Independence of Measures Intercorrelations of the 13 rating scales selected for this study are presented in Tables ll|, 15, 16, and 17. In general, the correlations between all of the ratings of divergent thinking aptitudes are very high, significant at the .01 level, and positive. A "cluster1 1 of ratings is suggested by these intercorrelations. In addition, the ratings of certain temperament traits are also included in this cluster, namely Persistence, Appreciation of Origi- ality, and Self-Confidence, as well as General Creativity. Because this cluster is so consistent in all four groups and the attributes are "socially desirable," the existence of a strong "halo effect" seems clear. Another related TABLE Ik Intercorrelatlons of Ratingsa Boys' Sample (N = 227) Raters: Homeroom Teachers Variatea 18 19 20 21 22 23 2k 25 26 27 28 29 30 l*k 18 -0 7 73 02 3k 68 61 60 57 68 - 1*0 68 60 38 19 -07 -2 6 I 4.8 18 -10 03 10 29 09 08 09 12 03 20 73 -2 6 -05 3k 78 59 52 72 61 -3 0 61 59 38 21 02 1*8 -05 13 07 10 15 -11* 10 11 18 01* 03 22 3k 18 3k 13 39 26 39 32 kO -18 35 k3 20 23 68 -10 78 07 39 6k 61 6k 57 -3k 62 6k 35 2k 61 03 59 10 26 6k 57 55 57 -37 65 59 20 25 60 10 52 15 39 61 57 k8 69 -3 0 68 60 25 26 57 29 72 -lk 32 6k 55 1*8 59 -30 51 53 26 27 68 09 61 10 kO 57 57 69 59 -27 73 63 30 28 -ko 08 -3 0 11 -1 8 -31* -37 -3 0 -33 -27 -3 2 -3k 32 29 68 09 61 18 35 62 65 68 51 73 -32 65 32 30 60 12 59 ok k3 6k 59 60 53 63 -3k 65 30 kk 38 03 38 03 20 35 20 25 26 30 32 32 30 aAll decimal points have been omitted* ro ro vO TABLE 15 Intercorrelations of Ratingsa Boys1 Sample (N = 227) Raters: Non-Homeroom Teachers Variates 31 32 33 34 35 36 37 38 39 40 41 42 43 44 31 -10 63 -12 51 63 57 57 67 63 -34 59 58 30 32 -10 -17 53 08 05 -05 00 -13 -0 4 30 05 -03 04 33 63 -17 -13 57 66 66 59 79 67 -26 58 61 42 34 -12 53 -13 09 -02 -04 03 -09 -01 21 06 02 35 51 08 57 09 52 55 50 58 54 01 56 4§ 35 36 63 05 66 -02 52 66 64 73 73 -19 70 59 39 37 57 -05 66 -0 4 55 66 64 64 64 -21 59 65 29 38 57 00 59 03 5o 64 64 63 67 -25 71 65 34 39 67 -13 79 -09 58 73 64 63 68 -19 69 64 34 1*0 63 -04 67 -01 54 73 64 67 68 -20 70 70 33 41 -34 30 -26 21 01 -19 -21 -25 -19 -20 -18 -15 11 42 59 05 58 06 56 70 59 71 69 70 -18 63 34 k3 58 -03 61 04 48 59 65 65 64 70 -15 63 33 kk 30 04 42 02 35 39 29 34 34 33 11 34 33 aAll decimal points have been omitted TABLE 16 Intercorrelations of Ratingsa Girls' Sample (N - 216) Raters: Homeroom Teachers Variates 68 69 70 71 72 73 74 75 76 77 78 79 80 94 68 01 71 12 18 71 69 63 63 73 -39 72 6k 48 69 01 -16 33 28 -07 00 14 -12 12 02 11 06 04 70 71 -16 12 16 77 64 59 60 66 -29 68 5o 71 12 33 12 18 20 17 30 -07 26 -04 22 18 17 72 18 28 16 18 19 08 20 15 15 -03 21 19 22 73 71 -07 77 20 19 69 72 62 69 -4i 74 66 49 74 69 00 64 17 08 69 65 47 58 -38 62 36 75 63 14 59 30 20 72 65 56 66 -22 68 56 35 76 63 -12 60 -07 15 62 47 56 57 -26 55 49 29 77 73 12 66 26 15 69 58 66 57 -26 73 60 34 78 -39 02 -29 -04 -03 -41 -38 -22 -26 -26 -32 -28 30 79 72 11 68 22 21 74 64 68 55 73 -32 62 50 80 06 64 18 19 66 62 56 49 60 -28 62 39 94 04 50 17 22 49 36 35 29 34 30 50 39 aAll decimal points have been omitted* TABLE 17 Intercorrelations of Ratingsa Girls* Sample (N - 216) Raters: Non-Homeroom Teachers Variates 81 82 83 84 85 86 87 88 89 90 91 92 93 94 81 i o -o 74 -01 55 67 60 69 60 60 -29 66 60 46 82 -07 -08 47 18 -01 -03 -0 4 -07 04 20 -0 4 -10 12 83 74 -0 8 -03 57 70 68 69 64 62 -2 6 74 67 51 84 -01 47 -03 22 09 06 -01 -0 4 09 27 -01 01 05 85 55 18 57 22 47 h 54 39 58 -09 59 53 32 86 67 -01 70 09 47 65 72 66 67 -25 71 63 38 87 60 -03 68 06 49 65 65 63 63 -17 66 60 29 88 69 -04 69 -01 54 72 65 66 65 -26 69 69 43 89 60 -07 64 -04 39 66 63 66 63 -27 60 63 33 90 60 04 62 09 58 67 63 65 63 -16 64 59 33 91 -29 20 -26 27 -09 -25 -17 -26 -27 -16 -24 -27 31 92 66 -o4 74 -01 59 71 66 69 60 64 -24 69 43 93 60 -10 67 01 53 63 60 69 63 59 -27 69 39 9U- 46 12 51 05 32 38 29 43 33 33 31 43 39 aAll decimal points have been omitted. M u ro 233 variable is the rating of Need for Structure which corre lated negatively and highly significantly with ratings of the "desirable" attributes* A second cluster, which involved two variables that correlated almost "zero" with all variables outside the cluster and highly significantly with each other, includes ratings of Impulsiveness and Need for Variety. Because Impulsiveness generally correlated negatively with other ratings, Need for Variety usually positively, and the two highly positively with each other, it can be speculated that these variables may constitute a second "halo" in volving negatively sanctioned behavior judged by teachers to be unrelated to creative thinking. Correlations between the Three Categories of Variables Aptitudes and Temperament Scales The correlation matrices presented in Tables 18 and 19 indicate that there were virtually no statistically significant relationships between aptitude and temperament variables, despite the fact that the large N’s involved made the degree of correlation necessary to obtain signifi cance rather low (a correlation of only .11^. is significant at the .05 level; only .18 at the .01 level). (a) Boys * Temperament Traits There were no statistically significant correlations for the following traits: Spontaneity (variable 11), TABLE 18 Correlations between Aptitudes and Temperament Scales Boys' Sample (N * 227) Temperaments Aptitudes 1 2 3 b 5 6 7 8 9 10 -08 -03 -21 -06 cr\ © 1 -15 -07 -10 —06 11 ob -01 -02 02 05 - 0 b 03 -02 00 12 08 -06 02 -01 03 - 0 b 0 b 03 o5 13 -06 05 -09 -1 b 10 -O b -09 -13 -0l| u* 03 07 oli 05 01 00 -07 10 -10 15 O l j . 18 18 15 06 07 07 1 b 02 16 08 11 13 15 07 18 15 11 08 17 12 -01 -05 07 00 -Oil. 13 10 03 £ All decimal points have been omitted* ru £ TABLE 19 Correlations between Aptitudes and Temperament Scalesa Girls' Sample (N * 216) Temperaments Aptitudes 51 52 53 S k 55 56 57 58 59 60 11 10 16 19 05 20 28 12 15 61 -09 08 -10 -09 07 -06 -01+ -03 -12 62 02 -06 -02 -19 01+ -18 -13 -05 -12 63 -28 -06 -12 -15 07 -20 -22 -24 -15 61+ 13 03 02 01+ 11 00 08 04 -01 65 15 10 08 20 -06 18 18 17 10 66 -06 01 -02 -09 08 00 01+ 05 -04 67 -15 oi+ -08 -18 05 i H CD -16 -05 -15 aAll decimal points have been omitted. i \ > 236 Impulsiveness (12), Appreciation of Originality (Ilf) and Temperament for Fluency of Ideas (17)* None of the pre dicted relationships were found with Persistence (20); in fact, there were significant negative correlations with Four Word Sentences (3), expressional fluency, and Similar Words (6), associational fluency, which were opposite in sign to what was predicted. The trait scale Self-Confidence (variable 15) corre lated significantly with Names for Stories-- high (4) and What Would Happen— remote (8), two measures of originality with which it was predicted to correlate, Self-Confidence was not correlated with either measure of ideational fluen cy (5 or 9), but produced highly significant, although not predicted, correlations with Marking Speed (2) and Four Word Sentences (3)* The trait Need for Authority (variable 13) correlated significantly and negatively with Names for Stories--high (if), one measure of the aptitude of originality, as was predicted, but the negative correlations predicted with spontaneous flexibility (1), ideational fluency (5 and 9) and the second originality test (8) were not confirmed. The trait called Temperament for Flexibility (vari able 16) correlated significantly with Names for Stories— high (if), originality, and Making a Plan (7), elaboration, relationships which were predicted. The only highly sig nificant correlation was with Similar Words (6), associ- 237 ational fluency, which was not predicted. Hypothesized correlations between Flexibility and Ways to Use It (1), spontaneous flexibility, and What Would Happen— remote (8) were found to be nonsignificant. It is interesting that the only aptitude score which correlated with temperament variables frequently was Names for Stories--high, which is among the least reliable and least independent aptitudes. (b) Girls1 Temperament Scales There were no statistically significant correlations for the following traits: Initiative (variable 6l), Appreciation of Originality (61;), and Tolerance of Ambi guity (66). The trait Persistence (variable 60) correlated sig nificantly with Four Word Sentences (53) > expressional fluency, and highly significantly with Similar Words (56), associational fluency, the only predicted relationships with Persistence which were supported. Highly significant correlations were obtained with the aptitudes of Names for Stories— high (variable 5^) and Making a Plan (57). Per sistence did not correlate significantly with spontaneous flexibility (51) and, in fact, correlated positively rather than negatively. The trait Lack of Restraint (variable 62) failed to correlate significantly with the three aptitudes with which it was predicted to be related: Ways to Use It (5l), 238 spontaneous flexibility, and the two ideational fluency scores, Names for Stories— low(55) and What Would Happen— obvious (59). Although not predicted, highly significant correlations between this trait and originality, Names for Stories— high (54), and associational fluency, Similar Words (56), were obtained. For the trait Need for Authority (variable 63) five negative correlations were predicted. Only one, with Names for Stories— low (55)# was not obtained. Two aptitudes, spontaneous flexibility (5D and the remoteness type of originality (58), produced highly significant negative correlations. Two of the other predicted correlations, with the cleverness type of originality (54) and one meas ure of ideational fluency (59) were also statistically significant and negative. Although not predicted, highly significant correlations were also obtained with associ ational fluency (56) and elaboration (57) and both were negative. The trait Self-Confidence (variable 63) was predicted to be correlated with originality: the obtained corre lations with Names for Stories— high (54) and What Would Happen— remote (58) were significant. Neither predicted relationship with ideational fluency scores, Names for Stories--low (55) nor What Would Happen— obvious (59) was significant. Although not predicted, highly significant correlations were obtained with Similar Words (56) and 239 Making a Plan (57) and a significant correlation with Ways to Use It (51) was also obtained. For the trait Moral Relativism (variable 67) the one predicted relationship, with spontaneous flexibility, was not significant. Nonpredicted highly significant corre lations were obtained with Names for Stories— high (5^) and Similar Words (56), but both correlations were unex pectedly negative. Most of the significant correlations with temperament scales were obtained with three aptitude scores, Names for Stories— high, Similar Words, and Making a Plan. These aptitude scores tend also to correlate highly with each other and to be among the least nindependent." Aptitudes and Ratings Correlational matrices for aptitudes and ratings are presented in four tables (Tables 20, 21, 22, and 23), one for each sample-rater combination. Generally the apti tudes correlated very highly with almost all the teachers* ratings in a somewhat indiscriminate manner. For some un explained reason the correlations in the girls homeroom group are higher than the other three groups. Interest ingly, in all groups all aptitudes correlated virtually "zero" with ratings of Impulsiveness (variables 19, 69, 32, and 82) and Need for Variety (variables 21, 71, 3b» and 84). Also the aptitude score Names for Stories— low (vari ables 5 and 55) correlated lowest with all ratings. TABLE 20 Correlations between Ratings and Aptitudes* Boys* Sample Ratings by Homeroom Teachers Aptitudes Multiple*3 R 1 2 3 k 5 6 7 8 9 18 29 18 23 31 ok 33 31 21 21 k7 19 01 05 -0 6 O i l - -02 01 -03 10 -09 18 20 20 ik 26 23 01 28 2k 15 18 39 21 °I 00 -07 06 00 08 02 10 -13 25 22 08 08 2k 16 03 22 16 l l j - 18 31 23 21 15 21 26 01 30 23 19 16 2k 17 16 22 26 06 19 20 20 16 36 25 25 08 15 25 -05 2k 17 16 11 35 26 12 Ik 22 19 Ok 21 19 15 19 32 27 20 lk 20 26 -03 30 26 17 15 ip- 28 -15 -06 -23 -22 -ok ■ -10 -11 -17 -07 30 29 22 10 18 29 -Ok 26 27 20 10 kl 30 15 10 20 22 -07 21 22 10 13 3k aAll decimal points have been omitted. ^Predictors are all aptitude test scores. f TABLE 21 Correlations between Ratings and Aptitudesa Boys’ Sample Ratings by Aptitudes Multiple** Non-Homeroom Teachers 1 2 3 k 5 6 7 8 9 R 31 06 03 21 12 -03 23 07 20 03 32 32 -03 -oi* -01* -01 03 -09 -07 03 -0 8 16 33 23 01 21* 17 -01 27 21* 22 15 37 3 * 1 - 00 01 10 -07 11* -01* ol* -02 00 20 35 15 -01 25 11* 03 19 20 20 18 32 36 20 00 30 20 08 27 27 28 16 1*1 37 19 Oi* 16 18 02 27 20 18 13 32 38 U* 01* 21* 13 -01 31 18 27 23 1*2 39 15 -03 27 15 03 25 21 25 16 37 ko 20 08 30 22 02 21* 23 22 15 38 1*1 -06 -16 -07 -06 02 -13 -06 -02 03 25 1*2 15 01 26 15 01* 21* 29 26 18 38 1*3 21 03 16 13 05 22 21 22 19 31 aAll decimal points have been omitted. ^Predictors are all aptitude test scores. TABLE 22 Correlations between Ratings and Aptitudesa Girls' Sample Ratings by Homeroom Teachers Aptitudes Multiple1 3 R 51 52 53 54 55 56 57 58 59 68 ko 11 31 42 -03 41 40 26 25 53 69 13 14 03 02 09 14 09 09 01 23 70 10 27 42 -0 4 40 35 27 26 52 71 26 12 13 28 -0 4 27 12 21 05 36 72 18 -02 09 09 02 19 18 09 10 25 73 1*2 10 29 -06 48 34 33 18 57 7! t 35 16 27 38 -02 32 31 31 20 47 75 39 08 32 40 -05 39 26 33 13 51 76 26 03 28 28 -07 31 25 21 09 39 77 15 29 38 00 44 34 34 13 53 78 -15 -17 -12 -29 07 -19 -23 -17 -Ik 35 79 46 19 34 46 00 48 44 40 28 61 80 37 03 27 41 -08 34 29 30 19 49 aAll decimal points have been omitted. ^Predictors are all aptitude test scores. TABLE 23 Correlations between Ratings and Aptitudesa Girls' Sample Ratings by Non-Homeroom Teachers Aptitudes Multiple^3 R 51 52 53 Sk 55 56 57 58 59 81 33 08 19 23 -ok 2k 29 26 23 kl 82 -03 10 02 -09 13 -01 06 08 00 19 83 30 -0 6 20 26 -07 25 30 27 29 i < - 7 8k -16 00 -05 -Ik Ik -Oil. 00 -07 01 23 85 16 01 08 Ik -01 13 16 22 08 26 86 20 -02 17 -01 2k 2h 20 2k 35 87 22 01 16 06 12 17 28 20 2k 36 88 31 00 20 20 -02 22 28 26 21 1*0 89 26 01 21 19 -0 6 21 26 21 22 36 90 19 -01 16 13 02 13 23 22 19 32 91 -18 -05 -2k -26 10 -29 -22 -15 -19 35 92 28 03 22 22 -ok 2k 25 2k 25 38 93 22 -13 08 16 -07 17 17 19 13 36 aAll decimal points have been omitted. ^Predictors are all aptitude scores. » VjJ 2 1 ( 4 Creativity. It was predicted that teachers would be most influenced by spontaneous flexibility and originality in their ratings of creativity as an over-all general trait. Except for the boys non-homeroom groups, correla tions with Ways to Use It (variables 1 and 51)» Names for Stories— high ( ! ( . and % l ] . ) and What Would Happen— remote (8 and 28) were all highly significant. Because associational fluency (6 and 5&)* elaboration (7 and 57) and expressional fluency (3 and 53) also correlated significantly with this rating scale, the assumption that teachers are willing to accept most of the divergent-thinking aptitudes as being involved in creativity is supported. It Is Interesting to note that in three of the groups ideational fluency as measured by Names for Stories--low (5 and 55) was not sig nificantly correlated with creativity, but the second measure of thi3 factor, What Would Happen--obvious (9 and 59) did correlate significantly with creativity rated as a general trait. Impulsiveness. It was predicted that the rating of impulsiveness would not be correlated with any of the apti tude measures. In all four groups the correlation of all aptitudes with the scale were low, usually approximately zero. Recognition of Implications. Because the definition of this scale was so similar to the factor description of Guilford’s elaboration, it was predicted that the rating 2^5 would provide a validity criterion for the test Making a Plan (7 and 57)• Although Making a Plan correlated sig nificantly with the rating of implications, this scale, in fact, correlated with all aptitude scores except Marking Speed and Names for Stories--low. Need for Variety. The factor analysis of the inven tory did not reveal a clearly defined factor involving the temperament trait which emphasizes the desire for change or boredom with routine. Nevertheless, because the temper ament trait, which had been isolated in an adult study, appeared logically to facilitate the ability to change set or to produce unusual responses, it was included in the data analysis. Ratings of Need for Variety correlated close to zero with all aptitudes in three of the four groups. It is noteworthy that in one group, girls home room, this rating had highly significant correlations with the four predicted aptitudes. Spontaneous Flexibility. This scale was constructed as a validity criterion for Ways to Use It (variable 1 and 9 51), and a disposition to change set was predicted to be involved in originality (Ij., 8, 58) as well. In three of four groups the correlation with Ways to Use It was low but significant. Usually, the other predicted correlations with originality were significant; however, the rating of spontaneous flexibility correlated even higher with other aptitudes. Consistent with those found with other ratings, 2k 6 the correlations between this scale and Marking Speed and Names for Stories— low were not significant. Adaptive Flexibility. Our predictions suggested that the narrow restrictions set by the instructions for ex- pressional fluency (Pour Word Sentences, variables 3 and 53) would require the ability, adaptive flexibility. Al though adaptive flexibility correlated significantly with Four Word Sentences, it correlated higher with other divergent-thinking aptitudes in many cases. Self-Confidence. In accordance with findings of pre vious studies, correlations with spontaneous flexibility and originality were predicted. Again the finding that this rating correlated significantly with predicted apti tudes is offset by the usually higher correlations with other aptitudes. Unrestricted Thinking. It was predicted that this rating would provide a validity criterion for the remote ness type of originality (variables 8 and 58) and that it would correlate highly with the "cleverness" type of origi nality (4 and 54) • Again the predicted validity correla tion was usually significant, but the criterion rating often correlated even higher with other aptitude variables. Persistence. It was predicted that this rating would be correlated negatively with spontaneous flexibility (variables 1 and 51) and positively with ideational fluency (5> 55 > 9, and 59) and Marking Speed (2 and 52). Again the 2 1 + 7 rating correlated significantly and positively with almost all aptitudes* Because the obtained correlations with Marking Speed and one measure of ideational fluency, Names for Stories--low (5, $5)$ were actually among the only non significant correlations and because Ways to Use It corre lated positively with this scale, it is clear that the hy potheses presented were not supported* Originality, This rating was constructed as a valid ity criterion for the two originality aptitudes (variables 1+, 51+, 8, 58)* Although the correlations with Names for Stories— high and What Would Happen— remote were consist ently significant, the rating of originality correlated with almost all aptitudes, most of the correlations being even higher than those for originality aptitudes. Need for Structure. It was predicted that Spontaneous Flexibility and the cleverness type of originality would correlate negatively with the rating* In three of the four groups the correlation with Ways to Use It was negative and significant, although not highly significant. Names for Stories— high similarly correlated negatively with this criterion. However, many of the correlations with aptitude scores that were not predicted to be related to Need for Structure were also negative and significant. Fluency. It was predicted that this rating scale would provide a rough validity criterion for all fluency scores; ideational, expressional, and associational fluency 2 1 + 8 The correlations obtained with ideational fluency were among the lowest, those with Names for Stories— low (vari ables 5, 55)» in fact, were virtually "zero.” Also Pour Word Sentences (3* 53) and Similar Words (6, 3 6) usually did not correlate as highly with this rating as other apti tudes, although the correlations with expressional fluency and associational fluency were significant. Appreciation of Originality. The prediction was made that spontaneous flexibility and originality aptitudes would correlate highest with this rating# Again the corre lations obtained with most aptitudes proved to be statis tically significant and many of the correlations with apti tudes not hypothesized to be related to the rating were higher than those for Ways to Use It, Names for Stories— high, and What Would Happen— remote# Several explanations for the lack of discrimination apparent in the obtained correlations between the nine ap titudes and 13 rating scales can be offered# First, teacher-raters were not able to differentiate between the component creative aptitudes. Second, there is consider able evidence for "halo effect" in the ratings and many of the variables included in this study possess unanticipated "social desirability" variance. Third, the actual inter correlations of aptitudes, as reported above, demonstrated that in the present samples the "component" aptitudes were highly correlated. 2k9 Temperament Trait Scales and Ratings Tables 2 1 ] . , 25> 26, and 27 clearly show that the hy potheses concerning the relationship between ratings and temperament traits were not supported* Very few of the temperaments correlated significantly with ratings and many of the correlations are not even logical* Except for boys’ traits Persistence (variable 10) and Temperament for Flex ibility (16) and girls’ traits Persistence (60), Need for Authority (63), Self-Confidence (65), and Moral Relativism (67), correlations were consistently "zero*” Boys’ Traits Creativity. It was predicted that Spontaneity (vari able 11), Appreciation of Originality (30, 1)3), Temperament for Flexibility (16) and Temperament for Fluency (17) would be the traits most related to a teacher’s conception of "general” creativity. However, the only temperament trait that correlated significantly with this rating was Flexi bility (16), the most general “interest in divergent think ing" scale, and this only in the boys’ homeroom group. Impulsiveness. This rating was designed as a validity criterion for the trait of Impulsiveness (Irresponsibility, variable 12); it was predicted that Spontaneity (Decisive ness, variable 11) would correlate highly with this rating. In both groups the correlation of this rating with the trait of Impulsiveness was approximately "zero." Recognition of Implications. None of the traits was TABLE 2i| Correlations between Ratings and Temperament Scale Scoresa Boys1 Sample Temperament Scale Scores Multiple Rd Multiple R( Homeroom Teachers 10 11 12 13 111 15 16 17 Temp. Apt. and Temp. 18 -12 01 -0 8 -11 -o5 15 29 10 37 53 19 -10 17 Oil -0 8 18 -02 -06 13 30 35 20 -0 8 -0l| -09 -0 6 -10 07 29 09 36 1|8 21 -09 11 07 -0 6 oil -02 -02 07 18 31 22 -20 05 02 -Ok 12 U* 18 00 33 1|0 23 -13 -07 -0 8 -05 -09 05 19 05 30 k$ 2k -07 06 -05 -11 0i| 10 20 28 ia 25 -22 02 -09 -15 05 13 21 16 39 ki 26 -0l| -01 -11 -0 8 -0 8 12 20 07 27 38 27 -17 0l| -02 -0 8 -05 08 22 15 35 k8 28 10 -0i| 00 10 01 -10 -12 03 21 33 29 -Ik -01 -07 -0 8 01 05 21 15 31 1|6 30 -Ik Oil -06 -11 05 -02 19 12 30 k2 aAll decimal points have been omitted. ^Predictors are all temperament scores. cPredictors are all temperament scores and all aptitude scores. ^ TABLE 25 Correlations between Ratings and Temperament Scale Scoresa Boys' Sample Ratings by Non-Homeroom Teachers 10 Temperament Scale Scores 11 12 13 11+ 15 16 17 Multiple R^ Temp. Multiple Rc Apt. and Temp. 31 -13 00 00 -12 -0 1 09 12 05 21+ 36 32 00 -01 06 -09 07 03 -Hi 08 2 1+ 28 33 01 -05 08 -13 -0 6 09 16 06 27 42 34 -03 03 -0 2 -05 13 -05 -13 -06 20 29 35 -15 -01+ 01+ -1 8 00 11 01+ 09 30 39 36 -0 8 -1 2 05 -15 -01+ 06 11 05 29 46 37 -07 -05 -03 -lk 00 06 09 10 22 36 38 -13 -15 -07 -1 6 05 03 10 05 30 47 39 -0 2 -1 8 01 -1 0 -07 14 15 06 31 44 1+ 0 -01+ -0 2 11 -1 8 06 05 11 05 27 43 41 15 -0 6 -03 12 -01+ -01+ -15 01+ 25 33 42 -0 6 -07 05 -1 0 03 09 10 10 21+ 41 43 -09 -o5 00 -2 0 07 01+ 09 07 27 38 aAll decimal points have been omitted. ^Predictors are all temperament scores. cPredictors are all temperament scores and all aptitude scores. TABLE 26 Correlations between Ratings and Temperament Scale Scoresa Girls' Sample Ratings by Temperament Scale Scores____ _ Multiple R^ Multiple Rc Homeroom Teachers 60 61 62 63 61* 65 66 67 Temp. Apt. and Temp. 68 27 -0 6 -01* -19 -0 2 12 02 -16 36 56 69 03 13 12 -0 2 13 00 03 13 23 32 70 27 -09 -13 -21* -05 23 -0 6 -22 1* 1* 57 71 01 09 02 -1 0 07 -0 2 06 11 21 1*3 72 09 09 12 -17 01* -0 2 -0 3 29 37 73 21 -0 8 -1 2 -21 01 18 -0 6 -19 36 59 71* 19 -11* -0 2 -13 -01* 26 -0 1 -11 35 53 75 2k 05 -1 0 -1 2 -05 11 02 -06 30 55 76 -09 -0 8 -03 -0 2 13 -01* -15 28 kh 77 26 02 -01* -1 6 01 12 -01 -11* 31* 56 78 -13 01* 05 07 -01* -11 -o5 -07 21 39 79 21* 02 -01* -23 07 12 -09 -13 39 63 80 21* -1 0 -07 -1 8 01* 20 03 -11* 35 52 aAll decimal points have been omitted. ^Predictors are all temperament scores. cPredictors are all temperament scores and all aptitide scores. (X TABLE 27 Correlations between Ratings and Temperament Scale Scoresa Girls* Sample Ratings by N on-Homeroom Teachers 60 Temperament 61 62 63 Scale 61+ Scores 65 66 67 Multiple Rb Temp. Multiple R° Apt. and Temp. 81 03 -21 -06 -27 00 08 -10 -20 38 1+8 82 -03 13 25 02 15 -11 09 17 31 36 83 01 -28 -12 -35 00 01 -12 -23 1+9 59 81+ -09 -01 02 -01 17 -10 10 17 27 31+ 85 -07 -15 05 -25 11 -07 02 00 31 37 86 01+ -22 -15 -21+ -01 05 -03 -11+ 35 1+3 87 10 -18 -12 -23 01+ 06 -09 -17 35 kk 88 05 -18 -03 -2 6 01 07 01 -16 31+ 1+5 89 08 -13 -10 -2k 01 09 -09 -28 39 1+5 90 09 -16 -09 -26 01+ 06 -01+ -10 33 1+0 91 -13 08 oi+ 20 17 -07 -02 13 30 1+1 92 07 -19 -11 -30 02 01+ -01 -17 38 1+6 93 06 -19 -10 -2 8 07 05 -01 -15 37 1 + 1 + &A11 decimal points have been omitted. bPredictors are all temperament scores. ro cPredictors are all temperament scores and all aptitude scores. y* 25k predicted to be correlated with this rating# However, sig nificant correlations were obtained with Temperament for Flexibility (variable 16) in both groups# Need for Variety, Although various temperament traits were predicted to be correlated with this rating, some pos itively and others negatively, only one correlation was barely significant. As reported above the rating of Need for Variety was consistently unrelated to all other non rating variables# Spontaneous Flexibility. It was predicted that the trait of Persistence (variable 10) would correlate nega tively and the traits of Spontaneity (11) and Temperament for Flexibility (16) would correlate positively with this rating. Although the obtained correlations with Persist ence and Flexibility were consistent with the predictions in the boys* homeroom group, Spontaneity had a ’ ’zero" cor relation and all traits had non-significant correlations in the non-homeroom group. Adaptive Flexibility. Again the trait of Persistence (variable 10) was predicted to correlate negatively and the Temperament for Flexibility (16) to correlate positively with this rating# Only one correlation, with Flexibility in the homeroom group, was significant; the other correla tions were low# Self-Confidence. This rating was a validity criterion for Self-Confidence (variable 15) and was predicted to cor- 255 relate with Spontaneity (variable 11) and Temperament for Flexibility (16). In both boys* groups, the trait of Self- Confidence correlated nonsignificantly with this rating. Again Flexibility, in the homeroom group only was highly significantly correlated with the rating. In both groups the predicted relationship with Spontaneity was not sup ported. Unrestricted Thinking. It was predicted that the trait Need for Rules (variable 13) would correlate nega tively with this rating and the traits correlating posi tively would be Spontaneity (11). Appreciation of Origi nality (lij.), Self-Confidence (l5)» and Temperament for Flexibility (16). In the boys’ homeroom group the correla tion with Flexibility was highly significant. For both groups the negative correlation with Need fbr Rules was significant. None of the other predicted correlations was found. Persistence. This rating was constructed as a valid ity criterion for the trait of Persistence (variable 10), but the correlation in both groups was approximately ”ze- ro," Of the remaining predicted correlations only one, with Spontaneity (11), was highly significant but only in the non-homeroom group; the others, with Flexibility (16) and Fluency (17) were nonsignificant. Originality. Of the four predicted relationships, only the correlation with Temperament for Flexibility (var 256 iable 16) was highly significant* None of the correlations with the non-homeroom group was significant# It is note worthy that Appreciation of Originality ( l l | . ) was among the traits that correlated nonsignificantly with this rating* Nonpredicted significant correlations, negative with Per sistence (10) and positive with Fluency (17), were also ob tained in the homeroom group. Need for Structure, This rating was designed to be a validity criterion for Need for Rules (variable 13), but the obtained correlations were not significant# The signi ficant negative correlation with Flexibility (16) was the only predicted relationship obtained and one nonpredicted positive correlation with Persistence (10) was obtained, both only in the non-homeroom group. Fluency. This rating was designed to be a validity criterion for Temperament for Fluency of Ideas (variable 17), but the correlation was barely significant for only the homeroom group. The correlations with Self-Confidence were nonsignificant. Appreciation of Originality. This rating was a valid ity criterion for the trait Appreciation of Originality (II4 .), but the obtained correlations were not significant. None of the many predictions produced significant correla tions consistently. Girls* Traits Creativity. It was predicted that this rating would 2$1 correlate negatively with Need for Authority (variable 63) and positively with Initiative (61), Appreciation of Origi nality (61f), Interest In Divergent Thinking (66), and Moral Relativism (67)• Of the predictions only that with Author ity Has highly significant; the others were nonsignificant. Impulsiveness* This rating was a validity criterion for Initiative (variable 6l), but the trait correlated non- significantly with this rating. T he other predicted rela tionships, negative with traits of Persistence (60) and Need for Authority (63), and positive with the trait of Lack of Restraint (62), were not obtained, except for a highly significant correlation with Lack of Restraint In the girls’ non-homeroom group. Recognition of Implications. No significant correla tions were predicted for this rating. Several highly sig nificant relationships were found, however, and those cor relations with Need for Authority and Moral Relativism were consistently highly significant and negative, even though the two traits are logically almost opposite. Need for Variety. It was predicted that Persistence (60) would correlate negatively with this rating and that Initiative (6l), Appreciation of Originality (6I 4 .), Diver gent Thinking (66), and Moral Relativism (67) would corre late positively* None of these predictions was consistent ly confirmed. Spontaneous Flexibility. Of the five predicted corre 258 lations none was confirmed by the obtained correlations# The only consistently significant correlation was a nega tive one with Need for Authority (variable 63). Adaptive Flexibility# Predicted were correlations with Persistence (60), Initiative (6l), Need for Rules (63), and Interest in Divergent Thinking (66). Only Need for Rules had a highly significant negative correlation with this rating. In both groups, however, Moral Relativism (67) al so correlated significantly but negatively with this rat ing, even though the trait is logically almost the opposite of Need for Rules# Self-Confidence, This rating was a validity criterion for the trait, Self-Confidence (variable 65) and the corre lation obtained was highly significant, but only in the girls1 homeroom group. Significant negative correlations were obtained in both groups with Moral Relativism (67), Unrestricted Thinking. None of the five predicted re lationships with this rating was significant. Persistence. This rating was constructed to provide a validity criterion for the trait of Persistence (vari able 60). Although the correlation obtained was highly significant for the girls* homeroom group, it was not sig nificant in the non-homeroom group# In both groups Moral Relativism (67) correlated significantly and negatively with this rating. Other predictions were not supported# Originality. None of the five predicted correlations 2 f j > 9 was- obtained* Need for Authority (variable 63) correlated significantly and negatively with this rating in both groups* Persistence (60) had a highly significant negative correlation with Originality in the homeroom group* Need for Structure, This rating was constructed as a validity criterion for Need for Authority (variable 63) and only the correlation in the non-homeroom group was highly significant. All other predicted relationships were not supported by obtained correlations* Fluency, The two predicted relationships, with Self- Confidence (variable 65>) and Moral Relativism (67), were not found. Correlations with Need for Authority (variable 63) in both groups were among the only highly significant relationships and these were negative. Appreciation of Originality. Although this rating was a validity criterion for the trait Appreciation of Origi nality (variables 8, 9A)$ the obtained correlations, in this case predicted, with Need for Authority (63) were high ly significant* Summary of Correlations In Tables 28 and 29 are summaries of the correlations among aptitude scores, trait scale scores, and ratings. Of the 110 predicted relationships presented in Table 28 (boys1 sample) and the llA predicted relationships in Table 29 (girls* sample), the following results were obtained: (1) in the boys* homeroom group statistically significant cor- TABLE 28 Summary o f F in d in g s R e la t e d t o C o r r e l a t i o n a l H y p o th e se s B o y s ' S a m p les Aptitudes Temperaments 10 11 12 13 15 16 17 1 X X X X X X 2 X SS 3 Y X SS X k X A X A A 5 X X X X 6 Y SS X 7 A X 8 X X X A X 9 X X X X X Key: A = Hypothesized and significant at .05 level AA = Hypothesized and significant at .01 level X * Hypothesized correlation not significantly different from zero Y = * Hypothesized correlation significant, but wrong sign S » Significant at .05 level, but not hypothesized SS * Significant at ,01 level, but not hypothesized TABLE 2 8 — C o n tin u e d Aptitudes Ratings by Homeroom Teachers 18 19 20 21 22 23 2k 25 26 27 28 29 30 1 AA SS X X SS A SS X SS A SS A 2 SS S s S A S 3 SS SS SS AA SS S SS SS SS AA SS k AA SS X A SS AA AA SS AA AA SS AA 5 X X 6 SS SS X SS SS SS SS SS SS A A SS 7 SS AA S SS SS S SS SS SS SS . 8 AA S X A SS AA A S A S SS X 9 SS SS SS s S A S X ro a* TABLE 2 8 — C o n tin u e d Aptitudes Batings by Non-Homeroom Teachers 31 32 33 3k 3S 36 37 38 39 1 | . 0 1+1 U2 1*3 1 X SS X A SS AA S Y SS X s AA 2 X s 3 SS SS SS AA S SS SS SS X AA S 1* X s X A SS AA X s AA s X 5 s X X 6 SS SS X SS SS S SS SS SS AA SS 7 AA SS SS SS SS SS SS SS SS 8 AA SS X AA SS AA AA SS AA SS AA 9 s SS S SS A s AA SS 262 TABLE 2 8 — C o n tin u e d Temper - aments Ratings by Homeroom Teachers 18 19 20 21 22 23 2b 25 26 27 28 29 30 10 X X AA X SS X s S A 11 X A X X X X X X X 12 X 13 X X A X X lb X SS X X X X X 15 s s X X X X X 16 AA SS X AA AA AA AA Y AA X SS AA 17 X s S X S A ro O ' u > TABLE 28— Continued Temper ament 8 Ratings by Non-Homeroom Teachers 31 32 33 3k 35 36 37 38 39 ko kl k2 k3 10 X X A X X s X 11 X X X X X X AA X X 12 X 13 X X SS s A A SS X AA Ik X X X X X X 15 X X S X X X 16 X s s X X X X X Y X A X 17 X X ro £ TABLE 29 Summary of Findings Related to Correlational Hypotheses Girls* Samples B M H B H H a H M B B a a s s B M H n B B a w a n H B a a a B B a H n H H n B a B H B H a B a Aptitudes Temperaments 60 61 62 63 6i|- 6£ 66 67 51 X X AA X s X 7 52 X 53 A 5b SS X SS A X AA X -SS 55 X X X X X 56 AA SS SS SS SS 57 SS SS SS X S 58 X A A X A X 59 s X X A X X s Key: A * Hypothesized and significant at •0£ level AA a Hypothesized and significant at *01 level X a Hypothesized correlation not significantly different from zero 7 » Hypothesized correlation significant, but wrong sign S a Significant at .05 level, but not hypothesized SS a Significant at .01 level, but not hypothesized i \ > TABLE 29—■Continued Aptitudes Ratings by Homeroom Teachers 68 69 70 71 72 73 7 1 + 75 76 77 78 79 80 51 AA SS AA AA SS AA SS Y SS A SS AA 52 S S X s S SS 53 SS SS AA SS SS SS SS AA SS 5 1 + AA SS AA X SS AA AA SS AA AA SS AA 55 X X 56 SS S SS AA SS SS SS SS SS SS SS AA SS 57 SS AA SS SS SS SS SS SS SS SS SS 58 AA SS AA X SS AA AA SS AA S SS AA 59 SS SS SS SS X S AA SS K> O' O ' TABLE 29— Continued Aptitudes Batlngs by Non-Homeroom Teachers 81 82 83 Qk 85 86 87 88 89 90 91 92 93 51 AA SS Y A SS AA SS Y SS AA SS AA 52 X 53 SS SS AA S SS SS S SS AA 5k AA S3 Y A S X AA SS X AA SS A 55 S X X 56 SS SS X SS s SS SS SS AA S 57 SS AA S SS SS SS SS SS SS SS s 58 AA SS X AA 5 SS AA AA SS AA s SS AA 59 SS SS SS SS SS AA SS SS AA ro O' TABLE 29— •Continued Temper aments Ratings by Homeroom Teaohers 66 69 70 71 72 73 7k 75 76 77 78 79 80 60 SS X SS X X y SS SS AA S3 SS SS 61 X X X X X Y X X X 62 X X X 63 AA X SS s AA s X SS AA 6i j - X X X X X X 65 SS X SS AA X X X AA 66 X X A X X X X X X X 67 y SS X X SS X s Y X X Y ro o CD TABLE 29— Continued Temper- Ratings by Non-Homeroom Teachers aments . 81 82 83 81* 85 86 87 88 89 90 91 92 93 60 X X X X X 61 Y X SS X Y Y Y Y Y SS Y 62 AA S X X 63 AA X SS SS AA SS SS SS SS 33 SS AA 6I 4- X s A X X X A X 65 X X X X X X 66 X X X X X X X X X X 67 Y s SS A X s s SS X X Y Y ro O' n£ > relations were found for only 39 of the predicted relation ships, 71 predictions were not supported, and 66 signifi cant correlations were found that were not predicted; (2) in the boys* non-homeroom group statistically significant correlations were found for only 28 of the predicted rela tionships, 82 predictions were not supported, and 57 sig nificant correlations were found that were not predicted; (3) in the girls* homeroom group statistically significant correlations were found for only 1 ^ . 0 of the predicted rela tionships, 7l j - predictions were not supported and 83 signif icant correlations were found that were not predicted; and (I4 . ) in the girls* non-homeroom group statistically signifi cant correlations were found for only 36 of the predicted relationships, 78 predictions were not supported, and 78 significant correlations were found that were not predict ed. Results of Multiple Correlations with Ratings as Criteria Included in Tables 20 through 27 are multiple correla tion coefficients with ratings as criteria and the follow ing categories of predictors: (1) aptitudes only, (2) tem perament scales only, and (3) all aptitudes and temperament scales. Generally the obtained multiple R*s are statistically significant. For the aptitudes the multiple prediction does not contribute as much difference from individual test 271 prediction as in the case of the temperament scales. Mul tiple R*s for aptitudes are probably reduced because of the generally high intercorrelations between test scores. The temperament scales which individually show poor ability to predict criteria obtain considerable increments in predic tion, probably because of the independence of the variables and the suggested suppression effect from such attributes as impulsiveness, need for variety, and nonconformity. It is clear from Tables 30 and 31 that the temperament scales do contribute to the prediction of teachers* rat ings, although it is suggested that teachers are reflecting primarily differences in aptitudes in their ratings. The following ratings were predicted better by temperament scales than by aptitudes: Impulsiveness and Unrestricted Thinking. A complete analysis of the multiple correlations with an emphasis on the percentage of variance contributed by I. Q,. has been published elsewhere (Merrifield, Gardner, and Cox, 1963)• Influence of I. Q. on Variables In Tables 32 and 33 summaries of correlations with var iables i | l j . and (CTMM I. Q.) are presented. The range of I. Q**s, from 90 through l£8, in this study was much wider than in previous studies and thus there was greater oppor tunity for the influence of I. Q. to be demonstrated. Correlations between I. Q. and aptitude scores tend to 2 7 2 TABLE 30 Summary of Multiple Correlations for Boys* Samples® Raters: Homeroom Teachers Part 1 Variates Aptitudes Temperaments Aptitudes and Temperaments 18 ^7 37 53 19 18 30 35 20 39 36 k& 21 25 18 31 22 31 33 ko 23 ko 30 kS 2k 36 28 I P - 25 35 39 kl 26 32 27 38 27 I P - 35 U fl 28 30 21 33 29 kl 31 l * -6 30 3k 30 k2 aAll decimal points have been omitted 273 TABLE 30 Summary of Multiple Correlations for Boys' Samples^ Raters: Non-Homeroom Teachers Part 2 Variates Aptitudes Temperaments Aptitudes and Temperaments 31 32 2k 36 32 16 2k 28 33 37 27 k2 31+ 20 20 29 35 32 30 39 36 kl 29 k6 37 32 22 36 38 k2 30 k7 39 37 31 kk 1^ 0 38 27 1+3 kl 25 25 33 k2 38 2k kl kl 31 27 38 bAll decimal points have been omitted. TABLE 31 Summary of Multiple Correlations for Girls* Samplesa Raters: Homeroom Teachers Part 1 Varlates Aptitudes Temperaments Aptitudes and Temperaments 68 53 36 56 69 23 23 32 70 52 57 71 36 21 U-3 72 25 29 37 73 57 36 59 7fc kl 35 53 75 51 30 55 76 39 28 W- 77 53 3k 56 78 35 21 39 79 61 39 63 80 ^9 35 52 aAll decimal points have been omitted. 275 TABLE 31 Summary of Multiple Correlations for Girls' Samples** Raters: Non-Homeroom Teachers Part 2 Variates Aptitudes Temperaments Aptitudes and Temperaments 81 1*1 38 1*8 82 19 31 36 83 kl 1*9 59 81* 23 27 31* 6$ 26 31 37 86 35 35 1*3 87 36 35 1*1* 88 1*0 31* 1*5 89 36 39 1*5 90 32 33 1*0 91 35 30 1*1 92 38 38 1*6 93 36 37 1*1* *>A11 decimal points have been omitted. 2 7 6 TABLE 32 Summary of Correlations with CTMM I, Q.a» b Boys' Sample Aptitudes Temperament Ratings Homeroom Non-Homeroom Variates r Variates r Variates r Variates r 1 30 10 -24 18 38 31 30 2 -06 11 -02 19 03 32 04 3 42 12 -09 20 38 33 42 4 31 13 -18 21 03 34 02 5 -12 14 01 22 20 35 35 6 35 15 09 23 35 36 39 7 25 16 19 24 20 37 29 8 28 17 01 25 25 38 34 9 12 26 26 39 34 27 30 40 33 28 32 41 11 29 32 42 34 30 30 43 33 aI. Q. is variable 1*4• &A11 decimal points have been omitted. TABLE 33 Summary of Correlations with CTMM I* Q.a» ^ Girls' Sample Aptitudes Temperament Ratines Homeroom Non-Homeroom Variates r Variates r Variates r Variates r 51 1+6 60 09 08 1+8 81 1+6 52 -02 61 -1 8 69 01+ 82 12 53 30 62 -11 70 5o 83 51 54 1+4 63 -1+6 71 17 81+ 05 55 -15 64 00 72 22 85 32 56 1+4 65 11+ 73 1+9 86 38 57 37 66 -07 71+ 36 87 29 58 31 67 -20 75 35 88 1+3 59 22 76 29 89 33 77 31+ 90 33 78 30 91 31 79 50 92 43 80 39 93 39 aI. Q,. is variable 94* ^All decimal points have been omitted. 278 be relatively high* Most of them are significant at better than the *01 level. There is a suggestion that intelli gence is the basis of the variance held in common by most divergent thinking tests, which led to the observed lack of independence of aptitude scores* Marking Speed (variables 2, 52) and Names for Stories— low (5# 55) correlated low with I. Q*, the latter having negative coefficients, and these aptitudes generally did not correlate with other var iables. A third aptitude score, What Would Happen— obvious (9* 59), obtained somewhat low correlations with I* Q. This suggests that ideational fluency, with little restric tion in the idea production, is not as highly influenced by I* Q,. as the other divergent thinking factors, an assump tion that seems reasonable* It is noteworthy that aptitude scores which correlated lowest with I. Q. had virtually no significant correlations with either ratings or temperament trait scales. Pew of the correlations between I. Q. and temperament scales were significant. Exceptions to the generally "ze ro" correlations with I* Q* were Need for Authority (vari ables 13, 63), boys* Persistence (10), boys* Flexibility Temperament (19), girls1 Initiative (61), girls* Moral Relativism (67)* It is noteworthy that again those vari ables that correlate significantly with I. Q,. tend to ob tain significant correlations with aptitudes and ratings. Although not as prominent as was the case with aptitudes, 279 the influence of I, Q. variance in contributing to the de gree of correlation with other variables appears to be present with the temperament scales. I. <$• correlated highly significantly with almost every rating scale also. The exceptions are again note worthy. Two scales, Impulsiveness (variables 19, 32, 69, 82) and Need for Variety (21, 3kt 71, 8U-), correlated close to "zero” with I. Q., and Need for Structure and Spontane ous Flexibility obtained correlations somewhat lower than other scales. Again variables that did not correlate with I. Q. also did not correlate with any of the aptitudes or most of the temperament scales. There is considerable reason to suspect that a major source of variance common to the variables in this study can be attributed to I. Q. Influence of Sex on Variables As mentioned previously, the observed sex differences in item correlations led to the decision to perform sepa rate factor analyses of the temperament inventory. Al though the temperament traits that emerged from the factor analytic study showed many significant similarities between sexes, especially conceptually, there were several differ ences in the item content of factors that appear to refer to similar attributes. A general statement of the results is that the temperament traits are similar for boys and girls at the seventh-grade level, but the girls tend to 280 differ from each other in their attitudes toward rules, conformity and change more than boys do* Although many of the differences in aptitude scores between sexes attain statistical significance, the actual mean difference in scores is seldom more than one point* These small differences in mean raw test scores, that are significant mainly because the N's are large, probably should be discounted. It has been demonstrated that differ ences as great or greater than those obtained in this study will not result in much difference in factor structure or have much effect on the pattern of correlations of the ap titudes (e.g., Guilford, Merrifield, and Cox, 1961). In the obtained correlations between aptitudes and temperaments there are few important general differences for the sex groups. Of course, there are also few signifi cant correlations between variables. Although the differences are not significant statis tically, there is a tendency for girls to have been rated higher on "desirable" and lower on "undesirable" attributes than boys. The slightly higher correlations between rat ings and other variables for girls1 samples can probably be attributed to this greater degree of "halo" In girls1 groups. Although the results of this study suggest that the differences between sexes are generally small in creative thinking aptitudes, temperament traits, and in teachers1 281 ratings* there are several indications that data should be analysed separately* The girls tend to be more highly mo tivated* to obtain slightly higher aptitude seores with fair consistency, and the ratings of girls to be even more influenced by teachers' "halo" effect than ratings of boys* The evidence concerning the teachers' evaluations suggest that there is a dichotomy between the "intelligent* per sistent* well-behaved children" and the low I* ft.* impul sive* lacking in achievement motivation" children and this distinction is more strictly held for girls than for boys* These value judgment "syndromes" appear to dominate teach ers' attitudes toward children in their classes* Influence of Age on Variables Generalitv The results of this study clearly do not support the theorized differentiation process of maturation. In apti tudes* the high Intercorrelations suggest perhaps two pos sible clusters* an "I. ft* cluster" and a "fluency cluster*" There was hardly the degree of differentiation obtained in previous studies with fifth graders (Lauritzen* i960) or sixth graders (Merrifield* Guilford, and Gershon, 1963) with similar tests and similar scoring standards* Despite the prominent Influence of general intelligence on the intercox** relations of aptitudes* which limits the interpretation of the results, the seventh-grade sample seems to be generally less differentiated than samples of younger children* 282 In regard to temperaments also the evidence does not support the notion of gradually decreasing generality with age. The number of interpretable factors with children (approximately eight) was fewer than temperament factors isolated in an adults' sample (approximately thirteen), but the adult factors obtained actually reveal less differenti ation in terms of factor definition than in the analysis with the children, with whom there were many fewer bipolar or "syndrome" traits to have emerged in factor analyses (Guilford, et. al., 19^7). In regard to the correlations between aptitude scores and temperament scales, the evidence for greater generality of attributes— in this case demonstrated by correlation or consistency of traits within individuals— in children is also inconclusive. Although the correlations are higher than in the adults* groups and more correlations are sta tistically significant (Guilford, et al., 1957)* very few of the correlations in either study account for more than 10 per cent of the variance between variables. Increments in Creative Ability with Age Although the divergent thinking tests have undergone many revisions in format and in scoring standards, the es sential similarity in the task to be performed at every age level makes possible some rough comparisons. For every test used in this study there is consider- 2 8 3 able evidence for Increments with age* In most cases the differences between samples from groups of fifth, sixth, seventh, and ninth graders are greater than the increments- from ninth grade to college graduate. This suggests a pos sible plateau in performance after the ninth grade or a de celeration in the growth trend, so that relatively little increment in divergent thinking aptitudes or in creative ability might be expected in high school or college groups. An example of a test which has actually not been re vised at all, except the title and scoring criteria, is What Would Happen--remote. Although the test has been ad ministered with different titles— Consequences (Guilford, et al., 1957; Guilford, et al., 1961) and What If (Laurit- zen, I960)— and various numbers of items, the specific items have not been revised* With ten Items, the mean score of 61 fifth graders was 8*96 remote responses (Laurlt- zen, I960); with five items, the mean score for sixth grad ers was I 4 . . 8 6 (Scbmadel, I960); with four items in the pres ent study with boys and girls combined, the mean score was 1]..10; with five Items In a ninth grade study, boys’ mean score was 3*86 and girls’ mean score was 3*83 (Guilford, et al*, 1961); and in one study with 208 air cadets, the mean score for four items was 8.50 (Guilford, Prick, Christensen, and Merrifield, 1957)* The deviations from a smooth growth curve In these scores can be traced to vary ing scoring criteria, i.e., the sixth-grade study used 26k higher standards than the fifth- or seventh-grade studies, and similarly the ninth-grade study had higher criteria for a remote response than any of the adult studies. Another point of interest is that in the fifth-grade, seventh-grade and adult studies there was no upper limit in I. Q,. as there were in the sixth- and ninth-grade studies. Where there were comparable forms of tests, scores on the following tests show increments with age: Ways to Use It, four Word Sentences, and Names for Stories (excluding the sixth-grade and seventh-grade studies in which a drastically revised form of the last test was used). An interesting exception to the fairly consistent finding of regular increments in divergent thinking aptitude scores occurs in the tests, Making a Plan and Names for Stories— low, which suggests that possibly ideational fluency may reach a plateau earlier than other aptitudes. CHAPTER X SUMMARY AND CONCLUSIONS This study was designed to test several hypotheses that were suggested by theoretical notions about creativity in children* Among the theoretical ideas investigated were the following: creative ability increases with age; crea tivity in children is more general than in adults; and non- creative intellectual abilities contribute greatly to crea tive abilities in children especially with children whose I. Q* is not within the superior range* Another consideration of this study was to obtain evi dence concerning findings of previous studies which were equivocal or >hich conflicted with the findings of other studies. Some of these conflicts, which are described in Chapter V, were around the degree of specificity of diver gent thinking aptitudes in elementary school children, the influence of I. Q. on creativity, and whether or not there are sex differences in creative ability. Considerations of secondary importance in this study were the development of a multi-dimensional, factored tem perament inventory for use with children, and the investi gation of the possible use of teachers* ratings as validity criteria for divergent thinking aptitudes and temperament 285 286 traits, and the application of these criteria in an attempt to estimate the validity of the measures used in this study. To meet the objectives of this study, a battery of seven aptitude tests, six of which were modifications or revisions of Guilford's divergent thinking tests, was ad ministered to the entire seventh grade of a cooperating school district. Also administered was a specially con structed temperament inventory, which was hypothesized to measure eight traits isolated in a previous study with adults, A series of factor analyses of the 121 items of this inventory yielded eight boys' scales and eight girls' scales, which were, with some exceptions, similar to those obtained in the adult study. The boys' and girls' scales were also generally similar, although the factor loadings for items showed considerable sex differences. Graphic rating scales, constructed on the basis of descriptions of aptitude factors and temperament factors, were administered to all seventh-grade teachers in the fall semester and to many teachers again in the spring semester. At each ad ministration, two teachers rated every child on 16 scales. For all three types of variables, aptitudes, temperaments, and ratings, reliabilities and intercorrelations were com puted and presented. Correlations between the three types of variables, CTMM I, Q. with all variables, and multiple correlations with ratings as criteria were also computed and presented in Chapter IX* The results of the correlational analysis involving eight factored temperament scales for hoys and for girls, nine aptitude measures, thirteen ratings by homeroom and by non-homeroom teachers, and X, Q. were as follows: (1) Reliabilities of all experimental variables were relatively low* (2) Intercorrelations among aptitude scores tended to be highly significant* (3) Intercorrelations among temperament scales were generally close to "zero*" ( I j . ) In most cases intercorrelations among ratings were high. An apparent "halo" effect involving socially de sirable attributes was noted. (5) The correlations between I. Q. and aptitude scores tended to be highly significant as were those between I, Q. and ratings of "desirable" traits. Correlations between I. Q. and temperament scores tended to be non significant. (6) The predictive validity of the aptitude scores and temperament scales was Inadequate, ratings being the criteria. In the case of aptitudes, correlations with ratings tended to be indiscriminately highly signifi cant. With temperament scales there was virtually no correlation with criteria for many of the traits. (7) Although several of the correlations between apti tude scores and temperament trait scales were signifi 288 cantly different from "zero,1 1 the percentage of common variance shared by these variables was usually very low. (8) Sex differences in aptitude scores were often sta tistically significant, but this was attributed to the large samples in this study, since the actual differ ence in raw score was usually very small. (9) The mean scores on divergent thinking aptitudes of seventh graders in this study fit a roughly estimated growth curve from fifth grade to young adulthood. (10) Temperament factors, although fewer in number than those obtained in an adult study, tended to be at least as distinct or differentiated as the adult factors. It may be concluded from this study that the creative ability of seventh graders is less differentiated than that of adults, if independence of component divergent thinking aptitudes is taken as the criterion. However, the evidence for greater generality of creativity in children is ques tionable when the differentiation of temperament traits hy pothesized to be related to creativity or the "internal consistency" between aptitudes and temperaments within an individual is considered. When the last two criteria are given emphasis, as they often are in theories of creativity in children, it must be suspected that if there is, in fact, a process of differentiation in creativity it must begin and make considerable progress before Children reach 289 the seventh grade. It can be concluded also that divergent thinking ap titudes show Increments with age, although in some cases the differences are slight. It Is suggested that at the seventh grade level general Intelligence is more Influ ential in determining creative performance than with older groups and that there may be an age-related trend toward decreasing correlation between I, Q, and creativity* The converse of the usual argument concerning gifted- ness and creativity is suggested in this study. It would appear that there would be little justification for over looking general intelligence in identifying and selecting potentially creative children. Except perhaps In the case of children with very superior I, Q. scores, general intel ligence is a major influence on creativity. One exception is ideational fluency which consistently correlated low or negatively with I, Q. Although the predictive validity of the aptitude and temperament measures used in this study was discouragingly low, the value of teachers1 ratings as criteria can be se riously questioned. It cannot be emphasized too greatly that the rela tively low reliabilities of the experimental variables in this study make all the conclusions and the findings upon which they are based very tentative* The data gathering instruments used in this study are in need of further re- vision and development before they are applied to the prac tical problem of selecting creative or potentially creative children* Also the aptitudes and temperament scales should be factor analyzed again with another seventh-grade sample to investigate the constancy of "factorial validity" of the constructs* APPENDIX A REFERENCES REFERENCES Allen, M. S,, Guilford, J. P., and Merrifield, P. R. I960, The evaluation of selected intellectual factors by creative research scientists. Reports from the Psy chological Laboratory, the University of Southern California, No, 25* Los Angelest University of Southern tfalifornia, Allport, G, W* 1937# Personalityt A Psychological Inter pretation, New York: HenryHolt and Co, ~ Anastasi, A,, and Foley, J, P., Jr, 19l|l* A survey of the literature on artistic behavior in the abnormal, II, Approaches and interrelationsips. Abstracts of the New York Academy of Science, XLII, l-lll, Andersen, I,, and Munroe, R, 19k8* Personality factors involved in student concentration on creative paint ing and commercial art, Rorschach Research Exchange and Journal of Projective 'Techniques, 3tfl, lhl-15k« Anderson, H, H, (ed,) 1959, Creativity and Its Cultiva tion, New York: Harper and B'rotners. Anderson, H, H, 1959* Creativity as personality develop ment, Creativity and Its Cultivation, ed, Anderson, H, H, Mew York:: Harper and brothers, pp, 119-lljl* Barron, F, 1953* Complexity-simplicity as a personality dimension. 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W, Salt t»ake City: tfaiiversity of tftah Press* Torrance, E, P* 1959b* Explorations in creative thinking in the early school years: V. ah experimental study of peer sanctions against highly creative children* Research Memoranda* Bureau of Educational Research, University of Minnesota* Torrance, E. P., and Michie, H. W# 1959* Explorations in creative thinking in the early school years: I* scor ing manual for How Good is Your Imagination? (Form C). Research Memoranda* Bureau of Educational Research, University of Minnesota* Torrance, E. P,, and Radig, H. J. 1959. The Ask-and-Guess Test: scoring manual and rationale* Research Memo randa* Bureau of Educational Research, University of fffixnesota* Van Zelst, R* H., and Kerr, W* A. 1952* A further note on some correlates of scientific and technical personal ity* Journal of Abnormal and Social Psychology* XLVII, 129* Van Zelst, R. H*, and Kerr, W. A* 1951*# Personality self- assessment of scientific and technical personnel* Journal of Applied Psychology. XXXVIII, llj.5>-7* Wallas, G. 1926. The Art of Thought. New York: Harcourt, Brace* Welch, I*. 19l)-6. Recombination of ideas in creative think ing. Journal of Applied Psychology. XXX, 638-14.3* White, R. K, 1930* Note on the psychopathology of genius* Journal of Social Psychology, I, 311-15. Wilson, R. C., Guilford, J* P*, and Christensen, P* R. 1951 The measurement of individual differences in original ity* Psychological Bulletin. L, 362-70. Wilson, R. C.f Guilford, J. P., Christensen, P. R., and 30k Lewis, D, J. 19^1+ • A factor-analytic study of crea tive thinking abilities• Pavohametrlka. XIX, 297-311* Woodworth, D, G. 1958. A factorial study of trait-rankings used in an assessment of professional research scien tists* Paper read at Western Psychological Associa tion, Monterey, California, April 1958* Zaccaria, M* A*, Chorness, M* H., Gerry, R., and Borg, W, R. 1956* Student evaluation and grading, prediction of creative ability* Air Force Personnel and Training Research Center, Lackland Air Force Base. APPENDIX B DEVELOPMENT OP THE TEMPERAMENT INVENTORY INVENTORY OF CHILDREN*S INTERESTS Instructions This booklet contains statements about different things. We want to know what you think about each statement. At the end of each statement are the words ’ ’YES1 1 and "NO." Each statement will be read aloud to you, while you read it silently. As soon as you have finished reading a statement, decide whether you agree with it or not. If you agree with it, circle the word YES. If you do not agree with it, circle the word NO. You will have a short time to think about each question* Make up your mind as quickly as you can and circle vour answer. Do not skip any statement. If you are not sure about a statement, mark the answer that you feel is closest to what you think. Do not ask any questions after I start reading the statements. Remember: Circle YES or NO after each statement. If you are not sure, circle the answer that seems best to you. DO NOT SKIP ANY STATEMENT. If you have questions, ask them now. NOW TURN THE PAGE. VjJ o O' APPENDIX B-2 Intercorrelations of Temperament Inventory Itemsa,i> Boys* Sample Item 1 2 3 i | 5 6 7 8 9 10 11 12 13 14 15 16 1 11 -111 03 03 -01 12 09 -01 00 17 -10 02 07 00 Ok 2 11 -05 -02 07 13 0i| 01 07 10 02 -07 08 09 02 -06 3 -111 -05 06 -10 -01 06 07 Oil -12 05 -01 11 -01 07 k 03 -02 06 -07 -18 01 07 -02 08 15 00 -02 10 111 05 5 03 07 -10 -07 07 11 -06 07 -06 12 -06 09 11 03 13 6 -01 13 -01 -ID 07 -01 -01| 0i| -13 lil 07 12 °7 -02 n 7 12 01| 06 01 ll -01 20 03 02 10 -02 08 08 -03 19 8 09 01 07 07 -06 -Oil 20 08 09 05 10 -16 -01 -05 -01 9 -01 07 01| -02 07 Oil 03 08 06 -08 02 -01 -01 -10 -16 10 00 10 0i| 08 -06 -13 02 09 06 -Oil -Ok -15 -09 -01 00 11 17 02 -12 15 12 ii| 10 05 -08 -0i| -06 17 -07 -02 21 12 -10 -07 05 00 -06 07 -02 10 02 -01| -06 -07 01 00 09 13 02 08 -01 02 09 12 08 -16 -01 -15 17 -07 21 111 05 1 11 07 09 11 -10 11 07 08 -01 -01 -09 -07 01 21 00 06 15 00 02 -01 l i | 03 -02 -03 -05 -10 -01 -02 00 00 09 16 01| -06 07 05 13 11 19 -01 -16 00 21 09 05 06 09 aAll decimal points have been omitted. ^Correlations are phi coefficient. o v j t .-P'V j j i o h o o oo— j o 'V n 4 = " w r o » - * i iii ii 0 h O h H h*i - ,h h (-' i - ‘[\)000|\) ->j ro ► -*»— ro o O 'V n w c d ► - * o w i i i i * — o*-*ooooo»— OOIMOOOO •-* OWWW OWOj t —VJT.O O OWW o I III I I I I I 0o*-0000000000000 v O o ' - ' ^ ' O ' O ' o o r o — J ► - * — j-p--t=" ro i— O I I I III o o o r o ^ - o o o o o * — o i - t - o o vO \jj i— t— j o r o - p r o — o o o v n 0 s I I I I I I I I OOOOIUOMOIUOOHOOOO ' • O . p - o 0s o so t —Vjj roVjj i —\ j i ' j t . 4="W4= " i i i i i i 0t-*0000t-*00H-*000000 K jj » ~ w w •— c d — o l u w o o D C M y h v O u ) I I I I I t-^OOOOOOOOK-OOOl-O > - o o i \ ) V n o t - o 0 ' 4 = " r o w v n o r o w i i i 0i->0000*-,0l-*00*-**-‘0l-*0 *-4=— o o o r o V r u r - r o o r o ro O 'O 'r o v-o i i i o»—rooo»-»oooi-*ooM»-*o»-* vj t. * - * o vo cdvjj 'O • — O'vn^D V j i . r o ro * — w i iiii r o » - o o o o o » - r o o o o » - o o o * —vnrocD»— o t — o r o r o i —cDt-O'K-o 1 1 1 1 1 i i i i o o o o o I— * i— • 0 ^ 0 o o t— • t— o o VAVa J O h- O ' t-* \n v O r o w O 'V j h * r o w to 1 1 1 1 i i i o o o o o 1 — ■ o o o o o O O O ► - v a-P "v*> ro 1 — l~» ro » - r o — J W 4=" ro o d v jx w i 1 1 1 1 i o o o o o ► - » o K -* o ► — o o t - o o 4 = - 1 - cx»ro 1 — ■ r o o 0 4 = " O O ' ro O O O '—! i 1 i 1 i 1 1 o o o o o o o o o o ► - o o o o o V A O 'v £ )-J — 0 r o *-• C o ro ro •— — o — o r o w * — 1 t i 1 w w iv i — w w ^ w w r* w W W w W -J ro ro o ^ tr-j H-VjovO-^j-JO'roH-o-si i i i oo*-*i-»ooooooooo»-»o p. c d o j o h o O ' h ► — — o o o ■ v n m h s o ^ * 6 0 £ ^ ^ ^ ^ ^ O'Vn.pvo ro • — o vO cD~o a'Vnpoj ro • — Item i i i i i i oooooi-oooooorjooo ro io-o o r . * - * ►- on o'—o o ro-o oj cdjt* t — 00 V jJ i i i i i i-*oooooi-*oroot-'»-*ooo»— — 0 — 0 O' ro v — — 0 -O -pr i —* oopop 0 - 0 ► — VO P i i i ii ii 0 h*i-» 0 » - ‘ 0 0 0 0 0 0 0 0 0 0 0 o 0 s ro 0 o 4="ro v * > oj vn-o O' aovo i —p VjJ Or 1 1 1 1 — Oh-»h-»OOOOOoO«-*OOoO ro O'1 0 4=" h-voP1_ i_ qs O'00 vnro o'ro OJ O' 1 1 1 1 1 1 1 K*Oi-»i-‘h->OOOi—»i-* 0 0 0 0 0 ^- O CDCDOPVO t»0 U)4rV*)VnCBU) »- • — VD -0 1 1 II II 1 II oo*-*o»-*t—i-ooo^-oroooro ro vn»- cop roP •— -o-ouj 0 vn O'pvo Vo CD i i i 11 OOOOOOOi— Ot-OOOOoO 00 vn co-o ^o-p-Vjj * — ro vn*- 0 ro oopro VO 'O 11 111 11 O O O O O * — * — O O O O h -1 —1 — o*— O'Oj 0 0 3 O' * - rop-o ^ vnp ► _ * opro P O 1 11 1 1 11 11 oo*-*i—oooo>— ►—o»— • — —j vn cD-o cd-o4t--o vnop ro • — 0 ro P 1 — ■ 1 1 1 1 1 OK*H*OOOt—ooooo*—*ooo -0-P-'O 0 ooro o4r-ooj 10 vji-o-0 v * > cd P ro 1 1 1 roo»-*oooooo»-**-*h-oo*—ro ro cDVn. o P P cdoj vn*- ro-o t- ►- 01-0 P VD 1 1 1 1 1 1 ro*-**—ooooi-*t-*oi—»~oooo ro • — 1 — 0 0 ro vn-o 4="—0 ► - * ro 0 v o ro c d io P P 1 1 1 OOOOOf—OOOl— 0 t — 0 0 > —0 O'Ojv£> —j o 'O'Oj 1 —‘►-•roroo'O'O'Ovo P vn 1 1 1 1 rooooot-of-oon-ooooo cd'O vo roP roP ro O' O'Vd ro * - O'Pvo p O' 1 1 1 1 11 01—oo*-*rooi—oo»—rooooo Or. 0 O' cd ► — cd » — O' 0 i — P t — i - * vO i —p P —0 ti 111 111 O O ^ - O * — K ^ O O O O O O O O O O C D 'O 0 vn 0 vd i o p ro» — nd 03 vn'O vd *- p CO i> * v w tD I ro i i o = j oxe ^ ^ ^ on' jt. - P ' V wO ro • — Oso od-o o'Vn-P-vo ro » — i i Oh-OOh— O O o O O O h - O O O O vo o oooo-P" h- ro-P" o ►- o ooprro » — M c+ r o 5 pr- vO i i i i i i i M hhi- O O O m M O h |u O O h O ro Vn O' o ro ro-'Jvo * - * vo o i—vm— o ro vn o i OOOOt— h-i— O O O O O O O O O vo oo-ovni— prrop^vo—j vnro ovo o-o vn i i i i i i h—ooo*-*oooooooooo»— -P'-fr'O'h- cdvjj o covnvnrovo > — ooro o vn ro i i i i ii OOh-f—OOh-oOOOh-OOOO -o o'sovnro v*>-P“ oVnvovo'O ro ro vno* 53 i i ii i h-OOOOOOOOOOOt—h-OO ro O'ovoVnvovnpr-h- rooiro o-o ovn Vn P3" i i i i i i i i OOh-t— OOh-OOl— OOOh-K^f— vO h-pr- ooro I-*-o 03-0 V J T . 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C O CO O ' C" c o c— t '- t*- sO C"- VA C'- -=}• C - A r~- c n j o t ' - a Q » 311 -H C M C M CMOOCOvO'-iCMCMCMCO A V A - 4 A O O O O O O O O O O —I O O - - I O O I I I I I I c o O CMVA f ^ r ^ s O AMD C V I A v O . r t 'O 'O <A O ' - H ' - H O O O O ' - H O O O ' - f ’— I I I I I I I -=h& O ' T - 4 A-=f-=J-0'-=l'CO C M V A -^-cA A o o o o »-i o o »-«o o o c m «-i »-*o o I I I I I I C M A C M -h A A CM C M r - ' - t vO A cO O O VA ' - H O O O O ' - i —*o*-^ooooooo I I I I I I IA*~* vO — to o CO t'-CO V A A A C-vO C V I O ooo-«oooooooo—tooo I I I I VACO « -H e-CD SO -d-*-* l'-GO CO O 'V A V A -d’VA O O H O N O O O I V I O O Q O O O O I t i l l C '-O v O -* C'-C'-CMCO [ '- 'A C V I A ~ t O O C-- H H O O H O C \ I O O O ( \ I O H H ( \ | H I I I O CVI-zJCQGO O U V C '- O I A N H ' - • O O O ' - i O O O O ' H O O ' H C V J O ' - H I I I I O -ctC V I C M C V I C V I C V I * -H 0 '-= |T C 0 '0 CM 1A-3- Q O < - l O » - t O O ^ H O O ' H * - t O O O O I I I I I I I vO cm CM A v O OO O'CM A A OOOOOOO^tOOOOOOOO II III I I I I I A O ' nO A h c o O A O ' h C^ACMVACM _zf '-h O O O * - h ^h C M O O O « - ' 0 * - < » - i *-i (M I I I I I I O' —• A A ACM vO O O O O O *-t I I 1 1 CO OQO CMvO A h vO O O O O CM o 1 1 C - V A C M vO O VAOO O — • o o o o 'O v a c o -n j - r - - c M 'O o o o * - • O -n VA C M C M 'H t'- .J - c O 'O •H o o o o o 1 I I I I — • C M A -e fV A 'O e-CD O ' O — I C M A _ rfV A 'A APPENDIX B-2~-Cont irmed Item 81 82 83 81+ 85 86 87 88 89 90 91 92 93 91+ 95 96 1 -02 06 05 13 01 -05 12 05 -Ok 10 -10 -19 13 -01 + -06 00 2 1 1 + 01 + 10 12 01 18 -03 01 + -08 -02 01 -07 -02 -Ok 01 + -07 3 02 -05 -05 -02 -01 + ! i+ 00 -01 03 -02 -02 -06 01 16 -02 09 1 + -02 13 n 05 -01 08 -07 11 11 -07 13 01 -Ok -02 -07 01 5 08 10 22 25 13 -02 -01 + 11 -13 °4 00 -01 06 -05 -11 05 6 10 05 07 12 20 -01 + 00 09 -18 08 -1 1 + 05 11 -06 02 00 7 00 10 10 09 00 10 06 12 -11 12 09 -08 16 -12 00 -02 . 8 17 -08 -0 1 + -08 06 02 06 10 16 -06 07 03 01 08 05 05 9 -02 -05 -01 -08 06 -01 -03 03 01 -06 -03 03 01 03 05 -01 10 -05 -17 03 -07 -10 10 05 09 30 00 06 -02 -16 20 00 00 11 -01+ 10 18 21 + 1+7 06 06 03 -09 20 11 -08 14 -08 03 °Z 12 10 -03 -10 -05 -07 02 08 06 01+ -10 02 12 -07 06 11 -08 13 -01 11 1+0 26 09 03 -17 01 -19 08 -07 03 06 -15 -03 -09 1 1 + 02 02 07 13 06 08 -02 -02 -21 05 -08 -11 18 -05 00 02 15 -06 17 22 10 -11 01 + -06 01+ 02 02 06 11 08 07 -03 06 16 -01+ 10 08 16 05 07 13 03 -10 20 -11+ -01+ 16 09 -06 01 UJ I —» ro APPENDIX B-2— Continued Item 97 98 99 100 101 102 103 IOI4 . 105 106 10? 108 109 110 111 112 1 31 -02 12 11 01 -01 11 -02 -02 -Oi| 02 05 06 -11 06 -10 2 08 13 05 07 02 01 02 07 -03 -01 Oil 07 “07 l i l 06 3 02 02 -09 05 Oil 08 -08 02 -01 -06 03 -Oi| 01 -02 10 12 i i 03 15 -Iii 10 Ok 10 02 -11 -02 -09 17 00 08 05 17 05 5 07 09 17 02 05 03 14 08 20 13 -07 10 12 02 00 06 6 15 00 12 01 -12 -01 Oi| 16 00 10 -10 03 17 -02 -02 -03 7 23 13 05 06 07 03 09 03 06 -08 Oil 11 14 06 -01 8 11 Oil Oi| 09 08 01 11 -13 -11 -12 16 02 -10 11 01 11 9 -0i| Oil 12 -12 08 17 -08 -13 -11 02 13 -02 “07 08 Oil 07 10 02 02 -02 05 -08 01 -13 -15 -11 -Oi| 22 06 -09 “03 03 02 11 18 09 i i i 08 Oi| -07 17 Oi| 23 -02 01 “03 05 -06 10 03 12 02 -11 -18 -03 -li| l il 05 05 -05 -06 Oi| 08 01 “07 -06 02 13 03 17 02 12 -01 -03 05 16 13 09 -07 -Oi| 03 “03 15 08 l i + 15 -02 10 10 -06 11 05 18 05 12 -27 10 18 -06 -01 -09 15 02 17 -Oi| 17 09 -02 10 06 -02 Oil -02 -02 02 01 16 17 16 16 01 00 01 -02 -Oi| 08 12 10 12 -07 “07 13 02 08 00 u> i - * V jL > APPENDIX B-2 Continued Item 113 nil 115 116 117 118 119 120 121 122c Mean^ 1 -12 03 -02 00 10 -10 -06 -11 05 07 0.1|1 2 -07 il+ 02 12 -08 02 02 -01 15 05 0.19 3 19 -03 -02 06 -02 03 09 01 -08 00 0.25 1 + 11+ 01 09 11 06 -02 01 08 10 06 0.65 5 -06 01 -12 19 11 + 09 02 -01 15 19 0.1+7 6 -08 -oil “13 -05 01+ 02 -06 12 01 01| 0.55 7 -11 -06 -07 -02 11 + -12 02 00 07 00 0.17 8 01| 01| 01| 03 00 05 03 21 01+ -Oil 0.13 9 12 12 11 -111 -02 00 06 09 09 00 0.13 10 01 20 00 -02 “03 08 12 06 00 0.23 11 -05 00 -11 13 06 -11 -18 10 05 11+ 0.51 12 20 05 18 -02 01 -02 16 11 -05 -09 0.11 13 -07 -05 -18 12 03 -06 -Oil -06 13 27 0.7U 11+ 06 -12 -06 -01 08 -01| 00 “15 00 -12 0.68 15 01| 12 -03 01| -06 11+ -02 -02 -01| 13 0.50 16 06 -13 -01| -06 -03 02 -01 -02 -03 01+ 0.78 California Test of Mental Maturity I.Q. j nYesM responses were scored "one" and "no" responses were scored ’ ’zero.1 1 coVovororororororororororo'-'>-4 * — ro i-* o 'O cd- o O'Vn-p'vo roH O vO o - o i i i i 0 0 0 0 » — 0 0 I— * 0 0 0 0 0 0 0 ro -p--~o > — * - 0 Vo ro O' Vo VO V o V o -P " O' 0 0 VO 1 — 1 1 1 0 0 0 0 0 0 O 0 I— * • — * 0 0 0 0 0 0 vO O O J O V A Vo 1 — I-* ro rovo VO vn 1 — Vo 0 ro (— 1 0 0 I —1 0 1 — O I— * 0 0 0 0 1 — • 1 O 0 1 0 t —* *- ro 0 CDfO O' ro O' 0 1-.-P" 0 rovo 1 — Vo 1 1 1 1 1 1 1 0 0 0 t — 0 t — t — * ► — •— 0 0 0 ► — 0 0 0 1 — r o - o 0 ro » — 1 — ‘ to 0 Vnro v n o P ~ 0 CD -p - 1 1 1 1 o o o o o o o o i —o o * — o o ro ro Vno'-Ni ro-p-vo covrrrovo O 'V n -J-P 'o v o i i i ii OOt-*OOOOOOl— o o » —o o * — ( — — 0 i — * o'Vo o 'i- s o ro ro cd*— 0s— j o v n 1 1 1 1 1 O I— O •— 0 0 0 * —0 0 i — o o o o * — CD -O [\j O-OUJ fO Vn 0-P" o Vop- t — VnO' I I I 1 1 1 o o o o » — root— o o r o o o i — » — -0 v £ > r\j-p- rororocM viororo ro-o *- o 1 0 0 * — • Vo 1 1 0 t— 1 — ■ » — 1 1 001— 1 1 0000000 1 o o t— -p- o ro vo o 'ro vo ro 1 1 1 1 1 O O O l — O O t — O h - » i— O O O l — f — • O ro V jT . ► — vO V n. i— » ~ ~ J K - 1 — 0 C D V O > — • o o o * — * — C 5N , ~ - J ro ro * — Oi— 0000000 ooj r o o covovo o o 1 1 1 1 1 1 1 1 11 O O O O O O O O O O O IO I— 0 0 1 — o-P"-o • — 1 — O' * — rocrvnH ovacrui ro 111 1 1 1 1 — • — oooooooooorooo*— * — 0-0 ro ro ►- oxo orovuO'*-*i—vo-j 1 1 1 1 1 * —rooooooroooooo*—f-*o o rovo cdoj o ro 0-J ovo o*- • — vovo 1 t ■ 1 1 O O o O O O t — 1 — •»— •»— » —o o o o » — vo ro o ► - ■ ! = " V aj\ jt. » - - P ' o * --P " vo o o • — III I I I I I oooooorooo*—o>—001—o a>>Jvjvt: " ' J ' i . V n . H - > v j T . H - *-ujOvO\0 i —-o e+ 3 Vn o C D v O a> S 2 0 I — X to 1 ro 1 1 ) P o D f+ t — D c CO D. to V O vn O' APPENDIX B~2— Continued Item 17 18 19 20 21 22 23 2l | 25 26 27 28 29 30 31 32 ll 10 -05 Ok -20 -07 01 -09 17 10 -07 08 09 -09 27 -03 l6 10 -15 -11 -09 -08 02 -05 05 12 -Oil 01 10 11 11 -02 19 “05 -15 15 -01 -06 -06 1 11 06 -11 02 10 -05 -06 -06 -Oi| 20 0i| -11 15 00 Oil 01 °7 10 00 02 -08 17 02 -05 13 21 -20 -09 -01 00 -03 08 18 03 05 08 Oil -05 -02 11 22 -07 -08 -06 04 -03 15 10 -03 -06 06 12 01 -08 -16 01 23 01 03 -06 01 08 15 09 -01| -13 12 16 Ok -01 06 01 2h -09 -05 07 18 10 09 -12 -07 17 -01| -06 -07 03 08 25 17 05 06 10 03 -03 -01; -12 -01 02 13 Oil 07 16 07 26 10 12 -11 00 05 -06 -13 -07 -01 -10 “03 -01 13 1 11 00 27 -07 -Oil 02 02 08 06 12 17 02 -10 06 08 -12 “13 111 26 08 01 10 -09 Oil 12 16 -Ok 13 -03 06 -03 -02 03 -06 29 09 10 -05 17 -05 01 01| -06 01| -01 08 “03 06 06 03 02 30 -09 11 -06 02 Oil -08 -01 -07 07 13 -12 -02 05 05 13 31 27 11 -06 -05 02 -16 06 03 16 1 11 -13 03 03 00 32 -03 -02 -Ok 13 11 01 01 08 07 00 111 -06 02 13 00 uj • — O' T 3 0 ) 3 c • H + J c 0 u 1 I CVJ I CQ Q 2 W a, a, <* GO ' * I s — = t O _ = fO X A -^ -O C A C'-UYLACXJ O P A — < 0 0 0 0 0 0 0 — <— < 0 0 0 — <00 I I I 1 h- -C f — < O O — < ~ f~ • — < CO \0 ' — < O — < vQ — I o C M C " — — •— «OOOOOO^HOOOOOOO 1 1 1 1 1 I I 1 sD -=f o -zt eg o o i ^ h o rv jco - ^ t ^ o j c o c o p— — < o o — < o o o — < 0 0 0 0 0 0 0 0 1 1 I I I 1 A -3- vOcO fA cO eA cg _cJ-U\ t^ -fA — < l f \ O [■ — P A O — < 0 0 0 0 0 — < 0 ^ 0 0 0 ^ 0 0 0 1 1 c o -z fc o oj eg — < c o c o — < o -3-tr\ h co o O ' —<—< o — <— < o o —<—<cg—< o o o c g —< 1 1 1 1 1 1 1 1 1 eA -=t U N O 'c g c g u \ c g o ' t g i A r—o n n c v i j -O ' OIh O O Q o o o NO OO O h h O 1 1 1 1 1 eg -=J- e A e g c o o t ' - o c o r « - i r \ x r \ o c a p a — <c o o eg —< o o c g —< o —<—< 0 0 0 0 0 —<—< 11 1 1 1 1 H -3" 0 eg -c f-< " A c g _ zj-ir\ c-o v O cgcoiA— < eA ^o 0 0 0 0 0 0 0 0 —< 0 0 0 0 0 0 0 111 11 1 1 11 1 o -3- CD 'O CQ rA C g e g rA O c O C O XACO -O On eg — < O O —t —i o O O —< 0 0 0 0 0 —« —< o 1 1 1 1 1 1 1 o PA f— xr\V A cg 0 eg 0 [*>-— < — < c a o o e g i A e A 0 0 — <—<—< 0 0 —< 0 0 0 0 0 0 0 —< 1 1 1 1 03 PA 0 —< 0 eg oegxAOvo h-—< eg eg 0 0 ca o o e g e g o —< 0 —< 0 —< 0 0 —< o o e g 1 1 1 1 1 1 1 1 C '- pA x r \ 0 p—_ c t o v O — < e g _ ^ f - i> _ o f g — < 0 0 p - —<—< o o —< o o — < 0 0 0 —< 0 0 —< 0 11 1 1 1 1 1 1 v0 PA — leMvOOfAONvOCVlON- <— 1 e A o ' O ' - < —<—• 0 0 —<—<—< 0 0 0 0 0 0 0 0 —< 1 1 1 X T y PA c o f'A co i a c o eg s o u \ j - j - e g - ^ p a i a — < p a o o o o o o o o - < o o o o o o o • 1 1 1 1 -=f' - 0 ^cj-eg vO O ' — < eg _ j- v o c o t'- .^ i'c g — < _rj- — <—< — < o o o o - < o —< 0 0 0 0 —< 0 1 1 1 1 1 11 PA eA eg — <co _zto _=rO eg 0 _d-o r—cA — < cg_=j- 0 —< 0 —<—< 0 0 0 0 0 0 0 0 0 —< 0 i i 11 111 1 Item r'~ ao 0 0 — < eg r r i-= i-'ir\so c^-eo o 0 -< eg — < — • — < c g e g c g e g e g e g c g e g e g e g c A e A e A 317 APPENDIX B-2— Continued Item 1+9 50 * 5i 52 53 51+ 55 56 57 58 59 60 61 62 63 61+ 17 -09 12 05 -17 03 -09 -03 -02 -08 06 15 15 15 06 02 03 18 1 1 + 10 08 13 01+ -01 -10 -01 -01+ -01 08 11 10 22 08 13 19 -09 -18 -01 -12 01 -01 05 05 02 01 -11+ -08 -13 -10 06 -07 20 00 -19 00 -05 01 -02 02 -06 07 06 -19 01 10 -15 07 02 21 13 01 01 n -09 13 09 03 31 02 00 -02 -12 03 03 -06 22 01 03 06 -08 -06 -Ok 16 -08 10 01+ 01+ -06 -06 -16 -01 -03 23 10 02 10 03 -08 08 08 -01 03 11 -03 -01 02 -10 -12 06 21+ oi+ -08 05 -03 -08 01+ 16 -07 -18 09 -05 01+ -22 -12 -01+ 01+ 25 -01 10 11 05 10 -03 -13 -02 06 06 10 03 20 11 13 -01 26 12 15 16 -03 08 11 -06 07 -01+ 01+ 01 07 10 05 i5 27 00 -01+ 10 -02 00 00 -02 -10 18 -01 -06 -07 -11 -18 -09 15 28 -05 09 21 01 -01 05 12 02 02 02 02 02 01 02 -03 -01 29 -01 03 02 -03 -09 06 01+ -01+ -01+ -01+ -10 Ok 09 03 02 02 30 16 00 05 05 02 06 -01+ 01 02 05 12 -06 10 10 11 03 31 05 1 1 + 13 06 02 -01 -12 09 -03 11 06 09 16 -16 -09 01 32 09 02 03 -03 05 01+ 19 02 11 01+ -09 01 09 12 06 18 U> CP APPENDIX B-2--Continued Item 65 66 67 68 69 70 71 72 73 71+ 75 76 77 78 79 80 05 -ok 25 1]} -Ok 23 02 -05 10 16 02 -15 01* -02 1 J J 02 18 06 02 19 26 07 oh -18 03 1 1 1 07 -06 03 05 06 36 03 19 12 02 -Ok -21 -02 06 09 -05 -09 -01 10 02 -06 Ok -15 12 20 01 05 15 -08 00 00 -10 -06 -09 05 06 06 01* -06 -02 01 21 01 -02 -05 -06 13 -03 ll * 30 -11 -01 06 11 06 21* 01 -06 22 -°7 03 -02 11 13 -02 -01 18 -01* -10 21* 19 03 07 -06 00 23 -08 20 05 -10 11 “05 00 22 -11* -01 15 20 05 00 -08 01* 21* 02 10 -01 -09 -02 02 02 12 -05 01 02 12 08 15 -08 -09 25 10 06 21 07 13 23 03 11 03 13 01* -08 08 -11* 13 07 26 -09 -05 13 06 08 -05 01 03 10 12 00 02 -01 07 20 00 27 -06 -06 -01 -11 -02 -09 07 06 -17 -13 15 03 -05 10 -01* -12 28 09 05 03 10 06 12 05 11 02 15 11* 01 -03 06 -01* 09 29 08 02 05 -08 00 10 -13 03 -01* -06 -03 03 08 07 -13 -01 30 01 08 1 1 1 08 ° 7 -02 “03 -01 09 07 05 03 12 02 -02 -01 31 ok Ik 21 06 08 08- -11* 05 -01 12 -08 -08 03 -11 17 -03 32 02 08 02 12 -ok -07 01 03 -01 01* 09 07 -06 01* 00 -07 \ j j i — vO APPENDIX B-2--Continued Item Bl 82 83 8i | 85 86 87 88 89 90 91 92 93 9i | 95 96 17 -09 18 11 18 li| -08 01 05 -21 16 -02 -28 17 -07 -Oil Oil 18 -06 03 00 16 01 -08 06 06 -11 Oi| -07 06 02 -03 02 19 -05 -03 01 -08 11 13 -08 16 17 -02 08 11 09 -10 -Oil 01 20 03 20 15 -02 00 13 15 03 -13 02 -02 Oh -03 -01 08 21 18 -04 -06 “17 -13 00 08 00 13 -15 06 12 -06 00 03 -01 22 03 03 15 0i| -02 09 02 09 11 -01 -01 03 -09 15 00 08 23 10 -03 -07 -02 01 12 0i| -03 0i| -02 07 -01 -07 06 -06 03 2i| 11 10 06 00 0i| 07 10 12 22 -02 13 10 -Ok -05 01 20 25 -05 13 15 03 11 -06 -01 -09 -2i| 07 01 -08 18 03 03 -01 26 -16 ll| 09 07 -03 03 -01 -02 -02 Oh -05 -08 02 00 -07 06 27 12 Oil -09 02 -11 03 06 12 06 02 01 -01 01 -Oil 08 28 03 00 -01 -06 07 -07 11 -02 02 08 03 -17 08 -03 -02 09 29 10 Oil 02 0i| -12 08 08 10 -02 01 06 -02 -03 00 06 30 -06 09 05 02 05 -01 -02 -17 03 -10 00 07 11 01 -08 -01 31 -01 02 08 25 0i| Oil 00 08 -13 10 -08 -26 20 -lil 03 01 32 09 05 08 0i| 01 -03 07 12 -13 09 00 12 -02 11 00 -111 V - O fu o APPENDIX B-2--Continued Item 97 9B 99 100 101 102 103 IOI4 . 105 106 IO7 108 109 110 111 112 lJ 27 -02 17 10 05 -05 16 15 08 13 -19 -05 15 08 -07 -03 18 12 06 17 12 -08 12 02 03 08 19 -03 -02 20 -03 01 -10 19 -06 12 -02 02 00 00 -03 -01 -03 -05 15 -03 -19 06 -02 10 20 -03 10 -02 -02 03 -11 02 -06 07 -16 09 00 -11 -02 09 Oil 21 0U 02 -11 08 -01 10 01 -18 -07 -15 31 13 -Oil Oil 00 25 22 -06 03 00 -03 -02 11 -02 03 00 -02 08 10 -12 10 02 25 23 01 10 -02 00 06 00 -09 01 00 05 22 22 -07 18 06 16 2 L | . 10 14 -06 01 -09 09 10 -06 -07 -12 36 02 -19 OS 07 16 25 19 00 09 l i l -Ok 00 03 02 -01 11 -13 09 07 Oil 09 08 26 -09 Oil Oil 07 -16 -03 l i l 07 06 02 00 -01 22 -03 05 os 27 02 02 07 -02 01 05 -10 01 -lil -Oil 09 00 -22 -05 10 08 28 06 -03 13 17 12 05 02 01 11 13 05 02 03 05 -03 16 29 06 -10 -09 00 -06 00 -03 -02 -07 08 00 05 03 02 08 01 30 11 06 08 15 06 00 “Oil 03 09 05 15 Oil 00 l il 01 31 1U -06 11 06 03 06 05 07 18 -06 03 21 -Oil -04 -12 32 05 06 00 -04 08 19 -02 11 Oil -05 06 06 00 00 10 09 U) ro APPENDIX B-2— Continued Item 113 Hi* 115 116 117 118 119 120 121 122c Meand ll -21* -11* -21 01* 05 -06 -01+ -10 -01+ 08 0.59 18 02 -01* 02 03 -02 -06 01* 06 10 01 0.61 19 02 1 1+ “03 16 “03 “17 00 06 00 01* 0.1+2 20 01* 06 07 12 1 1* -11 09 08 -01+ 21 0.56 21 28 22 20 -02 09 01* 19 02 01 0.20 22 02 17 06 18 -05 20 01+ 08 02 00 0.08 23 -01 05 08 00 09 10 01+ 08 05 -11* 0.30 21* 16 28 05 02 13 -02 -11 19 03 01* 0.10 25 01* 00 -05 -01 02 03 1 1 * “03 -06 05 0.1+2 26 06 03 -03 “07 “03 03 07 03 06 15 0.86 27 -07 09 -li -01 -02 -01 -01+ 05 00 -06 0.18 28 -07 -01 -02 01 -03 oh -12 -02 -10 -05 0.13 29 01* -01* -01* 06 11 08 -01+ 02 00 05 0.21+ 30 12 09 00 19 05 00 00 -03 08 07 0.1*1+ 31 -06 -08 -06 -10 06 -02 -01 -11* 03 -01* 0.80 32 12 -01 00 13 09 -01* 10 01 08 09 0.35 c California Test of Mental Maturity I.Q. "Yes1 1 responses were scored "one" and "no" responses were scored "zero." VjJ r v > ro APPENDIX B-2~-Continued Item 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 33 -01 04 -08 23 -07 -02 00 07 -06 06 11 01 05 “07 02 02 34 -11 07 06 4 10 14 08 -21 -01| “17 07 -01 02 06 07 17 35 -0i| -01 09 08 -06 -07 05 03 03 02 -Oi| 10 -06 -12 16 00 36 02 06 02 05 13 06 06 -01 -01 -Oi| 03 01 14 12 06 12 31 -11 01 -03 08 -05 -03 -14 13 00 08 03 14 10 -18 08 -10 38 -23 -Oh 06 -25 00 13 -07 -07 01 “14 -12 14 -03 11 -05 02 39 -02 -Oh 08 02 00 01 15 02 11 03 -Oi| 09 “07 08 -05 08 i|0 12 04 -10 -11 14 05 01 -07 -0i| -12 11 -06 -08 00 03 06 12 -10 -01 12 -14 -10 05 17 -0i| 07 -08 °J 18 -15 07 -01 1*2 -08 03 07 17 05 -02 -03 07 -0i| 10 02 06 00 -19 4 07 43 27 15 01 01 17 12 11 -05 03 -08 04 -Oi| 00 15 08 22 44 02 08 02 -03 10 12 -01 “17 -14 -07 -os 02 08 11 11 22 45 09 19 00 06 16 02 12 01 -01 -03 16 -06 07 09 03 06 46 47 -03 04 06 01 02 13 06 -06 -12 04 12 -Oi| 02 09 09 28 04 -01 -09 01 21 14 -01 00 16 -01 28 -11 08 -06 10 05 4& 01 -03 -09 -05 09 09 01 -02 -04 -02 13 -10 -05 10 09 08 V j J ru V j J oo-o o' \ a- p_ u> ro *- _ V j J V j J O'O 0 3 - 0 O'Oi-P'VaJ I I I hmmhmWMOOOOmhomO I — O 0s CDVAVuO o 03-0 O V A • — 03P - ro I I I I I o*— oo»—* — * — oooo*— * — o*— * — —3 o-P* aafr-vo ro ro o' V a * — owuitM- i i i O O O O O O O O I I I I UUUUUUUUI-‘t-'|\)OOOHO -P" o roVjj coro 004=- cd\ a o -o o cd- P * oo i i i i i i i i oo^-o^oooh-*—roooooh- o»_oo3roroovjjv>jro ro-P" ovjr.ro-P- ii ii i i o o o o * — o r o o o i — o •— * — o o * — - P '-p r o v - o r o v jx - o M [ \ ) O v O o U )03 0 ' 0 i i i i i i i ii OoOOOO*— OoO*—Oi—oOO o * —v_o ro * — ro o-P"ro ro ro o'o ro^o-P- i i ii i i ii iii OoO*— 0 0 0 0 0 0 0 0 * - 0 0 0 va oo • —-P” oosO ooVrnjj o V a * — ro O' * — O' I I I I I O O * — O * — O » — O * - » t —• • • —• O O * — O •p" o ' o V A c o r o —3 — o o — o o ro O 'V jiro ro i it i I— I— O * — •— fU*— •— O O O O O t —O O o ►- ro-o H-vnvno ooro O'-Pro-p-.pro i i i i * — oooioooooo*— o o o * - o U > O C0V_o 0 - 0 Vjr. O ' 031— p -— ] s O p " O ' P " I I II I I I I I o o o o * —o o o o o o o o o o o - o h - .p " i—p - o o roVAVjo i— o * — ro 03 0 ' II I I I I I o o o o o o o o o o o * — o o o o va O'-o vava—i ooooo ro ro * — p-— i -o I II II ooo*-oooooo»—o o o o o v a » - ro o * —- o oj va 0"0 ro ►-ojoj-P'oj i i i i i i t * —OOOO*— OO*— OOOOOOO ro o 0 3 - 0 o3h m Mvoiuo cd\ov j r . r o * — i i i i i i ooooro*—* — o*— oo*— oo*— * — o ro ooV jj o -P* cdvjj roVAOovO*— i — ro i i i oooo*—o*— oo*—roo*—*ooo Vjj—3 - 0 v O 'O s O O O ' * —V j JVjJ - O * —V jjp " p " * — r+ (0 3 ► — —3 I — CD * — vO ro o ro * — ro ro ro VjJ ro • P - ro v a ro O' ro - 0 ro CD ro n O V jJ o u> * — VjJ ro *d •T3 W D * — X to I ro i i IO o D r+ I — D P ( 0 P- X ) OJ 3 C c 0 CJ 1 I OJ I m X l-l Q S w a , cu « ; a o i > - - = f vO -=i- XA -cf - = t - z 3 " ( A -=}• OJ .zj- O ' A C O A C — A vO A e 0 ) + J C M A s O C M vO O -z fL A <A O CO -z J A v O -< — i — l O — <0 0 — <0 0 — < O O C M O —< II I I co-tHjxn o'H zjxo h o'\ o u\h —i O— <000000000— <00 — < I I I I I I I I v £ )-z t— < t ' - r - o A — < — < r—v r \ - z ± o — <vO o o —< 0 0 0 0 0 0 0 0 —<cm 0 0 1 1 CO sO vO XA — < CO CO O O' O CM O U \ A O O O O O -« O CM O O -< O CM O CM I I I vO AXACO XA C M A v O C M CO -ct-ztv O — <— <0 0 0 — < O C M O O —< O —< — < O I I I I I II 325 C M o _3-vO a o t '- l A c o c o a o o —< 0 0 —< 0 0 —< 0 —< I I II II - c t cm x a cr-co —< —< o o o C *~\ H H c o c o 0 c— —< 0 O O O — < 0 0 0 0 H 1 1 1 1 1 11 — < - = j - ' — 4 C O CM CJ' — < C O < A —< O O 0 0 0 0 0 O 1 1 1 1 1 1 O'-ZfCM -= t A_=}MO — < O —4 o — < — < o I I I -CJ-— < CO M D O — < _ztlA O o h N C M O o o I I I fA_j-lr\-Zt f-O C O -< AXA ACO A ’ - t 00—< —1 o —< o —<000000 —< C M — < C O -ztco — < — < 0 o — < I I I o —<000000 —< I I I O J - C M v O C— CM C O o 0 0 H H O O O H H O O O II I II ( M O O I A CO |>—CA-CfsO GO XA *“< C'-CO vO CM O —< O —< o — < O rA —< 0 0 0 0 0 III III I vO O r - X A -= t\c t-= }‘ C'-/L A vO coX A t^-_ci-C M O —< O 00—<OOr-<OOOOo—< I XA CO O r - 0 CO XA C M f - A z t l A ' O —< —< vO A 0 H 0 — < 0 ■ — < —1 O 0 O O O —< O 0 1 1 1 1 11 1 -=j- A 0 0 0 H _=J- J - v O O O A 'O -=h— < A <A H 0 —<ooo—<H * — < O C D H t— 4 1 1 1 A Aao vO C M C M A O ' C M XA C MsOCO vO ao C M A H 0 0 C M—1 O - < O O -H O 0 0 —< 1 11 1 1 1 A .z f -X A 'O C '— CO O ' O —< CM A -c J X A '-C [v_cO CA<ACACACA<A< APPENDIX B-2 Continued Item 1+9 50 51 52 53 51+ 55 56 57 58 59 60 61 62 63 61 + 33 01 -25 -02 -ok -12 -02 11+ -06 -02 -08 “13 -08 -11+ -05 12 31+ -09 06 -01 -06 05 08 “03 “13 00 01+ 10 -02 01 11 08 08 35 10 02 10 12 -10 05 08 02 06 -10 02 08 -02 “03 11 06 36 21 12 -01+ 03 12 12 -02 05 06 03 01 10 13 18 06 05 37 05 -10 -10 01 -01 12 11+ -06 05 -09 “19 03 “31 06 08 08 38 -01+ 11+ -16 -05 02 01 -10 01+ 03 07 16 03 02 16 -16 -01+ 39 22 12 06 03 05 01 01 -01 22 00 08 0 1 + 09 07 -01 -10 1+0 03 22 05 -05 11+ -06 06 -06 00 21 08 09 21 20 -09 07 l+i 03 -12 -02 -03 -10 17 15 -02 -01 -03 07 “07 -12 10 02 10 1+2 18 -09 -02 01+ -10 31+ 15 -05 17 -01+ -12 01 -22 07 22 09 1+3 03 13 12 09 11+ -15 “03 00 01 13 01+ -06 2k 05 03 01 1 + 1 + -01 31 00 01+ 21 01 01 01 -10 11 09 16 18 1+2 -11 01 1+5 07 06 18 00 01+ -09 06 -11 10 01+ 12 03 11+ 07 -05 16 1+6 06 11 -01 01+ -02 06 00 -05 08 01+ -01+ 01 02 05 -10 15 1+7 -01+ 03 03 -03 “03 -03 01 -08 -05 01 01 -08 03 -12 15 06 1+8 -05 10 -02 -09 13 -08 06 “11+ -05 09 07 11 02 -02 01+ 05 Ui ro o APPENDIX B~2— Continued Item 65 66 67 68 69 70 71 72 73 7k 75 76 77 78 79 80 33 08 -03 -03 -17 -10 12 -01 -Oi| -05 07 -07 -Ok Oi| 02 -06 01 3i| °7 19 07 0i| -03 10 -07 -07 23 Oil -07 06 12 -03 11 00 35 08 02 -03 -01 03 0i| 16 07 “°7 -02 12 05 03 16 00 03 36 06 111 02 21 01 13 10 13 06 21 08 03 Ok 13 12 01 37 *7 05 -15 -09 -02 00 00 Oi| Ok -11 -10 Oi| 05 -06 13 -05 -18 38 -08 -03 02 11 00 02 28 09 03 -10 -09 -05 03 12 01 39 03 08 03 11 07 05 Oil 16 -01 -ok 13 03 16 17 06 10 1+0 Ok 06 12 10 07 10 -12 -02 11 08 02 -11 05 -02 13 -02 15 -01 -02 -05 -02 -Oil 10 05 -06 03 -03 -02 Oil 15 00 05 42 01 09 -16 -07 -02 00 09 18 -12 -03 22 08 -15 23 -06 -03 U3 -01 12 28 13 10 20 -09 -Oi| 15 15 00 05 0i| -0i| 10 05 06 15 19 00 06 -21 -03 19 11 -12 -25 07 -06 22 -09 kB 06 19 12 15 05 12 -03 -08 12 11 13 07 11 05 00 Ok i|6 06 00 -05 01 “°7 12 0i| -06 -01 12 -03 Oi| 02 -02 -Ok 05 -07 06 -02 01 -08 08 -03 -IB 09 06 -01 02 06 03 06 03 ue 06 17 12 Oil 18 -02 01 Oil 06 00 05 19 -10 06 Iii ro vO v£> cO t'-C M _ ^ U \v O O oo GO C '-J -tO c O nO co CT' O O O O O O O ' - t O Q O O O O O O > I 328 to 4'Oir\4-H'0 0\ON(\iNN'0 0'ON 0s 0000«-*0«-»000»H00000 I I I I I I I _ r t " cm ovOiO'O i - » vO coco cr-j-f-—0N_^fr^\vo 0s 0000000*-*00000000 I I III II II O s O — 4 _zJ-['-_c}-CT' O < 0 r^-CT'-ctC'— tO_=}-'CJ CT' 0 » - I O O O O O O O ^ H O ' - * O O O C \ I I I CM C T'-C t'O oO _^-*-!CO 'O CM cO CM C - J r O - c t < 0 O' O O O O COO O *-« •-» o h —I O O o o I I I I I I I 0 _ = t< 0 C \J -= J -0 o c o o CM —• _^-_=J-CM c O « 0 O' *~<0000»-<<— I III I III I T) w 3 c c 0 a 1 i C M I CQ Q 2 W 0, Ol. <? o -3 " 1 0 C M CO CT'CO C M — < C M cO O C M C M C"-tOvO 0 s O O O O O O h h o o h h »h c M h h I I I I O ' 'A t o ( A O t - - C~- O ' CM <-i u \C M C O -h CM CO CO O O O O C M O O h h m c m h h h o O I I III I I I I I C O O 'C O vO O ' CM C O C M t o 1 0 1 0 C M vO -ZA-O ' O G O O o o o o —' 0 —« 0 0 —• O ' H O O O I I III I III C"- C 0v0 v O O ^ O l o o c v i H O C— CM CO O o O ' - H O —C . - H O O O O O O O O —C I I I II sO CO [— cO O ' O O ' O O C O O 'O •— i CM '•0 -Z }" 0 CO O o O ' - t O O O ' - c O O O o - H O O O I I I t o O l O r t - C N ) f - o ^ C Q O 'C O 'O O 'O C O O ' CO O t h o O O O O ^ O O O O —c—iCMCM I I I I II I - = 3 r 'O -^CM • - < — <1Of~-_=J-.^tC'-Oc0 O C T '-C 3 " '£ ) C O 0 — < 0 0 0 0 0 0 0 0 C M 0 r H 0 0 0 I I I I II CO O q h c O O C O h h h [— OO cm CO cO-Cd" CO • - • O O O ' - i O o O O O O ^ - t ' - H O —I O I I I C M O (\) O h cO C O • — i > — t f'-'-O 1 - 1 O to C O to C O C O 0(\|h (Mh O h h o o h O H O h h I II I tO v O '-t < -H J -C M O ^ }- C T ' H O O -CfvO f — ^ CO oooooo«-ioooo«-ioooo III II I 6 4) +J cO — f-1 QvO o-co O'O '-c c m CO.C+IO'O C - — C O <o co co co to co <o APPENDIX B-2--Continued Item 97 98 99 100 101 102 103 102 + 10$ 106 107 108 109 110 111 112 33 00 11 -16 02 3§ 01 11 -01 -10 35 02 06 00 -06 36 10 02* 09 03 37 -08 11 -12* 09 38 -12* -12 00 -01 39 06 -02* 02+ 02* 2*0 11* -11 22 13 kl 00 07 -06 03 kz -16 06 -18 -13 k3 2$ 02 19 08 1*4 06 -11 08 19 1*5 18 05 07 17 2*6 02* -01 01 02* 12 07 05 01 1*8 15 -05 17 12 -0$ 08 01 -08 -0$ -22 -Ok -08 0$ -Ok 02* 02 -05 03 -02 05 -02* -10 -02 16 17 05 -01 08 -05 -01 -02 -01 -16 -18 -02* 03 00 -06 -09 13 -03 22 -05 01 -10 06 06 -08 1$ 01 19 26 02* -05 06 -22 -02* 00 05 00 -00 -09 -17 0$ -02* 09 02* 02 11 -02* -07 10 13 12 23 -10 -07 -01 13 10 03 02 00 02* 09 00 02 -02* -02* 01 00 -02 06 -01 -02 06 06 05 09 01 -05 -°k 01 14 -02 -18 -03 08 -09 03 -11 11 -06 -lk 13 -08 17 Ik 03 06 06 00 11 16 02 -12* -02* 01 -18 -02 16 02 -09 -16 07 -06 06 12 -09 07 -11 13 23 -07 -02 -05 Ik -11 -06 09 01 00 32* -02* -16 -08 03 26 -12 11 22 -02 02* 03 -19 -0$ 33 -12 -01 -0$ 02 18 06 01 02 16 00 0$ 11 00 -09 -03 02 -10 02* -01 09 01 -02* 08 03 15 -06 00 U> ro vO APPENDIX B-2— Continued Item 113 111+ H 5 116 117 H8 119 120 121 122c Meand 33 05 00 03 12 06 02 -03 13 0.61+ 31+ 00 -08 01 “03 06 “03 -12 -08 05 08 0.71 35 01+ 01+ -03 02 07 02 00 21 01 01 0.23 36 15 19 -02 01+ 12 15 10 05 10 06 0.18 37 05 17 02 11 08 02 -01 17 -01+ 26 0.53 38 06 00 00 -16 -09 16 06 -12 00 -09 0.35 39 07 07 09 -03 07 12 07 02 11+ -13 0.2k 1+0 -01+ -07 00 -n -02 01+ 07 -16 -01+ -06 0.35 1+1 01+ 05 07 -ii 02 17 -05 -01 “11+ 00 0.1+8 1+2 22 35 21 -01 13 07 16 -01 21 0.31 1+3 -08 -11 -12 06 03 -02 01 “11+ 01+ 07 0.1+0 1 + 1 + -07 “17 “03 -20 -15 -03 09 -30 -11 13 0.70 1+5 -12 00 “03 ol+ 10 -06 -08 03 , 00 -02 0.39 1+6 00 -02 -10 -09 06 -01 -10 -01 -06 03 0.71 + 1+7 -09 -01+ -08 16 07 -02 -11 11+ 16 08 0.50 1+8 -07 01 “11+ 08 00 05 “11+ 06 12 -10 0.32 GCalifornia Test of Mental Maturity I.Q. d,,Yesn responses were scored "one1 1 and "no" responses were scored ,,zero»M Ui V jJ o APPENDIX B-2— Continued Item 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 49 01 02 04 08 10 01 00 -04 02 01 -06 14 03 08 10 03 50 -02 10 01 -05 21 10 03 -21 -13 -07 -02 -02 10 16 15 22 51 07 00 09 00 02 -05 07 09 12 14 11 05 07 08 03 52 -10 -02 08 -01 -03 -02 05 05 08 00 -03 18 01 06 04 14 53 06 05 -02 -02 19 “03 03 -05 00 -14 03 -02 15 19 06 07 54 -05 00 17 10 -02 -05 02 -01 -Ok 05 03 05 03 00 06 12 55 -15 10 10 08 06 -05 -15 07 -08 17 01 -02 -18 -14 0J -09 56 06 -08 12 00 01 -03 00 -06 05 -03 -07 00 11 06 04 -03 57 -08 -05 07 07 -07 -04 -13 02 16 03 00 -03 -04 -03 03 -07 58 02 02 04 -04 01 15 -04 -17 01 00 03 09 -03 09 -09 00 59 -08 02 04 -06 02 04 01 -02 01 00 -07 03 -05 11 10 -08 60 -02 02 03 -09 26 -01 08 -03 -07 -11 00 03 16 08 08 04 61 13 03 10 -01 17 03 12 -06 -01 -22 06 -°7 07 17 09 19 62 00 04 00 -06 10 06 -13 -11 -11 -06 -06 08 04 14 06 -04 63 -05 07 06 06 06 -01 10 03 00 -06 05 -05 . 05 -09 11 05 64 13 -02 03 07 12 -02 05 00 -05 00 12 -01 02 08 06 18 APPENDIX B-2--Continued Item 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 49 -09 14 -09 00 13 01 10 -01 12 00 -05 -01 16 05 09 50 12 10 -18 “19 01 03 02 -08 10 15 -Oil 09 03 00 14 02 51 05 08 -01 00 01 06 10 05 11 16 10 21 02 05 13 03 52 -17 13 -12 -05 11 -08 03 -03 05 -03 -02 01 “03 05 06 “03 53 03 04 01 01 -09 -06 -08 -08 10 08 00 -01 -09 02 02 05 54 -09 -01 -01 -02 13 -Oil 08 Ok -03 11 00 05 06 06 -01 04 55 -03 -10 05 02 09 16 08 16 -13 -06 -02 12 04 -04 -12 19 56 57 -02 -01 05 -06 03 -08 -01 -07 -02 07 -10 02 -01+ 01 09 02 -08 -oi+ 02 07 31 10 03 18 -06 -Ok 19 02 -01+ 02 “03 11 58 06 -01 01 06 02 O i l ii 09 06 04 -01 02 -01+ 05 11 04 59 15 08 _14 “19 00 Ok -03 -05 10 01 -06 02 -10 12 06 -09 60 15 11 -08 01 -02 06 -01 04 03 07 “07 02 04 -06 09 01 61 15 10 “13 10 -12 06 02 -22 20 10 -11 01 09 10 16 09 62 06 22 -10 “15 03 16 -10 -12 11 17 -18 02 02 10 16 -12 63 02 08 06 07 03 01 -12 -04 13 05 -09 “03 02 11 -09 06 64 03 13 07 02 -06 -03 06 04 -01 15 15 -01 02 03 01 18 K jJ U) ro APPENDIX B-2— Continued Item 33 31* 35 36 37 36 39 1*0 • 1*1 1*2 1*3 kb kS 1*6 1*7 1*8 1*9 01 -09 10 21 05 -01* 22 03 03 18 03 -01 07 06 -01* -05 50 -25 06 02 12 -10 11* 12 22 -12 -09 13 31 06 11 03 10 51 -02 -01 10 -01* -10 -16 06 05 -02 -02 12 00 18 -01 03 -02 52 -01* -06 12 03 01 -05 03 -05 -03 01* 09 01* 00 01* -03 -09 53 -12 05 -10 12 -01 02 05 -10 -10 11* 21 01* -02 -03 13 51* -02 08 05 12 12 01 01 -06 17 31* -15 01 -09 06 -03 -08 55 11* -03 08 -02 11* -10 01 06 15 15 -03 01 06 00 01 06 56 -06 -13 02 05 -06 01* -01 -06 -02 -05 00 01 -11 -05 -08 -11* 57 -02 00 06 06 05 03 22 00 -01 17 01 -10 10 08 -o5 -05 56 -08 01* -10 03 -09 07 00 21 -03 -01* 13 11 01* 01* 01 09 59 -13 10 02 01 -19 16 08 08 07 -12 01* 09 12 -01* 01 07 60 -08 -02 08 10 03 03 01* 09 -07 01 -06 16 03 01 -08 11 61 -11* 01 -02 13 -31 02 09 21 -12 -22 21* 18 14 02 03 02 62 -05 11 -03 18 06 16 07 20 10 -07 05 1*2 07 05 -12 -02 63 12 08 11 06 08 -16 -01 -09 03 22 -03 -11 -05 -10 15 01* 61* 01* 08 06 05 08 -01* -10 07 10 09 01 01 16 15 06 05 v > V jJ APPENDIX B-2— Cont inued Item 1+9 50 51 52 53 51+ 55 56 57 58 59 60 61 62 63 61* k9 09 07 08 08 27 -02 01 10 -06 07 02 06 01+ 10 07 50 09 05 -01 08 -03 -01 13 00 11 07 21+ 16 22 -11 06 51 07 05 13 01 03 -08 -08 15 01+ 01+ -02 01+ -01+ -09 11+ 52 08 -01 13 01+ 16 -06 01 07 -01 -08 -01 01+ 06 10 05 53 08 08 01 01+ -03 -01+ 02 -03 06 03 08 09 18 -01 03 51+ 27 -03 03 16 -03 03 -06 11 -05 -05 -05 -09 02 22 08 55 -02 -01 -08 -06 -01+ 03 -03 01 05 02 01+ -21+ -02 06 18 56 01 13 -08 01 02 -06 -03 -11 03 03 02 01 09 -03 -02 57 10 00 15 07 -03 11 01 -11 -01 01 -16 -16 -02 -03 01+ 58 -06 11 ol+ -01 06 -05 05 03 -01 -01 03 -01 13 -Ok 01 59 07 07 01+ 08 03 -05 02 03 01 -01 01 03 15 -06 -13 60 02 21+ -02 -01 08 -05 01+ 02 -16 03 01 06 09 01 05 61 06 16 01+ 01+ 09 -09 -21+ 01 -16 -01 03 06 09 00 62 01+ 22 -01+ 06 18 02. -02 09 -02 13 15 09 09 -08 00 63 10 -11 -09 10 -01 22 06 -03 -03 -01+ -06 01 01+ -08 -03 61+ 07 06 11+ 05 03 08 18 -02 -01+ 01 -13 05 00 00 -03 V jJ \ ju -I=" APPENDIX B-2-- Continued I tem 65 66 67 68 69 70 71 72 73 7k 75 76 77 78 79 80 49 -06 lil 09 15 Oil 02 Oil 17 -05 10 13 05 10 09 19 50 00 07 lil 11 11 10 -09 06 08 lil 02 -03 09 -11 20 -08 51 Oil -01 l i l 05 07 0i| -05 19 -10 11 11 00 08 05 17 11 52 -10 06 07 12 Oil -Oi| -10 17 -10 07 0i| -07 -08 03 10 -01 53 10 Oil 20 24 Oil -01 -08 02 18 17 03 -15 Oil -lil 07 -06 54 03 02 -02 00 Oil 05 08 25 ~°z -02 15 Oil 03 08 -06 13 55 00 0i| -11 06 -01 -11 02 03 -18 -06 12 07 -03 11 -12 -01 56 01 -01 -10 0i| -10 -05 °4 -06 -12 -Oi| 00 -Oil -Oil -09 -03 -02 00 09 00 -10 03 -08 05 10 05 -02 20 Ok 02 25 -Oi| 58 -02 08 05 09 11 03 -05 06 -02 08 00 06 Oi| -07 05 -08 59 05 -07 09 13 03 05 13 0I| 06 -06 01 -05 15 03 -01 05 60 08 -07 Q5 21 Oil 08 -05 01 09 17 -05 -Ok -02 -lil lil -10 61 05 07 21 29 10 05 -10 -08 11 12 08 -06 08 -13 lil 07 62 30 -0i| 09 lil 00 11 13 -05 28 07 -05 -18 -02 -16 15 -07 63 05 10 14 -10 02 01 00 16 -03 12 0i| 00 13 -01 -03 19 64 02 12 01 06 03 05 -03 -06 02 18 05 -01 -li| 0i| 19 Oil u) VjJ VO vO 'O O t O O J t o c — OJ O l A —• r ^ o ro_=J-OJ O ' O O O O O O O O —l O O O - H O O - H I I I 336 1-0 h h j - c \ j c j o - h iO -= J -o o o - d 'O 'r o _ ^ f - O ' O — <0 0 0 ’ -H0 0 0 0 0 - H 0 0 — < o I I I I I II I I -3- OJ ( O lA c o O JIA -C t—1 J - N O C \ J H n r ^ n O ' O O O O O O O O O O O O O ^ O O II I I I I I I < 0 _ ^ f0 '_ d ‘ 0 _=}-vO O O 'C " -- * -< XA-ZJ"- • -z jx o O ' O O O ' - I O O ' - H O O O ' — i ’- < 0 0 I II II I OJ O 'O '-c J -C '--z J -0 '_ c t'0 1-0 C '~_rtO ] O J - h CO *-i O ' r-t—t ^ H O O > —l O O ' - H - —I Q O O J O O O III I I I I I O 'O -O ir\C O CO 1 -0-0 CO - c t O o — • 1 A O O O ’- ' O O O - h O - h O O O O O ^ O I I I I X) C D d a +J c 0 u 1 I OJ I m Q w a, C L , <: o o o CO CO CO o- co o C O 1-0 CO O ' OJ O O -H 0- — I — I O O 'O ! _ct J-C O C O O ' O O J ' - H O ' - H ' - H O O O O O O ’- t O O ’— < t i l l I 1 * -Xf-l-O COCO CO O ' O -Xj"1_0 —1 f ' l o o i o i j - O O J O - ' ^ O O O O O O —i f O —I O O I I I I I I I I I I I I CO OJ OJ O L O O ' D ' O C\I O O CO CO o - r ~ . r o O O O o O O O O o -h —I O O O O O II I I I I I I I vO LO • “ 1 \£) 1_T\ ^ n t O O ' 0 " O fO O -O J ^ H C \J O ' O O O O O O O O O O O O O O O O I I III I I II o j _d - i o r - —' ' O c o o j o j o ' O o j o o t'- O O O O O O O O O O O O O O O O II III t^H 'O co m -d'-d' OLO « - h o O J O \0 LAao 0 0 0 r - i 0 0 0 0 0 r - i ^ H 0 ' - < 0 0 0 I I I I I I I -ct CO '-t OJ —I OJ sO CO CO -=n_OCO CO r o o j OJ vO 1-0 0 ’ -«00'-t'-H00000>-l'-,<-H00 I I II I r o OJ O C — 1 A O OJ < 0 - d ’_ ^ -_ d '0 1-0 rH l f \ tO O CO 0 ' - l 0 0 f - i 0 0 0 0 0 0 ' - < ,- , '-i'- H0 II I III OJ C D vO 'O o O ' 0-0 _=fcO-H c — r o O J1 A OJ rO OJ 000000000*-<00'-'0»-i0 I II I ao r o o j -d'.cj* r '- 'O o j h v o o q v O r o r - o oj ' - l O O o O O O O o O O O O o O - H I I I I I I I 6 C D O ' O — i o j cO-c}-1 -0'0 r - a o O ' O 1 c\J co_cj- .^1-010101-01-01A101-0101-0'O 'OvO'OO APPENDIX B-2— Continued Item 97 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 b9 04 ib -08 07 01 16 -05 "03 -01 -10 09 06 -02 -01 07 05 50 10 "17 11 03 -05 -01 08 05 ib 30 -08 19 22 05 03 09 51 03 -06 15 05 -02 02 -03 06 16 01 12 13 09 01 02 14 52 -04 00 -03 -01 02 -02 -06 00 -07 01 -01 02 09 -06 04 07 53 05 01 2J 27 08 ib ib 18 12 00 "15 10 21 -11 01 -04 54 -Ok 17 -18 -06 06 07 11 06 -05 -07 12 -10 -05 -02 01 11 55 -05 03 -03 01 01 04 10 02 06 -05 18 02 "03 10 -Ok 25 56 -13 -04 -09 09 08 07 00 04 06 -01 00 -08 00 01 -08 -06 57 -01 02 10 00 02 10 -06 -01 -10' -13 26 00 -01 -08 04 16 58 05 -06 08 11 -04 -04 00 -03 18 07 21 08 08 01 "03 59 07 02 05 11 09 03 05 07 -05 06 "17 -06 00 01 07 03 60 03 09 02 ib- -01 -04 13 11 36 10 -07 10 10 13 -01 16 61 16 02 12 13 16 01 00 07 08 16 -20 13 19 -07 15 -02 62 -01 -12 13 19 -10 -01 13 04 09 16 -10 -02 24 -14 -05 "13 63 01 18 03 04 05 04 -02 -04 00 -06 05 -09 -14 -01 08 12 64 04 -02 -04 -04 02 04 13 05 08 05 -04 04 ib 01 06 00 V jO V jJ -J APPENDIX B-2— Continued Item 113 lli| 115 116 117 118 119 120 121 122c Meand 49 21 20 11 05 11 11 24 01 -01 -02 0.61 50 00 -06 -09 -04 00 09 06 -08 -02 00 o.53 51 -06 12 01 -02 -03 -10 01 08 15 01 0.38 52 16 03 11 -10 03 02 13 06 00 -09 0.33 53 04 -03 -07 -08 -02 -08 09 -20 11 18 0.90 54 27 12 10 03 -02 08 06 07 -04 09 0.32 55 06 08 -03 13 02 16 05 09 -n -01 0.14 56 08 -03 04 -01 -09 -07 08 -10 08 -04 0.15 22 24 02 05 02 -01 -03 02 -10 10 0.15 58 -06 00 03 -04 11 06 01 00 -02 10 0.45 59 -08 -12 -10 -04 -08 04 05 -08 00 -14 0.45 60 02 03 -01 02 06 14 05 04 05 07 0.12 61 -03 -14 00 -02 06 02 03 -10 11 00 0.67 62 10 -02 -04 -24 -04 09 12 -19 02 04 0.67 63 12 06 ii 24 -09 02 05 22 09 17 0.17 64 12 03 -04 -03 11 01 -05 00 -02 -04 0.36 c California Test of Mental Maturity I.Q. "Yes" responses were scored ’ ’one1 1 and "no” responses were scored "zero." u> K jJ ao 339 vO U V O C M _=t"0 .c j-c A -c t’- t a _1 T\ Q l f \ r O n n O O —t - * O C M O O —t - ^ O O O O —l O I I I I t r \ ojoo Ovoco c\i<Air\f~-0-=fc^-oo <AsO - * O O - H —t O —t O O O C M O O O O —t O I I II I — t CMCOCO O U \ C M C M 1 A O L A C M CO-3X0 ^ O O —t —t o —t O O C M —t O O O —t Q ^ I I I I I •"A <A_=fCMvOCD C M O 'O O ^ L A 'M J C A lA -rfC A —t —t —t O O —4 0 0 —t — l O — «0 — t —t O I I I I I I I C M GO CMM5 C M CAcAcOOO C '- f A O C~-vO CMs0 CO o —t o o o o o - t o o o o o c M - t o III I I I I I N O ' N v O V f N C ^ M D -=f-U\ <M C O r ^r- t C O rACM O O —t O —i —' O —t O C M O O O O o —' I I I I I I TJ G > o c ■H +J a 0 u 1 I CM I CQ X —I Q 3 w a , (X, <; C M O s O O v O —ifA C T 'O v O c O c a c *— d*CM C M O O O - t - t O O O - t O O O Q O O O I I I II 1 1 1 O vflvO (^o iAO'H mco Nf-U\(M O'vO N O O O O O O O O O O C M O —l O o O II I I I I I CO C'-CM vO'O rAcA-ctCMGOCO — t c o C M -c J tA ^ O O O O O O — t — i O O O O O < - • — IO III I I I I I O CM-3-C M ^ tO -C t-— i-M -C M .ctC '-rO -^tv O' ' 0 —I—t —t O O C M O O O C M O O —t O O O I I I M3 CO CMCO O CMcO — t C M C M r—vOCO CACAcACO O —t O O —t —t O O O O O O —t O O O I I I LA J-C V IO M O O D ^ - c o O O O C M O —t o —t —M C M O O —t o o I I I C"-_CfO M 3 C A cA -G lT M -^— t f —— I — I CT'IA C M O —t O O O O O O O O O —t o o o o I I I I I CA —i — t vO CM CAM3 CM CM fA vO —i vO CMvO C M C M O O O O O O O - hO O —t O O O - t O I I I I I C M C M CO C M CO — I O'- C M _ ctO 'O cO r ~i c A -C tO C M 0 0 - * 0 0 0 0 0 0 - < 0 0 0 0 - t 0 III II C M "LA"LA O — t oAsO O O f — L-A'LA C M O c O — t —t O —t o o —t O O —l —t O O —t O O O II II I e W U l v O C — OO O O —I CM c A ^ f L A v O A - c O o O v f l v O ' C ' O v O A— — C '— 1 > — r-— t>— D — - E T — 1 3 — A -C O Item 65 66 67 68 69 70 71 72 73 7k 75 76 79 80 APPENDIX B-2— Continued 17 18 19 20 21 22 23 21+ 25 26 27 28 29 05 06 12 00 01 -07 -08 02 10 -09 -06 09 08 -Ok 02 02 05 -02 03 20 10 06 -05 -06 05 02 25 19 -Ok 15 -05 02 -05 -01 21 13 -01 03 05 11+ 26 -21 -08 -06 11 10 -09 07 06 -11 10 -08 -Oil 07 -02 00 13 13 11 -02 13 08 -02 06 00 23 06 00 -03 -02 -05 02 23 -05 -09 12 10 02 -18 09 -10 11+ -01 00 02 03 01 07 05 “13 -05 03 -05 -06 30 18 22 12 11 03 06 11 03 10 11+ -09 -09 -11 -01| -111 -05 03 10 -17 02 -Oh 16 07 -01 05 -01 -10 -01 01 13 12 “13 15 -06 02 -06 10 06 06 21+ 15 02 Ok 00 15 11+ “03 -15 03 02 06 11 19 20 12 -08 02 03 01 03 Oil 05 -06 01+ 06 03 05 08 08 -01 -05 “03 08 -02 06 0 1 + -06 2l| 07 00 15 -111 07 10 06 07 11+ 36 -15 -02 01 -06 -08 -08 13 20 -01| -Oi| -13 02 03 12 01 -06 00 01| -09 07 00 -12 09 -01 •a < u a c c 0 (J 1 i O J I CQ Q S W o, ex, c CO - d - A - -=t vO XA ~=t -=t -Gt CA C M -C t H 0 - d - CA CA CO CA CA vO cA XA cA cA cA CA 6 <a +> n v O r— c\j _d“ _d'co ^ o xa c a o so -]- O — <— < 0 0 — < O O O O Q O — <^hO-h i i A-M3 C M — I C O O O rA lA o^vO «-t C V J vO CAMD cA O OOOOOO—<00000000 I I I I I I v O O U \ H f—c\J — < C M rA-=fCM C M O O O O O —• O O O —' O O O O O O I I I I I II MD CA OJXAXACM cAoo C M -'< yM v' H U \ 0 J - O — < - H O < — l O O —<•— • —i O - h O O O I I _=J-vO i r \ 0 ' 0 \ 0 ' H f n o ' w CM»A A -vO CM O ' h O h h O O C M O h H h C M O O C M O I II till C M C M C O c o o O 0 '^ \A lA O X A J-J-0 X A O hc\|h h (MOOh h q o q q h o I II I -< O'vO A -C M O C A c O C M C A C M G Q X A cA s£ > ro O O h O O O O h h O ( \ | O h ( M O O I I I I I I III XA -< CM XA CM - c f O ’ LA'X) CA c a CM _=fXA O XA —i O O O O O —< 0 0 C > 0 0 0 —< 0 0 I I I I I I II _3-v£> CM O [ > - 0 (\J CM H c o CM h XA C M rACM O O ^ H r - I Q r - t ^ Q —I Q Q ^ Q O ^ Q II III CACO CA —< C —lA _ z fv O —< _ctcA cAvO A - M3 O 000'-<000^00*-<0'-<—'0«-< I I co CACM —I O CMOO J - C T 'f A O CAXA CACM —< O O O —< 0 0 C M 0 0 0 * - < 0 0 0 —c O II I I A -X A X A C A C M O O _ d -C M O-cJ-X AvO C A X A C O — l O — • O o O O O '-1— i0 0 0 — <0 — < III II I II ■ v O ^ d -C M — < < - * CAO C A G O -H C O rA -C fC A C M — < O hOC M Ohh-i O C M O O O —<—<0 C O C M C A — • rAJ-vO A- A -C M C M X A C A M D o rA O O O O O O — 'O O o -hO O — < 00 II I I A - CAGO 4 - o A O A - C — c A -C ft— ~0 CM CA —< O O —' O O O —' O O C M o O O —< 0 —< 0 I I I I I CO CA CA c ^ -O CM —I _d-XA [— A--d-_M"CM M3 -h O O O — <—<—< 0 0 0 0 0 0 0 0 0 0 I I I I III II I T-AsO A - 0 0 CA O -h CM C A j- U \v O A-GO CA O s O M 3 M 3 \O v O A - A - I— C — C — A - C — C — C — c — CO 31+1 APPENDIX B-2— Continued Item 49 50 51 52 53 54 55 56 57 58 59 60 6l 62 63 64 65 -06 00 04 -10 10 03 00 01 00 -02 05 08 05 30 05 02 66 14 07 -01 06 04 02 04 -01 09 08 -07 -07 07 -04 10 12 67 09 14 14 07 20 -02 -11 -10 00 05 09 05 21 09 14 01 6b 15 11 05 12 24 00 06 04 -10 09 13 21 29 14 -10 06 69 04 11 07 04 04 °4 -01 -10 03 11 03 10 00 02 03 70 02 10 04 -08 -01 05 -11 -05 -08 03 05 08 05 11 01 05 71 04 -09 -05 -10 -08 08 02 04 05 -05 13 -05 -10 -13 00 “03 72 17 06 18 17 02 25 03 -06 10 06 Ok 01 -08 “05 16 -06 73 -05 08 -10 -10 18 -07 -18 -12 05 -02 06 09 11 28 “03 02 74 10 14 11 07 17 -02 -06 -04 -02 08 -06 17 12 07 12 18 75 13 02 11 -04 03 15 12 00 20 00 01 -05 08 -05 04 05 76 05 -03 00 -07 -15 04 07 -04 04 06 -05 -04 -06 -18 00 -01 77 10 09 08 -08 04 03 “03 -04 02 04 15 -02 08 -02 13 -14 78 09 -11 05 03 -14 08 11 -09 25 -07 03 -14 “13 -16 -01 04 79 19 20 17 10 07 -06 -12 -03 -04 05 -01 14 14 15 “03 19 80 04 -08 11 -01 -06 13 -01 -02 04 -08 05 -10 07 -07 19 04 -p- ro CD— -J — -J — J — < 1 — 0 — -J —J — < 3 — 3 —J O ' O ' O ' O ' O ' o sO oo-'J O'Vn.-f^'Vjj ro t- O 'O cd— o O'Vn i —OOO ro ro i it ii i • — Ot— O O O O O O O O V J T .O 0 — J V n . CD O'— J C D V jJ I I ooooorooooo»—t-oi— o O'V jt. • — O'go o —] cdvjo o vjt. o ro ro oo i i i i ■ — • I — • • — » t — O O I — VjO o o t- o o t — O ' O s o o r o o o O ' - P ' o o r o i \ ) v n . ' O r o c d i i i ii i i o r o o o o o i — •— o o o o o o o t— P " P " •— r o v n r o o i— r o r o P " vO r o —o i i ii O O O O t— O O O t-O o \JT .C D » — P" t— \JTt— P -— 3 O 'V .o I I O O » — O •p-Vjl O O' I I I t—o t —t—o o t —•—o o uj-P-o i O' o ro-p-vnro-P" o o * — » — o u j r o r o v n c o i i t— |\)h O O h OOO t— t— V j O O 'O O o O o V n.'O I II I O O O O O o p - O'fo ro o v n I I o o t —ot—o o t — » — — j c d ro o cdvo'O I I I O O t— O o O O v O ro— 3 • — ovo-o I I I t— t— O O t — O t — vn*-'0 o o ro— 3 i i i • — O t— O I — V jJ O t — vO V a VJX-P" O O OOU) O I — o o o o O' 0s ro vO r o o j i t — OOt— Ot— t— o o - o o j o j P " t - r o - P " —J \ j t I— O O O t— vo ro O' o p o o o » - o o o o r o t - oj ro oovo ro v jiv jt. O' o o i i i i i O t — f — O t — Ot—» — OOt— o o o » — p-rop-vn. p -ro o ovo o t-ro oocDt- o o o — o cap- O O O O O O t-O O t-O O vn ond o ro o cpp* t— ro O' ro ene 1 1 o t— O t - O —3o P " P - 0 ' 1 1 1 1 O t— O t— o O o o s ro ro i OOOOt- O—J —3 P " O j i i o o I I o o I I o o t- ro o ro o o rot—o o -sj t-P" C D p-v£) \j\OJ t — O t— I I O t — t — O O t— c+ o 3 O ' O l O ' O ' O ' —1 O ' CD O ' —3 O —3 t— —3 ro —3 Oo —3 p - - 0 v n —3 O ' — J - J —3 03 —3 A 0 3 O 5> ► t ) TJ W to I ro i i o o r t t— D c ( 0 a APPENDIX B-2--Continued Item 81 82 83 8i | 85 86 87 88 89 90 91 92 93 91 + 95 96 65 01 -Ok 12 06 12 -Oi| 00 00 -07 14 10 -0 1 | 08 -09 li+ 06 66 05 18 ib 2b 18 07 07 oil 01 15 08 03 17 -06 -Oil 11 67 -10 19 20 19 11 12 -Oil Oil -17 15 06 -18 19 -°7 -05 -09 68 00 ik 13 16 -02 09 09 -07 “17 13 -Ok 01 Oil 08 -01 -08 69 -01 04 -01 -01 02 -10 -03 -02 05 02 -18 -09 02 05 08 02 70 05 12 Oil 21 Ok ib Oi| -12 02 -05 03 23 -03 Oil 03 71 07 08 -01| -12 -01| -05 Ok 01 16 -05 “03 06 “03 08 o k 11 72 03 00 01 -08 -17 00 06 07 08 -13 Oil 01 -Oi| 06 08 14 73 05 09 19 15 08 05 -09 -10 08 -05 -12 09 “03 -08 -03 7b 08 Ok 21 18 -01| 03 11 05 -18 13 09 -11 15 01 Oi| 05 75 01 08 09 07 10 08 -08 00 08 00 °l 05 02 13 -05 08 76 13 -05 -02 01 13 11 09 12 -09 08 07 -01 08 03 09 77 08 17 10 05 06 11 08 -02 “07 -02 -Oil -05 13 -10 08 03 78 08 06 00 -08 -16 08 16 02 17 -Ok li+ 11 “13 08 07 16 19 -15 16 05 02 -01| -09 02 -02 -111 08 -02 “07 10 03 -09 -03 80 -06 06 -02 -0i| ib 06 -Oi| -09 -11 Oi| 13 -06 13 01 -02 05 Uj £ APPENDIX B-2— Continued Item 97 98 99 100 101 102 103 10i + 105 106 107 108 109 110 111 112 65 08 07 06 13 09 01| “03 02 01 09 Oil 00 -06 -06 08 -08 66 13 15 05 12 09 “01| -05 -09 “01 “06 Ok Ok 01 08 15 01 67. 08 12 26 08 “03 10 06 10 09 “01 -05 06 22 -05 20 02 68 10 06 21 21 07 15 11 18 15 21 “08 06 2l| 03 00 06 69 -01 03 “01 01 00 -02 01 “18 -07 09 03 3k -03 06 08 11 70 25 10 06 06 -05 -08 19 “01 07 10 “10 -03 08 -02 12 -08 71 “10 01| -05 -11 ok “05 00 03 16 -07 03 05 -15 10 -17 10 72 08 03 -08 06 -02 10 -07 -03 “05 02 10 17 -07 18 -06 16 73 08 07 17 09 -10 08 Oil 111 Ib 05 “2i| -05 32 -07 12 -01| 7U 17 07 10 12 09 08 12 05 15 08 -01 07 26 03 13 75 “06 08 05 Ok 07 10 “06 “08 -09 03 15 06 -13 21 11 2$ 76 77 03 12 -Ik -16 -05 03 “Oil Oi± 06 01 16 25 -11 08 -06 18 11 07 05 16 -06 00 “03 05 -03 -01 -05 -03 07 06 -Oil 05 7o 07 11 -Ok -06 01| 18 “05 03 -211 -10 26 -06 -10 01| 00 28 79 0l| “03 12 -02 -12 06 03 00 15 20 -11 02 20 -03 09 “15 80 10 09 li| -20 -08 “Oil 08 01 -03 07 00 -09 Oi| 05 02 -Oi| £ Vn . APPENDIX B-2--Continued Item 113 111; 115 116 117 118 119 120 121 122c Meand 65 -09 0b -02 -01 08 02 -03 -09 07 17 0.6i| 66 02 02 -02 Ik 17 08 -01| 06 13 11 0.70 67 -03 01 -07 03 02 -07 05 -16 06 16 0.76 68 00 00 -07 05 09 12 08 -10 08 07 0.67 69 03 06 10 01| -05 09 12 07 03 -Oil , 0.2k 70 02 -06 -02 03 09 -03 -03 -02 06 01 O.76 71 03 15 -02 03 02 13 -05 07 05 -08 0.39 72 27 10 31 00 -08 10 23 17 03 -10 0.ki| 73 -ok -09 -16 -03 -02 -01| -05 -30 0 1 + 06 0.85 7k 06 01 -04 00 07 -06 08 01 12 13 0.53 75 01 23 -01 16 06 05 03 07 11 09 0.31 76 10 13 0i| 09 20 07 01 23 -01| -12 0.33 77 -02 -13 -07 -03 01| -12 -03 06 10 01 0.1|2 78 05 16 09 11+ 11+ -05 Ok 28 00 -08 0.27 79 00 -05 02 -10 01+ 03 15 -07 Ok ° - u 80 -02 01 -01 09 -03 05 -11 01+ 08 -05 0.85 °California Test of Mental Maturity I.Q. ^"Yes" responses were scored "one" and "no" responses were scored "zero.” ■ f r - O' APPENDIX B-2— Continued Item 1 2 3 1 * 5 6 7 8 9 10 11 12 13 11* i5 16 81 -02 111 02 -02 08 10 00 -02 -05 -01* 10 -01 02 -06 -01* 82 06 01* -05 13 10 05 10 -08 -05 -17 10 -03 11 02 17 10 83 05 10 -05 11 22 07 10 -Ok -01 03 18 -10 1*0 07 22 08 81* 13 12 -02 05 25 12 09 -08 -08 -07 21* -05 26 13 10 16 85 01 01 -01* -01 13 20 00 06 06 -10 1*7 -07 09 06 -11 05 86 -05 18 11* 08 -02 -01* 10 02 -01 10 06 02 03 08 01* 07 87 12 -03 00 -07 -01* 00 06 06 -03 05 06 08 -17 -02 -06 13 88 05 o k -01 ll 11 09 12 10 03 09 03 06 01 -02 01* 03 89 -01* -08 03 11 -13 -18 -11 16 01 30 -09 01* 19 -20 02 -10 90 10 -02 -02 -07 01* 08 12 -06 -06 00 20 -10 08 05 02 20 91 -10 01 -02 13 00 -11* 09 07 -03 06 11 02 -07 -08 06 -11* 92 -19 -07 -06 01 -01 05 -08 03 03 -02 -08 12 03 -11 11 -Ok 93 13 -02 01 -01* 06 11 16 01 01 -16 -07 06 18 08 16 91* -oil -01* 16 -02 -05 -06 -12 08 03 20 -08 06 -15 -05 07 09 95 -06 01* -02 -07 -11 02 00 05 05 00 03 11 -03 00 -03 -06 96 00 -07 09 01 05 00 -02 05 -01 00 07 -08 -09 02 06 01 VjJ -fr- -3 c\j o 'la go < ca c ^ cm ^ o' o h (\j h o j j CA O O o O O O O - t ' - f O O ' ^ O ' - ' O ' - H I t I I 3h 8 PA —* f \ i c r > iA_^t-^j-oca '^oco'Co -GfPA —i o o o c \j o o o o —<—<0 0 j f \ l ' - < 0 0 i i i i i o PA O O'-IA C M U \ — < C M A -CA O o c — • — < — <co — < O O o O O O O " — i O ’- h O O ^ h O O O I till II C A O J-C\]JTVlCOCOOC\JW vOC\lr^O C M r-HOoO'-HOO'— lOOOOOOOO I I I I co cA O h \£) cm CvJco rO A-co r^(M O' C M O O O O O O — lO O O O — ^OOOO I I I I III A- CM-Gf O'CM ^ GOvO_^-CMvO C M •-* *-<-Cl-_=tCO C M r H O o O ^ - t O O —I - C O O O O O O O I I I I T) 03 3 a •H +-> c 0 u 1 I CM I CQ so sO -Gf O' C — CA cA •— < CM CM _zJ'\r\0O C M O [—vO C M —I ' - ' O O O O O O O O O O o O O O I I I I I I I I \A IA c A\a cA - — i v D - > — * O s-C fC —• — i C O co C A P A C M O — I — I O •-lOOOCMOOO— < o o o I I I I I I I j - HOvOOj-ts-O'CjCMcMc^O J-IAh O cm r - i ^ n o o o o —i —i CMo h h Q O o CM I I I PA O CA A-CM C M J-rA-^f-CM A -— < l > - 0 -A rA C M — < 0 0 0 0 —1 0 0 0 0 0 0 0 0 0 0 III I I I I I W CM O. <S CM CM CM CA CAIA-C^CM O'CVJO'^h h CAO>'LAOCO 00'-<00000'-<0000'-'00 I I I I CO -Cj-vO C"-pA O CO O CA1AMD C M vO CA — * j - iOO'-1' —iOOO'~4< - hO'—IOOOO I I I I I I I O CA o IA C M O oA O -lA CA PA C M C M -d "c A — i G O C M OCM’- ' O O r - i O ' - i O r - H O O O O o O ■ I I I I I O' IA «A*-<CO r-( PACO vO A-CMCO — • O ' O OOOO^ h^ hO^h—<00'-i0'-(00 I I I I I I I CO \ 0 < A O O h q 3 0 0 h -~ 1 ~ A-M3 C M p a C M O O O ’- ' O O O O —‘r H O O O O o O I I I I I (ACO « -H CO .^ tc o — ) IA — < M D C M CO c — C - — Qr-(r-(^-<^) OOOC M<— 1 0 C M - - H 0 0 0 I I I I I I I e 0 3 4J *-1 CM PA ^nAM D C — CO 0 NO — 1 C M cA-GjlAsO OOCOOOCOcOCOCOOOCO CA O ' C A C A CA CA C A APPENDIX B-2— Continued Item 33 34 35 36 37 38 39 40 4i 42 43 44 45 46 47 48 81 05 -06 -01 -01 04 02 10 -04 -09 01 06 -16 04 06 07 04 82 -06 22 10 21 -13 -03 11 11 07 -06 11 00 i5 08 15 13 83 10 00 01 08 10 -08 -01 01 01 07 08 12 13 04 13 -Ok 84 06 14 -02 -01 -01 -05 07 04 -Ok -07 20 08 10 09 06 85 00 15 01 -04 -06 -07 -06 11 -08 -09 08 -06 19 10 28 29. 86 08 07 08 10 06 -09 -06 -10 03 00 06 01 12 06 04 00 87 -03 06 -06 10 01 -10 15 00 -02 -01 00 07 04 Ok 06 12 83 -09 03 06 -09 02 -18 -02 -15 05 •-05 12 -06 -14 -06 06 01 89 06 -05 01 -09 20 "°7 -07 -19 12 21 -25 -12 -13 -11 02 -08 90 -04 05 -02 03 -09 08 12 11 02 -08 10 12 12 27 15 16 91 ■ 10 -04 03 -02 -04 -10 10 -13 10 -02 -01 -14 14 -12 13 03 92 09 -Ok 06 08 34 01 08 -16 12 33 -12 -17 -04 -08 04 -03 93 00 16 01 04 -07 04 09 09 03 -17 09 14 07 05 04 26 94 02 -09 06 -05 06 -01 -06 -13 08 09 -04 -07 -09 04 -03 -06 95 Ok 06 05 -04 11 -06 10 -06 °7 -02 -17 07 -06 00 -06 07 96 -06 03 07 02 04 05 06 10 08 08 -07 04 05 08 06 09 -fr- vO Item 81 82 83 84 85 86 87 88 39 90 91 92 93 94 95 96 APPENDIX B-2--Cont inued 49 50 51 52 53 54 55 56 57 58 59 60 6l 13 -02 Oil -Oil -07 -06 02 01 06 00 00 -06 03 06 06 00 -09 07 00 04 -03 -01 17 03 02 15 02 10 -07 -05 10 -02 03 -04 -04 -04 00 15 11 01 12 -01 -02 16 -19 -08 04 -05 08 08 13 12 -07 -01 06 -18 01 “01| 04 -09 -05 11 10 -02 10 -02 -04 05 07 01 -06 08 -02 02 -09 00 02 00 06 -05 01 -06 05 -01 -03 -09 09 -06 03 02 -08 -02 02 00 05 -03 06 -06 -02 10 -10 0& -08 -01 -21| -05 -12 -18 03 09 00 04 -05 -01 -13 -30 -09 22 10 -06 ll -17 01 -01 00 09 02 04. 14 09 -06 16 05 08 08 14 -01 15 -06 08 -04 03 19 -19 - l k 07 -01| 19 04 06 15 -17 -04 -02 -22 -01| 09 -Ok -10 Oil -06 -10 09 -07 01 11 15 14 02 -03 -05 08 02 05 04 -01 -04 -07 00 -02 01 -01 -11 -03 -02 -02 10 01 -05 -04 00 00 10 -04 06 06 03 03 -02 03 07 -02 10 o5 01 03 -10 APPENDIX B-2— Continued Item 65 66 67 68 69 70 71 72 73 7k 75 76 77 78 79 80 81 01 05 -10 00 -01 05 °7 03 -11* 08 01 17 08 08 -15 -06 82 -Ok 18 19 1 1* 0 1 * 1 1 * 08 00 05 01* 08 13 17 06 16 06 83 12 11* 20 13 -01 12 -0i| 01 09 21 09 -05 10 00 05 -02 06 19 16 -01 0 1 * -12 -08 19 18 07 -02 05 -08 02 -Oi| 85 12 18 11 -02 02 21 -Oil -17 15 -0i| 10 01 06 -16 -Oi| Ik 86 -04 07 12 09 -10 Oil -05 00 08 03 08 13 11 08 -09 06 87 00 07 -0i| 09 -03 11* 01 * 06 05 11 -08 11 08 16 02 -Oi| 88 00 01* 01* -07 -02 0 1 * 01 -09 05 00 09 -02 02 -02 -09 89 -07 01 -17 -17 05 -12 16 08 -10 -18 08 12 -07 17 -11 90 11* 15 15 13 -02 02 -05 -13 08 13 00 -09 -02 -Oi| 08 Oil 91 10 08 06 -Oi| -18 -05 -03 0 1 * -05 09 07 08 -Oi| 11* -02 13 92 -Ok 03 -18 01 -09 03 06 01 -12 -11 05 07 -05 11 -07 -06 93 08 17 19 02 23 -03 -ok 09 15 02 -01 13 10 13 9i* -09 -06 -07 08 05 -03 08 06 -03 01 13 08 -10 OB 03 01 95 11* -Oil -05 -01 08 01* 01* 08 -08 0 1 * -05 03 08 07 -09 -02 96 06 11 -09 -08 02 03 11 11* -03 05 08 09 03 16 -03 05 V j J Vn A CVJCMOO C M A - i O A A A C '- C M A 'H A 0 — 400 — 4 0 — 1 0 — 1 0 0 0 — 400 I I I I 3 5 2 IA O O CO A — ' A vO O — • — • A ~f ~t~ A — 4 0 0 0 — 4 0 — 4 0 0 0 0 0 0 0 I I III - ct a (Aao — t -h C '-C O -3-A A O A A (A _^-A O O O O —' 0 0 0 0 ^ 0 0 —4 o o I I I I I I I I rA IAJ-h 0"0<AHl^cvi J-OvO A.J-CM Q n C D H H H H C D H C D C D H C D H H C D H i I i C M co ^f-ojoo -Z j-1 A < M f - H N 4 A A A C — (A 0 0 — 4 0 —« 0 0 0 — i — • o — • o o o I I I I I I I O C M a O A OCO _cj-A ACM J - 0 (^ h \A O' O O O O O O O O O O O O O O O III I XJ Q > 3 a +j c o 0 1 I C M I CQ X Q S W a, C L . C o (A CA CO C O CO o- co A CO A CO C M C M C M AMD IA O CO A O O O C M H H -— 4 o H II I I I C M (VIJ-O —i A C3 — • — 4— 4 O o I I I A A C M A - r—A -* - =? O O — lOOHCMH I I I I A A — i C M OOvO — • 0 — 4 0 0 0 — 4 I M D O o O A o _ z t- O O —t —( O —I o I I -ctco A C — A A A O — •O O O O O o o I I O c - — rfACMA C M O o O o o I I C O OCO C A C M O i — I H — 4 O I -C j-— 1 O -C fC M H J 't '- H O C M — 4 O C D — • O — 4 * “ " 4 I I A O A AaD A Aao sO A O — i— ' — 4 0 0 0 0 0 0 I I I O C M A A C M C M A c - — A O -=tA f— — • C M C O — 4 O — 4 C D o C D C O — 4 C D — 4 — 4 — 4 — 4 — 4 I I I I I _ d * -4 c m a A A A O A-AAGO A — • A O C O O — 4 C M — 4— 4Q— 'OCMOO— 4 0 0 0 I I I I I I I A A A AvOCO _cj"0 C M C M O O C M — • — 'C O O C O O C M (MO— <0— •— • O O — *— 'O O O I I I I I C M CO A o ACM C M O lA-O A CM C M _ = f_ r* aD O C M CM — •— 4— 4 0 0 0 0 0 0 — 1 0 0 — I I I I I I G O A A — • O CO O A A C M O CO lf\ A O C M O O O O O C M O O O O O O O — • O ■ I I I I e o -4-3 — • C M A_^fU\A c ^ -C O A O -• C M A J A A OO co O O C O G O C O C O CO C O A A A A A A A Item 81 82 83 Bit 85 86 8? 88 89 90 91 92 93 91+ 95 96 APPENDIX B-2— Continued 97 98 99 100 101 102 103 101+ 105 106 107 108 109 110 06 02 02 00 03 00 -10 -03 -13 -05 16 01 -13 -02 07 20 06 -10 -05 -08 15 02 01+ 12 00 09 -02 06 05 26 06 05 06 02 12 10 11 -03 -02 02 02 Ok 12 09 13 15 00 -ok 06 05 13 -01 -12 02 11 -05 1 1 + 07 1 1 + 08 -01 -06 10 00 15 05 -07 05 03 °{+ 07 10 -06 01+ -o i+ 05 -01+ 02 01 -03 09 02 -01+ 08 11 -01+ 01+ -02 13 13 02 -02 00 02 10 -01+ -03 01 10 03 10 08 02 06 01 -02 01 -06 06 07 -07 07 08 1 1 + -27 06 01 00 -11 -21+ -23 -09 01 -33 03 06 -09 25 10 01 -02 08 13 01 11 -08 -02 20 05 07 09 -01 16 08 01+ -o i+ 03 -09 -07 . 13 08 -03 07 -11+ 16 -17 -07 01+ 12 -02 02 -13 -20 19 -07 -19 o5 1 1 + 08 18 19 07 -13 06 01+ 08 06 -18 03 09 01 -03 02 -05 -08 01 01 -13 -Ok -09 -05 07 03 -05 00 01 11 -11 -02 02 °Z 02 08 03 -01 00 02 -10 -11 05 -03 00 07 12 -08 02 -06 -01 05 01+ 05 01 01 APPENDIX B-2— Continued Item 113 Ilk 115 116 117 118 119 120 121 122C Meand 81 03 08 07 13 03 02 08 16 10 -10 0.08 82 -01 -0 5 -Ok Ik 18 03 -05 02 11 08 0 .6 9 83 8k 00 08 -16 00 10 00 -05 01 09 21 0.81 -17 -ok -Ik 10 15 -08 -Ok -03 Ik 13 0.79 8? -ok -0 3 -16 10 03 -Ok -15 03 -02 00 0.56 86 05 08 08 11 08 -O b 00 07 03 02 0 .k 8 87 07 02 05 -03 02 05 -01 07 Ok -11 0.09 86 05 -01 01 -Ok Ok 13 01 02 Ik 10 12 0.20 89 07 20 13 17 06 -06 15 00 -01 0 .2 6 90 -09 -02 -22 01 -08 -01 -09 -08 08 06 0.70 91 08 13 07 18 05 -01 -Ok 13 05 03 o.kk 92 20 20 01 10 03 00 05 13 02 03 0.53 93 -06 -09 -01 09 -02 -07 Ok 01 07 -0 5 0.52 9k 05 ok 02 -09 -01 06 -0 3 02 09 00 0.k9 95 13 -03 0k -01 -01 12 06 07 -06 02 0.1 5 96 08 11 0k 05 08 O k 06 16 -01 -0 6 0.25 cCalifornia Test of Mental Maturity I.Q. ^MYesM responses were scored ’ ’one" and "no1 1 responses were scored “zero.” VjJ v n -P - Item 97 98 99 100 101 102 103 ioi| 105 106 107 108 109 110 111 112 APPENDIX B-2— Continued 1 2 3 k 5 6 7 8 9 10 11 12 13 31 08 02 03 07 15 23 11 -01| 02 18 02 03 -02 13 02 15 09 00 13 Oil 01| 02 09 -11 17 12 05 -09 -111 17 12 05 Oil 12 -02 ib -18 02 11 07 05 10 02 01 06 09 -12 05 08 “03 12 01 02 Oil 05 -12 08 08 -08 Oil -111 -01 -02 01 08 10 03 -01 07 01 17 01 -07 ib -03 11 07 -08 02 1U Ok 03 11 -08 “13 17 OB 05 -02 02 02 -11 08 16 09 “13 “13 “15 Oil OB 16 -02 07 -01 -02 20 00 03 -11 -11 -11 23 -OB 13 -01| -03 -06 -09 13 10 06 -12 02 -Oil -02 -06 09 02 -01 03 17 -07 -10 -08 16 13 23 01 -07 05 Oil 01| 00 10 03 01| 02 -02 06 “03 08 -Oi| 06 07 01 -08 12 12 11 -10 “°7 -09 05 01 03 -11 -07 -02 05 02 -02 ib 11 08 “03 -06 -07 “03 06 iU 10 17 00 02 06 01 01| 03 10 -06 15 -10 06 12 05 06 “03 -01 11 07 02 03 02 08 Item u 99 100 101 102 103 10k 105 106 107 108 109 110 111 112 APPENDIX B-2--.gQflUUtt&d 17 18 19 20 21 22 23 27 12 -06 -03 01* -06 01 -02 06 12 10 02 03 10 17 17 -02 -02 -11 00 -02 10 12 02 -02 08 -03 00 05 -08 00 03 -01 -02 06 -05 12 00 -11 10 11 00 16 02 -03 02 01 -02 -09 15 03 -01 -06 -18 03 01 08 08 -03 07 -07 00 00 13 19 -05 -16 -15 -02 05 -19 -03 15 09 31 08 22 -05 -02 -03 00 13 10 22 15 20 -19 -11 -01* -12 "°7 08 -03 06 -02 01* 10 lb -07 01 -02 09 00 02 06 -03 -10 10 01| 25 25 16 21* 25 26 27 28 29 10 19 -09 02 06 06 00 01* 02 -03 -10 -06 09 01* 07 13 -09 01 1 1* 07 -02 17 00 -09 -01* -16 01 12 -06 09 00 -03 05 05 00 10 03 1 1* -10 02 -03 -06 02 07 01 01 -02 -07 -01 06 -11* 11 -°7 -12 11 02 -01* 13 08 36 -13 00 09 05 00 02 09 -01 00 02 05 -19 07 22 -22 03 03 05 01* -03 -05 05 02 07 09 05 10 -03 08 16 08 05 08 16 01 APPENDIX B-2— Continued Item 33 3k 35 36 37 38 39 1 | 0 k2 k3 kk 1|5 2 + 6 2+7 1 + 8 97 00 01 02 10 -08 -111 06 lk 00 -16 25 06 18 Oi| 12 15 98 11 11 06 04 11 -12 -01| -11 07 06 02 -11 05 -01 07 -05 99 16 -01 00 09 -lk 00 01| 22 -06 -18 19 08 07 01 05 18 100 02 -10 -06 03 09 -01 01| 13 03 -13 08 19 17 -Oil 01 12 101 -05 -Ok -05 -02 -05 -Ol| -03 06 Oi| 00 05 -01| -10 02 -01| -01 102 08 -08 03 16 -01 03 22 -08 “05 05 -01| -07 -07 00 -Oil -02 103 01 05 -02 17 -02 00 -05 15 06 00 09 10 -01 Oil 01 06 102+ -08 -Ok 05 05 -01 -06 01 01 -07 -08 01| 13 13 09 00 06 105 -05 01+ -0i| -01 -16 -09 -10 19 -22 -09 02 12 10 00 -02 05 106 -22 02 -10 08 -18 13 06 26 -01| -17 11 23 03 02 06 09 107 01 -18 11 lk 16 -18 07 -11 1 2+ 31+ -12 -20 02 00 02 -Ok 108 -05 -03 -06 03 02 -02 -06 13 -11 -Ok 11 -05 18 05 -10 08 109 -0i| 08 -lk 06 -14 16 06 23 -06 -16 22 32 06 11 01| 03 no 01 -09 13 06 -ok 02 12 -07 09 -08 -02 -12 01 00 -01 15 111 lk 03 -08 00 01 -09 -09 -02 01 03 Oil -01 02 -09 09 -06 112 -02 -11 17 11 lk -16 07 -05 00 26 -03 -05 16 -03 01 00 V A - > 1 Item 11 99 100 101 102 103 104 105 106 107 108 109 110 111 112 APPENDIX B-2— Continued 49 50 51 52 53 54 55 56 57 58 59 60 61 62 04 10 03 -04 05 -04 -05 -13 -01 05 07 03 16 -01 14 -17 -06 00 01 03 -04 02 -06 02 09 02 -12 -08 11 15 -03 27 -18 -03 -09 10 08 05 02 12 13 07 03 05 -01 27 -06 01 09 00 11 11 14 13 19 01 -05 -02 02 Oo 06 01 08 02 -05 09 -01 16 -10 16 -01 02 -02 14 07 04 07 10 -04 03 -04 01 -01 -05 08 -03 -06 14 11 10 00 -06 00 05 13 00 13 -03 05 06 00 18 06 02 Ok -01 -03 07 11 °Z 04 -01 14 16 -07 12 -05 06 06 -10 18 -05 36 08 09 -10 30 01 01 00 -07 "05 -01 -13 17 08 10 16 16 09 -08 12 -01 -15 12 18 00 26 07 -17 -07 -20 -10 06 19 13 02 10 -10 01 -08 00 21 -06 10 13 -02 -02 22 09 09 21 -05 -03 00 -01 08 00 10 19 24 -01 05 01 -06 -11 -02 10 01 -08 08 01 13 -07 -14 07 03 02 04 01 01 -04 -08 Ok 01 -07 -01 15 -05 05 09 13 07 -04 11 25 - 06 16 -03 -03 16 -02 -13 APPENDIX B-2— Continued Item 65 66 67 68 69 70 71 72 73 7h 75 76 77 78 79 80 9Z 08 13 08 10 -01 25 -10 08 08 17 -06 03 11 07 Oil 10 98 07 15 12 06 03 10 04 07 07 08 12 07 11 -03 09 99 06 05 26 21 -01 06 -05 -08 17 10 05 “iii 05 -o£ 12 14 100 13 12 08 21 01 06 -11 06 09 12 Oil -16 16 -06 -02 -20 101 09 09 -03 07 00 -05 Oil -02 -10 09 07 -05 -06 -12 -08 102 01| -Oil 10 15 -02 -08 -05 10 08 08 10 03 00 18 06 -Ok 103 “03 -05 06 11 01 19 00 -07 04 12 -06 -Oil “03 “05 03 08 10li 02 -09 10 18 -18 -01 03 -03 l i l 05 -08 °5 05 03 00 01 105 01 -01 09 15 -07 07 18 -06 15 -09 06 -03 -2ii 15 -03 106 09 -06 -01 21 09 10 -07 02 05 08 03 01 -01 -10 20 07 107 Oil Oil 05 -08 03 -10 03 10 -2ii -01 15 16 -05 26 -11 00 108 00 Oil 06 06 32+ -03 05 17 -05 07 06 25 “03 -06 02 -09 109 -06 01 22 2ii “03 08 -15 “07 32 26 -13 -11 07 -10 20 oil 110 -06 08 -05 03 -06 -02 10 18 -07 03 21 08 06 Oil “03 05 111 08 15 20 00 -08 12 -17 -06 12 13 11 -06 -Oil 00 09 02 112 -08 01 -02 06 11 -08 10 16 -Ok Oil 28 18 05 28 “15 -Oil V jJ vn vO Item u 99 100 101 102 103 ioi| 105 106 107 108 109 110 111 112 A P P E N D IX B-2— . Q o n t i n W A 81 82 83 8i i 85 86 87 88 89 90 91 92 93 06 07 05 12 l il 07 11 10 -08 06 07 -13 14 02 20 26 09 07 10 -Oil 03 lil -09 09 16 08 02 06 06 13 4 -06 Oil 10 -27 25 -01 -17 18 00 -10 05 15 08 Oil -02 08 06 10 16 -07 19 03 -05 06 00 -01 -Oi+ 13 02 01 01 08 Oil 07 00 -08 02 -Ok -06 05 13 06 00 -02 Oil 12 -13 ■10 15 12 06 10 -Oi| 02 01 -11 08 -Oi| -02 06 03 02 10 05 00 -02 -02 -02 -2k 13 03 02 °4 13 Oil 11 13 15 01 00 01 -23 01 -09 -13 08 ■05 12 -03 -01 05 -03 02 -06 -09 11 -07 -20 06 16 00 -02 -12 -07 09 10 06 211 -08 13 19 -18 01 09 02 -02 05 02 -Oil 07 01 -02 08 -07 03 13 -02 02 11 03 -Ok -03 07 -33 20 -03 -19 09 02 06 Ok -05 Oil 08 01 °l 03 05 07 05 01 08 Oil 16 15 01 09 03 -08 02 13 16 02 06 02 07 13 02 -06 16 01 -Oil 12 -02 06 lil 02 I APPENDIX B-2— Continued Item 97 98 99 100 101 102 103 10i| 105 106 107 108 109 110 ill 112 92 12 15 16 07 06 17 02 02 02 -01 16 Oil “07 16 -02 98 12 -05 07 10 Oil “05 02 06 -12 12 Oil “17 Oi| 31 13 99 15 “05 12 01 Ok 12 12 lil 07 00 03 27 00 00 -06 100 16 07 12 08 08 -01 08 06 03 -08 03 10 01 13 Oil 101 07 10 01 08 05 03 -07 03 01 -02 09 -09 06 10 Oi| 102 06 Ok Oil 08 05 “07 12 03 -06 15 Oi| Oil °I 07 07 103 17 -05 12 -01 03 “07 03 06 09 “07 07 13 08 -07 -Oil 10k 02 02 12 08 -07 12 03 17 01 “13 03 13 -15 06 07 105 02 06 l i l 06 03 03 06 17 12 “13 09 18 -05 00 06 106 02 -12 07 03 01 -06 09 01 12 -lil 16 12 09 “07 -02 107 -01 12 00 -08 -02 15 “07 “13 “13 -lk Oi| -22 08 Oil 32 106 16 Oil 03 03 09 Oi| 07 03 09 16 Oi| -01 -01 Oil 05 109 0i| -17 27 10 -09 Oil 13 18 12 -22 -01 -11 -03 -06 110 -07 Oil 00 01 06 07 08 “15 -05 09 08 -01 -11 -03 17 111 16 31 00 13 10 07 “07 06 00 “07 Oi| Ok “03 “03 10 112 -02 13 -06 Oil Oil 07 -Oi| 07 06 -02 32 05 -06 17 10 u> O' APPENDIX B-2— Continued Item 113 lili 115 116 117 118 119 120 121 122° Meand 97 -01 -06 -09 16 16 -Oil -07 01 -07 0.25 98 -01 08 -0i| 30 18 Ok -01| lk 18 08 l i l °-!£ 99 -21 01| -30 -08 06 -06 -11 -10 03 0.58 100 -03 -01 -09 16 00 -07 02 -05 06 17 0.73 101 07 -06 -06 08 06 07 02 -05 02 06 0.18 102 27 11 11 01 07 13 06 13 03 15 0.22 103 03 -01| -03 02 Oil 00 -08 -05 -07 06 0.66 102+ -07 -11 -19 01 -03 -09 -02 -08 -06 Oil 0.92 105 -11 -06 03 -01 05 00 02 01 02 00 0.26 106 -10 -10 -02 -13 -02 13 -02 -10 00 -09 0.18 107 20 l+U 13 10 05 lk 0i| 29 11 10 0.26 108 03 16 1U 16 07 12 02 08 03 -05 0.15 109 03 -12 -11 -17 03 06 07 -28 03 03 0.83 no 06 08 05 08 00 19 -06 15 -10 0.19 111 05 02 -o5 25 07 02 02 -01 08 12 0.66 112 17 25 01| 13 -01 09 13 27 00 05 0. Ill California Test of Mental Maturity I.Q. d|IYes" responses were scored "one" and "no" responses were scored "zero." UJ O' ro APPENDIX B-2— Continued Item 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 113 -12 -07 19 14 -06 -08 -11 04 12 01 -05 20 -07 06 04 06 114 03 14 -03 01 01 -04 -06 04 12 20 00 05 -05 -12 12 -13 115 -02 02 -02 09 -12 -13 -07 04 11 00 -11 18 -18 -06 -03 -0i| 116 00 12 06 11 19 -05 -02 03 -14 -02 13 -02 12 -01 Ok -06 u 7 10 -08 -02 06 14 04 14 00 -02 -03 06 01 03 08 -06 -03 118 -10 02 03 -02 09 02 -12 05 00 08 -11 -02 -06 -04 14 02 119 -06 02 09 01 02 -06 02 03 06 04 -18 16 -Ok 00 -02 -01 120 -11 -01 01 08 -01 12 00 21 09 12 10 11 -06 -15 -02 -02 121 05 15 -08 10 15 01 07 04 09 06 05 -05 13 00 -04 -03 122 07 05 00 06 19 04 00 -0i| 00 00 14 -09 27 -12 13 04 APPENDIX B-2— Continued Item 17 18 19 20 21 22 23 21+ 25 26 27 28 29 30 31 32 113 “21+ 02 02 Ok 28 02 -01 16 Oil 06 “07 “07 Oil 12 -06 12 HU “l i l -01+ l i l 06 22 17 05 28 00 03 09 -01 -01+ 09 -08 -01 115 -21 02 “03 07 20 06 08 05 -05 “03 -11 -02 -01+ 00 -06 00 116 ok 03 16 12 -02 18 00 02 -01 “07 -01 01 06 19 -10 13 n 7 05 -02 “03 l il 09 -05 09 13 02 “03 -02 “03 11 05 06 09 118 -06 -06 “17 -11 01+ 20 10 -02 03 03 -01 Oil 08 00 -02 -01+ 119 -01+ Ok 00 09 19 Ok -11 lil 07 -Ok -12 -01+ 00 -01 10 120 -10 06 06 08 21+ 08 08 19 -03 03 05 -02 02 “03 -11+ 01 121 -Ok 10 00 -01+ 02 02 05 03 -06 06 00 -10 00 08 03 08 122 oS 01 01+ 21 01 00 -111 Oil 05 15 06 -05 05 07 -01+ 09 K jJ o - p- APPENDIX B-2— Continued Item 33 31* 35 36 37 38 39 i |0 1 * 1 1 * 2 i|3 1 *1 * 1*5 1 * 6 1*7 i| 8 113 05 00 Oil 15 05 06 07 -0i | Ok 22 -08 -07 -12 00 -09 -07 n i 00 -08 oil 19 17 00 07 -07 05 35 -11 -17 00 -02 -Ok 01 115 03 01 -03 -02 02 00 09 00 07 21 -12 -03 -03 -10 -08 -lk 116 12 -03 02 Oil 11 -16 -03 -11 -11 1 1 * 06 -20 Oil -09 16 08 117 06 06 07 12 08 -09 07 -02 02 -01 03 -15 10 06 07 00 lift . 02 -03 02 15 02 16 12 Oil 17 13 -02 -03 -06 -01 -02 05 119 -03 -12 00 10 -01 06 07 07 -05 07 01 09 -08 -10 -11 -lk 120 17 -08 21 05 17 -12 02 -16 -01 16 -1 1 * -30 03 -01 lil 06 121 13 05 01 10 -Ok 00 l i l -Ok -lil -01 Oi| -11 00 -06 16 12 122 Oil 08 01 06 26 -09 -13 -06 00 21 07 13 -02 03 08 -10 VjJ O' vn APPENDIX B-2— Continued Item 49 50 51 52 53 54 1 55 56 57 58 59 60 61 62 63 64 113 21 00 -06 16 04 27 06 08 22 -06 -08 02 -03 10 12 12 114 20 -06 12 03 -03 12 08 -03 24 00 -12 03 -14 -02 06 03 115 11 -09 01 11 -07 10 -03 04 02 03 -10 -01 00 -04 11 -04 116 05 -04 -02 -10 -08 03 13 -01 05 -04 -°h 02 -02 -24 24 -03 n l 11 00 -03 03 -02 -02 02 -09 02 11 -08 06 06 -04 -09 11 118 11 09 -10 02 -08 08 16 -°7 -01 06 04 14 02 09 02 01 119 24 06 01 13 09 06 05 08 -03 01 05 05 03 12 05 -05 120 01 -08 08 06 -20 07 09 -10 02 00 -08 04 -10 -19 22 00 121 -01 -02 15 00 11 -04 -11 08 -10 -02 00 05 11 02 09 -02 122 -02 00 01 -09 18 09 -01 -01| 10 10 -14 07 00 04 17 -04 O' O' APPENDIX B-2 Continued Item 65 66 67 68 69 70 71 72 73 7k 75 76 77 78 79 80 113 -09 02 -03 00 03 02 03 27 -0i| 06 01 10 -02 05 00 -02 nil Oil 02 01 00 06 -06 15 10 -09 01 23 13 -13 16 -05 01 115 -02 -02 -07 -07 10 -02 -02 31 -16 -0i| -01 Oil -07 09 02 -01 116 -01 ik 03 05 Oil 03 -03 00 -03 00 16 09 -03 lil -10 09 n l 08 16 02 09 -05 09 -02 -08 -02 07 06 20 Oil l i l Oil -03 118 02 08 -07 12 09 “03 13 10 -0i| -06 05 07 -12 -05 03 05 119 -03 -Ok 05 08 12 -03 -05 23 -05 08 03 01 -03 °{* 15 -11 120 -09 06 -16 -10 07 -02 07 17 -30 01 07 23 06 28 -07 121 07 13 06 08 03 06 05 03 Ok 12 11 -Oi| 10 00 07 08 122 17 11 16 07 -0i| 01 -08 -10 06 13 09 -12 01 -08 Oil -05 O' -0 APPENDIX B-2--Continued Item 81 82 83 81+ 85 86 87 88 89 90 91 92 93 9l| 95 96 113 03 -01 00 -17 -01| 05 07 05 07 -09 08 20 -06 05 13 08 Ilk 08 -o$ 08 -Oil -03 08 02 -01 20 -02 13 20 -09 Oil -03 11 11$ 07 -01| -16 -11+ -16 08 05 01 13 -22 °7 01 -01 02 Oil Ok 116 13 1 1 + 00 10 10 11 -03 -Oil 17 01 18 10 09 -09 -01 05 n I 03 18 10 15 03 08 02 Oil -13 -08 05 03 -02 -01 -01 08 118 02 03 00 -08 -01| -08 05 01 06 -01 -01 00 -07 06 12 Ok 119 08 -05 -05 -01| -11+ 00 -01 02 -06 -09 -01| 05 Oil -03 06 06 120 16 02 01 -03 03 07 07 1 1 + 15 -08 13 13 01 02 07 16 121 10 11 09 1 1 + -02 03 Oil 10 00 08 06 02 07 -09 -06 -01 122 -10 08 21 13 00 02 -11 12 -01 06 03 03 -05 00 02 -06 V jJ O' CD APPENDIX B-2— Continued Item 97 98 99 100 101 102 103 10k 10£ 106 107 108 109 110 111 112 113 -01 -01 -21 -03 07 27 03 -06 -11 -10 20 03 03 06 05 17 Ilk -06 08 ok -01 -06 11 -0i| -11 -06 -10 kk 16 -12 08 02 25 115 -09 -ok -30 -09 -06 01 -03 -19 03 -02 13 -11 05 -05 Oil 116 16 30 -08 16 08 07 02 01 -01 “13 10 16 -17 08 25 13 n 7 16 18 06 00 06 13 0i| “03 05 -02 05 07 03 00 07 -01 118 -ou 0k -06 -07 07 06 00 -09 00 13 Ik 12 -06 19 02 09 119 -07 -0k iS -11 02 02 13 -08 -02 02 -02 Oil 02 °I -06 02 13 120 01 -10 -05 -05 03 -05 -08 01 -10 29 08 -28 15 -01 27 121 ok 18 08 06 02 15 -07 -06 02 00 11 03 03 0i| 08 00 122 -07 Ik 03 17 -06 -02 06 Oil 00 -09 10 “05 03 -10 12 05 V jO O ' sO APPENDIX B-2— Continued Item 113 nil 115 116 117 118 119 120 121 122° Meand 113 16 16 03 Oil 09 31 08 00 02 0.29 Ui| 16 08 10 Oil 20 -03 20 08 06 0.32 115 16 08 -02 -07 06 22 15 06 -12 0.19 116 03 10 -02 00 0i| 03 16 13 21 0.30 n Z 0i| 0i| -07 00 -0i| 02 12 02 05 0.56 118 09 20 06 0i| -Oil 10 03 09 -Ok 0.57 119 31 -03 22 03 02 10 00 02 -05 0.36 120 08 20 15 16 12 03 00 08 0i| 0.05 121 00 08 06 13 02 09 02 08 03 0.29 122 02 06 -12 21 05 -0i| -05 0i| 03 i | .88 CCalifornia Test of Mental Maturity I.Q. d,,Yes" responses were scored "one" and MnoH responses were scored l f zero." APPENDIX B-3 Intercorrelations of Temperament Inventory Itemsa»^ Girls* Sample Item 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 1 15 -15 01 17 10 08 -07 01 -03 27 -02 14 00 03 05 2 15 07 17 16 10 -05 03 00 06 -03 08 22 -09 16 08 3 -15 07 01 -01 -02 02 09 -05 06 -01 -17 11 12 09 04 4 01 17 01 -04 03 -01 00 -02 -06 06 03 03 13 03 -02 5 17 16 -01 -04 -02 07 01 19 -10 21 02 16 01 20 23 6 10 10 -02 03 -02 -05 -01 02 -01 14 08 06 08 12 11 7 08 -05 02 -01 07 -05 02 02 -15 17 00 03 06 10 Ok 8 -07 03 09 00 01 -01 02 03 25 02 -04 01 -11 06 9 01 00 -05 -02 19 02 02 03 04 -02 09 08 -06 02 07 10 -03 06 06 -06 -10 -01 -15 25 04 -14 -06 -01 -21 -07 00 11 27 -03 -01 07 21 17 02 -02 -lk -04 18 13 12 03 12 -02 08 -17 03 02 08 00 -04 09 -06 -°k -12 03 -01 -06 13 22 11 03 16 06 03 07 08 -01 18 -12 05 17 20 14 00 -09 12 13 01 08 06 01 -06 -21 13 03 05 09 02 15 03 16 09 03 20 12 10 -11 02 -07 12 -01 17 09 17 16 05 08 04 -02 23 11 04 06 07 00 03 -06 20 02 17 aAll decimal points have been omitted. ^Correlations are phi coefficient. 1 2 3 ii 6 7 8 9 10 11 12 13 15 16 APPENDIX B-3— Continued 17 18 19 20 21 22 23 2l| 25 26 27 28 29 21 -02 -05 Oil -07 11 -06 02 20 -02 07 06 05 01| 05 01 09 13 -02 06 -02 -01 -03 10 07 16 -07 -07 01 01 10 11 12 -01| 00 10 02 111 03 -03 -10 10 13 02 00 08 05 -10 -06 12 05 05 11 13 -16 Oil 03 -08 06 03 21 15 12 09 09 10 08 -111 -02 12 -05 00 -03 19 06 05 00 -09 09 -01 -06 -02 -03 -02 11 01 19 05 -02 10 -Oil 02 -07 12 01 05 Oil 07 13 Oil 02 -03 01 03 -11 oil -0i| 08 08 -06 13 -03 Ok Oil 16 -01 17 -05 00 27 08 ill “01 . -12 09 -15 -02 18 07 06 3b 07 -111 05 - l l -Oil 20 01 31 05 -02 11 -Ol| 01 02 00 01| -05 -07 -09 02 10 05 -06 -08 -02 13 01 -10 05 n -06 13 01| 10 18 Oil 09 01 13 16 -111 -06 -09 -02 06 02 2l| 05 -06 08 03 12 06 -10 -01 02 -02 10 01 23 05 06 09 10 14 -09 13 Ol| -01 10 -111 06 20 10 03 07 Item 1 2 3 6 7 8 9 10 11 12 13 ' lk 15 16 APPENDIX B-3--Cont inued 33 3k 35 36 37 38 39 1|0 111 b2 k3 1 | 1 | U5 1|6 13 06 -06 -15 Oil Oil -02 -03 -11 -03 ill Oil 07 06 12 -02 03 09 07 -10 00 02 10 01 10 12 02 08 01 -09 -09 09 01 08 -05 1 11 01 -02 -02 -08 02 11 11 -05 06 Ok 23 -12 10 -15 12 26 -12 -09 08 17 05 07 05 16 05 08 01 18 03 01 12 12 14 -05 -09 Oil 06 01 -Oil 09 11 16 oil -Oil 25 09 Oil -01 02 02 Oil -03 -16 09 13 05 07 -07 13 01 08 02 -06 08 29 -03 10 02 17 02 01| 05 -03 02 -12 08 03 -09 13 07 111 -01 02 00 01| 05 08 06 09 01 03 -05 111 05 10 -01 12 oil 07 4 -06 01| -02 13 02 111 -03 -13 03 -03 -06 11 -07 -08 30 07 27 -11 02 00 03 16 -05 -01| 11 -03 01 -07 06 11 00 15 12 05 08 07 16 -01| 01 oil 03 -Oil 17 06 111 -03 -01 18 -01| 03 -11 19 10 11 05 -09 10 01 12 03 07 06 01 21 10 -03 -01| 111 00 11 27 111 111 Oh 03 -05 09 12 09 02 11 20 10 -02 09 23 111 26 -3- o_=j-o_3-v0 j-o v O o o o o o o o o o o o o o o o o II III II A -it\lc\|rO (\|rO vO O ca [^O sO vO O lO O vD ‘ O O O " — <0>— •O O '-H O O O '-t'-H III I OJ _0 --i _0 \A - C t- d - A lA - H t'-c O 'lA O A P - C O vO *-• O O O C M — <0 0 0 0 —i O O ' - f O ' - l I III —• C M irv lA v O ■ — i C M I A O vO h o _ r t-O r^ v O so '-I o O O O — t O O O J O C \J O -< C M o o II I I I I II O C O v O t'Olryr-H O J (M'J5lr\ O J C'-O C '— ’ -'CO O J sO O O O O ' - t O O O O O ' - l O O ^ O ' - H I III I 0s u\ r~-co _ogo oj_oa_c}-vOvOco c-^iaoco 1 A ' - H O O O O O O O O ' - H O O O O ' - ' O III II o Q > 3 c •rH +-> c 0 CJ 1 I A I cq X OO c * — U \U M _r\ [■— I A M3 M3 *A O O O O O O O O O O O O O O O O III I II 0- f-U\0O cO C M G O A-cJ’C'-OJ O v O A A ia o o o o o o o o — l o o o o o ' - t — i I I vO A~* O J O O.cf'lA'-c C M A — ' O A A IA o^-io'-iooooo'-coooooo I I I I I I 1A -M " C M O C M 1 — i C '— O A — I C O JA o O O —• o O O O O O o O o O O o I I III w a. a, c -M" o c o O iA C O I A O 'J ) 0- — • O J ^ - i cm A T A IA —l O O O O o O O O —I O O - C O O O I I I I A o AA-^f-— '1 1A O J _cJ-0 ^j-^tTAcX) CAIAIA 1 A C M O O O —C—f O O O O ’- ' O O O —<CM II II I O J 1AJ) 0 ^ 4 - 0 O H iM O 'C O cO H lA O 'O IA O O O O O O O O Q O O Q O O — <o I I I I I I I I I o r—— i — c vO j - o j o j i A s o [ v - o a o o 1 A • - • O O ' - c —• O O O O O O o —c O O ' - c I I O O l A O O - J l A O l H v O v O O v O J - H ^ J - I A O J O O ' - C ' — ' ' — l O O O O ' - ' O ' - i O ' - c O J I I I I I o 'l a o - a m d o —ten — c ^ j- o j r - o jv o x A O J O'-cOO—Cr-tO-—cO»-<Oi—i^HO'—c * -1 I s 0 ) -c OJ A J - ^ A v O C — CO O O C M A -C tA M D Item 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 APPENDIX B-3— Continued 65 66 67 68 69 70 71 72 73 74 75 76 77 05 14 14 -03 -09 15 -06 -07 14 18 09 00 11 12 04 -07 03 00 04 -12 -09 -01 24 21 -05 10 07 02 -02 05 -0 1 | -08 02 -06 -04 -06 03 02 -18 02 09 -07 04 -Oil 05 12 -01 -15 -05 12 09 -11 08 13 07 13 03 15 -09 -08 03 19 18 -05 15 -05 -06 19 05 01 08 -01 -11 08 08 01 -06 04 -05 02 10 -01 -Oil -01 11 08 -02 14 00 -05 -Oi| 11 11 -12 04 11 -02 -01 04 -01 -01 12 04 01 -13 02 -02 -09 00 11 -Oi| 05 -12 -01 05 -05 -01 06 03 -17 -03 27 -03 -05 13 -01 -18 02 02 -07 19 20 15 07 -Oil 13 -07 -!7 10 25 01 06 09 -07 -07 03 07 -02 -06 04 o8 08 10 03 -03 08 -01 23 09 -02 08 20 -11 -09 -01 19 18 02 01 -03 02 19 18 -07 09 09 -03 02 07 09 -02 06 13 10 04 20 01 11 06 -11 00 24 03 00 01 06 05 18 10 02 -17 09 00 22 18 -06 08 N O rH o C \J J-rOU\(\l r^vO f~\O0O C\jrO[^n O' • - H O O O O O O O ' - t O ' - H O O O O O I I 376 l a O 'O H j - r w o o o i r \ i A ( \ i CA O —(—( O O O O O O O O O O O O O III II I -c t v O o O lA O '-d ’f O J ’O J ’J ’^ ’^ O ' O ^ 0 s OJ C D O — ( C D H O » — i C D ’ — ( ’ — I C D ’ — ( O C D * — ( II I I I <A cvj^ v O 'O '- ' O ' (A CO fACO C\J OJ OJ CA OJ <A (A 1 — i o '— * O — * O 1 — • O O O 1 — ( '— 1 '— * O '— * '— • I I I OJ t M O c O f O N l A O ' O ' J t O O ^ N O ' M O 0 's *— i O O CD H CD *H r-H CD O CD CD CD I t i l l I o o < a v o no — i o j c a la ca < — i — < o j j - _ r t — t C A O O O O O O O O O O O O O O O r H I I I II XJ f t ) 7 3 e a 0 u 1 I (A I m a w CL, CL, <a; o CA ca CO CO CO r- co vO GO LA CO C"-aO vO A h - O H cAvO LA^O v O CA O CO LA O O O O O —( —( O O O O O O O O O I I I CA-Ct-OJ OJ z t c o — i LA OJ (ALA CA — t <A — ( —( O O J O - ^ O O O - H O J —( O O O — ( O I III II III 0— LA —i C—CO A- OJ — ( o — t — < vO LA (A vO CO O—iOOOOOO—(0 0 0 —10—<o II III OJ sO OJ (A O O (A OJ OJ O O • — ( —( O O O O O —1 0 0 —1 0 0 0 —(O I —( LA co O -CJ'OJ — 1 _=WD o N O [>-OJ — ( — ( rA O O O O O q O O O —( O O O O C V l'-H II I II h h o i AOJ CALA-zJ-OJgO < — ( LA ( A-LA O J O O O O J o —( O O O L A O —( —< 0 0 I I I -=J- CACO vO — < -ci'vO n O -c tc o O LA OJcO CO CO —( O O —(•“' O O O O —(OJO^H—( —I—( I I I I I <A — ( vO O J LA C L J A-IA-v O (ALA C A — ( LA--i LA CO ^h O J ^ O O J w O O O O —( O O J O fAO I I OJ OJCO C A — ' -=J-— ( — ( (ALA OJ LA CA C A LA LACO CO —( O O O ' - ' O O O —i —(—( O O O —i —I I I I I I I CACAO C —O — iv£)vO (A CACO -C fO OJ — ( vO CO O O O O —<—( O O O O O O O O O O I I I B 0) +-> — ( OJ (A J-LAMD A-CO CAO — ( OJ (A_CfLA'£) APPENDIX B-3— Continued Item 97 98 99 100 101 102 103 10i| 105 106 107 108 109 110 111 112 1 18 16 12 22 02 -02 0 ] ' 10 09 -Oil -10 -03 00 -01 08 -Oi| 2 05 17 -07 19 16 01 17 06 06 -06 -07 Oil 13 -08 25 15 3 -06 11 06 03 00 06 01 -03 -Oi| 10 00 01 10 02 06 05 k 09 05 -05 08 10 02 -08 -0i| -09 -07 19 -06 -11 02 15 5 20 2i| 10 13 16 09 06 10 15 03 06 02 11 06 08 U 6 17 01 -Oil 17 -09 -08 19 23 06 10 -09 -06 17 01 11 -09 7 17 02 Oil 09 09 03 -12 12 06 02 11 -0i| Oil Oi| 01 03 8 13 06 08 -07 12 00 11 -li| -03 02 12 10 ok 12 -02 07 9 11 -0i| -10 -11 06 02 -08 -03 -06 -08 12 00 -08 01 01 22 10 -11 10 Oil -13 Oi| 17 05 -15 -111 -01 11 07 “07 -08 07 Ik 11 25 22 14 05 07 -03 09 17 13 06 -15 -05 08 09 lii -12 12 09 05 00 -05 05 07 01 01| -01 -03 -01 -06 07 -10 00 06 13 15 10 06 13 05 -02 19 10 Oil 02 -07 06 07 06 11 Ok ill 21 -Ok 03 08 03 -12 -08 Oil -01 07 -Oi| -09 07 03 -10 -06 15 ih 08 -01 11 09 07 16 19 05 -02 -09 01 03 °k 20 13 16 05 11 06 21 0i| 07 11 20 13 -05 -10 -01 13 08 02 09 V jJ - > a APPENDIX B-3— Continued Item 113 111* 115 116 117 1 IB 119 120 121 122c Meand 1 01 -02 -03 09 -07 02 02 -06 18 23 0.1 + 6 2 01 -01 0 1+ 11 01 02 -02 11 -03 16 0.29 3 00 05 0 1 + 00 08 05 01 -0 1 + -01 1 1 + 0.25 1 + 08 16 -Ok 12 -05 09 -02 Ok 08 05 0.71+ 5 -06 -01 -08 11 n 03 02 06 01 29 0.57 6 -06 01 -11 03 08 -11 02 -07 07 07 0.1+9 7 07 -02 06 06 -10 -02 -01 -03 07 10 0.17 8 12 03 01 11 02 07 -02 -02 -01 -03 0.07 9 07 16 02 -07 10 -10 03 21 -03 00 0.10 10 1 1 + 09 09 09 01 12 11 -03 01+ 01 0.1k 11 -13 -09 -10 13 05 -10 -06 -05 21+ 0.36 12 05 13 01 -02 06 -10 02 20 05 -02 0.11 13 -06 03 -05 08 11 05 01 01+ -08 25 0.75 1 1 + -05 11+ 02 03 00 06 06 01+ -06 -06 0.79 15 01 -02 -03 07 05 00 09 -07 01 27 0.51 + 16 -01+ 00 03 10 13 01 11 01+ -06 19 0.77 GCalifornia Test of Mental Maturity I.Q. , r Yes" responses were scored "one" and "no” responses were scored "zero." K jJ -o CD o jo jv jjr o r o r o r o r o r o r o r o r o r o i— • — t — ro o v o ao— o o u tO ^ o j w h o v O go— o i itii o o > - * o o o o r o o o t - o o o o r o a ^ v o o ^ v jro — ooj o ro o o4=-vjrro t — i i i i i o o t —h-Oh- O O O O O i—O O O O ro o o o n — o o o j » -* o j o r o o o '-o i— vn.-fr- i i i OOOOH-'Oi— *oo>— ‘ oj o - o o j4= " ro o H--P* ro i i o o o o O ► - * i-*— 0— 0 II II II 00000i-*0»— OOOOi-*»— t-*o o — o ro vji vnro o o v n c o o r o o j o ooj i i o o o o o h - * H - * r o o o o o o i — *»— •(— • ^ ^ ^ ^ 0 vD ro \JT *- OJ 0 s CDOj4=~ C T 'O J ► - * I o I I I I I * » — O O O O t— O O O I — 1 O H O m — 04="oj ovn .cr— ooj o v r r o ro4=" cdo i i o o r o o t —o o i —o 4= " ooj4=" o ro on.'-o <- i i i i i o o o o o o ro o j ro 0 s i — vo i i i i— O ^ O O O O O * — O O O O t— o o ro c d 4="oj • — oj ro4^oj-o4="Ori— ro— 3 ro i O O O t — O j — o o — o i i i i i i O t — O O O r—O O O O O * — *-* 0'4='4=_O J OJ O' C D C D 4 = "4 = ” i — I II II o i- > o o o i - * o t - > o i - » O h - » o r o o o ro o — o cDfo v jt v d ro ►-4='cd— o o v jt i i i i i *-*ro*-*o> — o o o j o r o o h o h o o > 4 3 o 04=" ► —ro'JTi— ► - o4=M V jt4= "— 0 4= I III III O l — I - * 0 0 0 0 » - ‘ 0 0 0 0 0 0 0 0 v j r r o 4 = T o c d o v j t o r o v o —o v jt4=" o r o ■ — i i i 0 0 0 0 0 0 » - , i - * 0 H - , 0 t - “ 0 i - * 0 t - * i— —o V jt t— v D 4 = " c d o 4 = * o j o t— V jt o * - o j i i i i i i » —oroooooroooooo»-K->- - 0 C D O O o C D O ' C D -F T O C M O vO 0 '4 = " O 'O j i i i o o o o o o r o * - * o > —o o o i —o t — oj o — o vo ovjtoj4=" •—ororot—o o r o i i i 6 Z C i i-*o o o o i —rooi-*i-*oot-*o»-*»— C D fO t — — O O J O O 04=" O *-4="0J v 04=" o * - < c + C O 3 * - * ro OJ 4= " vn o -0 CD vO V - * O i — * t — ■ » — ro i - * OJ t — 4=" » — • vjt o APPENDIX B-3— Continued APPENDIX B-V-Continued O J f'— OJ OJ OJ — < CO O C — —< 0 1 - 0 — < o - c o r O O O O O O O O O - ' - ' O O O O O I I I 380 O r O —IIA C M H r O t '- O I A C '- O J r o r o CO ro ~< o -» O O O O O o o o o o o I I I I I I o c ^ - r o X f \ o j r o t r y h h h h o c j c o r o c*~ r o O O O O O O O —' O J O O O O 0 0 I I I 0 r o t ^ . d - I A s O C "-O J O l o o r o r o f - CO r o —< O J O O O - t O O O O O O O O 0 0 0 I till I GO v£) f - ^ j - o _ c f - 0 - O J —• O J O— — < f - O J O J I A OJ O O - t - i O —I O O O O O O O O O I 0 - 1T\ t" - - Z tO J O v£> —' r o O J _ c J - H f O O h - O ' OJ O O O O O O —* 0 —1 0 0 0 0 0 0 I III I vO OJ r o r—OJ OJ rO vO — H O _=}• 0- r o — 1 U \ -* OJ — <0 0 0 0 0 0 —• —I 0 0 0 0 0 —< I III I 1 0 —« _= K O OJ -< r o OJ U \ OJ O J 0 0 — I o c>- OJ O J —< —< O O O —I O —< —< O O O J —< —< II I II _Gf O r ' - o r O O ' O j ' oj 1-1 r o —1 OJ —< C — —' O J —< rH r-H O O O —< O —< O O O —I O O I I I I I III r o o j I ro _ = J- J r O ' O *-< O J O J —< r O O OJ o O O O —t o —i r - i 0 « - * 0 0 0 0 0 II III OJ I A J - h . c j - o _=}--0 —< I>- 0 - 1 - 0 —1 CO OJ O O O O O O O O O o —I O O O O II I I I I I II OJ r o O — * 0 r o O OJ o j o _;j-vO rO OJ — < OJ 0 0 0 —< o —1 0 0 0 0 0 0 0 0 0 III I O vO O J O —< -=J- —i r o c o OJ o j o i a O J 1 0 OJ oj O «-< — < —l O o O O O o * — 1—1 0 0 0 I I III I o vO oo^iAOj-f'j-j-j'ir\HOi —< H 1 —I O CD O H H O Q H CD O 1 —I O I I I III III CO 0 s s o OJ c O - = t —< C — —I r O f . - C ' - t '- . r o r o O J O —< r - i 0 0 0 T - < r H 0 0 0 0 0 0 0 I I I I I I O — t v O O J l O O J O v O tM'LO'-O r o O-vO o - O —t O O O o —<OJ—' O O O O —< 0 I I I E 0 7 ■U O -C O o O —1 OJ rO -G fL O '-O C— GO 0 s O —' OJ —' —< —< OJ O J O J o j OJ O J O J O J O J OJ r o r o r o APPENDIX B-3— Continued Item 33 31+ 35 36 37 38 39 1+0 1+1 1+2 1+3 1 + 1 + 1+5 1+6 1+7 1+8 -12 11 11 -01 -11+ 12 13 23 -06 -23 16 31 26 -01 10 23 18 -02 08 -01 -01+ -11 06 02 21 02 -12 21+ 10 15 -01 -02 11 19 °7 -03 01+ 02 13 -11+ -01 -12 00 22 -22 -08 00 01+ 03 00 20 18 -01+ 03 -08 20 -12 -08 -Ok 09 ib -08 00 -07 11 00 -17 21 06 -06 07 28 06 02 12 -06 11+ 16 -07 03 12 10 -06 -02 22 -08 -17 10 -11 -02 05 -11 08 01 08 -06 -11 01 01+ -05 -01 23 -07 03 17 12 07 01+ -05 00 06 08 00 -15 22 01 13 10 21+ 06 -01 00 -01+ 15 01 00 11 -09 01+ -02 -02 05 02 -01+ 03 25 -02 12 03 -03 -12 01 18 27 00 -21 27 12 25 03 22 22 26 -06 17 01 17 -07 06 02 09 15 -09 20 36 08 03 07 03 21 06 -05 00 11 11 -10 17 03 07 -02 08 06 02 01 -05 -02 28 05 06 09 05 -02 -01+ 01+ 16 10 10 05 05 12 -08 00 18 29 13 02 07 12 22 -05 00 05 07 13 -03 12 -lk 09 -09 -08 30 01 02 07 -03 -08 05 Ok oi+ 07 -01 12 06 06 05 01+ -Ok 31 -07 03 -10 -01 -05 11 -06 01+ -11 -18 1 1+ 20 10 -13 -11 lS 32 00 12 -02 07 01 -03 -01 i l + 1 1+ -09 01+ 17 12 05 11 + 07 CS -3 - o t o o j . ^ t u t r ' - o ^ -* c o c o o j v o t o r o sO OJ O O O O O O O O O o o —• o o •-« I I I I I 382 co iah h cy o r f>u\a'nso4- J -H <>o o' vO O O O O O O O O O O O —KMOH-t I I CM —* _ = ttO —• O J a O C O 'O —• 0<V=f_=l-OJ OJCO O - vO OJ—t O O O O O O C M C M O O O O O O till II ao v O o o o o — 1 o i A _ j - H o j o j o o o v O 0 -0 0 vO —* —* O O O O O O r O O O O O —* —l O II I I I I O C \J O JO |(\Ja O O IO JO I— *aO 0 s C^-r~, aO _rJCO vO — • —l O O O O O O —* o O —* 0 0 0 —• III I O v O l r \0\0 C'~rr \ r r l H l A c o O J - O ' r r \0 O vO t O f\J—« —1 0 0 0 0 0 —1 0 —' 0 0 0 —*0 I I •a 0> 3 c •H •+J c o 0 1 I CO I CQ X —i p s w a, a. c CO r o —* —* —« C O O OJ OJ 0 - _ 3 * 0 - C fO 1-0 0 0 — t O O O O O —* 0 0 0 0 0 0 0 I II I r - O ' W N O O I^ -tO tO tO v O rO O J r O O _rJ-OJ t o O O O O r o o —1 0 —1 0 O O O —* o o I I I I vO O -O JcO t— r o o — * v O tO — 1 r O r O 1 -* r— — * O t o 0 0 0 0 0 0 0 0 0 —* 0 0 0 0 0 0 I I I I I t o tT\ CM C\J sO OJ —* vO _3*tO O —I t o CM CM t o t o 0 0 —t O O O O O O —l O O O O O O I I III I III -CJ- t o o -Z j-O r~-C— C M r~ * CO C M — 1 _rfC\J OJ r o [— t o o —* o —*—* o —* 0 0 0 0 0 0 0 0 0 II I II II ro C O C O O — O — * v O — * roO C O IO C O ro — * 0 1 0 to OJO— I— *OOOOC\J-*OOOC\JOO I I I I OJ CM CO O -vO OJ vJD _cJ-tA oj t o O O O O - H O O O O O O O O O O O I II I I I I I I I —* -ctvO C"- CO C — r o — < -zj- — 1 • O 03 t o O J O O O O O O O C M O O —t o o —* 0 I I O co tl O O J a o v O tO O J I O O C V J r o a o t o —l O O O O O O O —* 0 1 0 0 0 —* —*—* I I I I O c o -zt'-^t’ tO -c Jc O vO o j r o c x j t o o r o r - r o c o - C } - O o o o —* o o o -* o o —* o o o o II I I I s a> t " —oo 0 0 —* oj ro-cftOvO D —ao 00 —* oj — * — * — * OJ OJ C\J CM OJ OJ CvJ C\J CvJ OJ ro ro ro I APPENDIX B-V—Continued 1 tern 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 60 17 11 10 21 17 18 09 -05 “17 11 28 17 07 09 “°7 14 -06 18 00 -02 10 13 02 03 “03 -07 14 09 02 -21 08 -08 -01 -07 19 00 07 -15 -05 00 -04 10 02 00 “13 07 14 -08 05 00 -06 20 16 -04 -02 09 00 -02 -05 12 08 10 “03 04 06 -08 06 03 21 -12 02 -01 04 14 -Ok 15 15 -11 -01 05 -04 °7 12 05 12 22 08 08 02 06 15 -18 01 -08 00 -02 -01 14 -08 -01 00 05 23 -06 01 08 09 01 07 05 -08 09 09 11 -04 11 -09 -02 p ji 16 08 03 -07 02 -01 06 03 -06 -06 07 03 07 -01 06 07 25 -06 10 20 15 04 10 11 02 18 22 04 -Ok 10 -18 14 07 26 06 09 13 24 04 19 -06 -06 04 20 -04 -06 00 -08 13 00 2I -01 -Oh -02 05 03 07 -07 “05 03 -05 05 03 05 10 -01 01 28 10 06 00 14 20 -01 00 -02 09 14 -06 08 -01 02 03 “03 29 01 -01 “13 07 00 11 -09 “13 05 02 03 “07 03 05 09 -02 30 03 00 14 09 01 01 04 01 04 12 15 -01 02 “03 10 15 31 “03 09 12 -04 03 02 -02 00 10 00 05 03 14 -16 04 -02 32 12 -06 -06 15 -03 04 07 15 08 08 18 04 04 01 00 08 V jO CD VjJ Item a 19 20 21 22 23 2( * 25 26 27 28 29 30 31 32 APPENDIX B-3--Continued 81 82 83 84 85 86 87 88 89 90 91 92 93 94 03 26 05 22 24 -03 15 10 -31 16 12 -14 20 -08 10 05 01 12 13 -07 -05 13 03 16 -14 -06 01 -08 01 -01 -08 -06 -10 05 04 06 23 -10 17 17 -01 14 05 07 00 07 06 08 -17 05 10 -08 13 16 -08 01 09 -07 06 -12 -09 02 00 -07 15 -04 10 19 “03 10 04 07 02 10 02 09 03 -08 -03 01 03 “13 04 -01 01 -09 -04 06 09 09 05 -07 -01 12 16 10 07 00 06 -02 13 -08 -08 02 04 03 00 -06 07 13 02 05 16 01 07 18 30 08 10 12 -11 07 -04 -Ok 18 “03 ■01| 12 22 15 07 03 06 08 -06 09 -01 05 15 -16 03 01 06 00 11 00 15 03 04 09 01 05 “03 01 01 -05 11 12 02 05 03 12 09 -07 “03 08 03 00 02 -02 09 10 -17 09 -05 -01 08 -01 -01 03 02 “03 00 02 -02 13 -01 -05 04 “03 09 09 “07 04 05 04 ll 08 05 00 -07 06 11 -12 13 05 -09 -05 -18 04 08 14 10 18 12 16 -15 “03 02 14 02 01 -06 APPENDIX B-3— g9fltl.nUg.ri Item 97 98 99 100 101 102 103 101*. 105 106 107 108 109 110 111 112 2 1 + 00 22 07 18 05 -05 11 06 19 -05 -02 -11+ -06 20 -08 20 03 03 21 02 -02 -16 01 22 -ok 01 -01 07 23 08 03 -01 -01 2i| -01 15 -02 -10 25 1+2 02 11 10 26 15 -01 05 07 27 -01 06 09 -01 28 18 “03 -05 11 29 -09 12 -01 07 30 06 18 15 11+ 31 lit -01* 08 01+ 32 02 13 16 09 05 -01 05 21 20 20 00 06 05 -02 -01+ 09 -01 13 01 -12 -11+ -15 19 05 12 06 -05 -19 00 17 °7 01+ -13 -11 -07 -01 08 -11+ 08 03 -03 03 0 1 + -03 02 00 -05 07 00 -06 03 01 15 03 14 °l 07 11 01 03 23 18 ll 12 06 12 -01 03 08 -08 03 01+ 08 07 05 -03 19 -05 03 05 -06 “13 00 -01 -01 16 -08 01 01+ 01+ 01 lit 12 10 -01 15 00 06 05 03 -11 05 22 12 11 -12 -09 -02 03 01 13 -09 16 01+ -08 00 -01 13 08 02 01+ 01 05 06 13 09 -05 -02 01 05 05 09 -01 -06 -08 01 lit 10 00 06 11+ 02 19 -05 -01 01+ -Ok -05 00 13 15 09 06 -17 -08 02 21 -03 09 06 -02 00 -08 07 08 17 Olt -02 -01+ 00 03 01+ -01+ -03 -01+ -15 20 09 10 11 09 -08 09 -02 -28 06 16 11 08 -15 01+ -07 05 09 01+ -01 u> CD \n APPENDIX B-3— Continued Item 113 Ilk n $ 116 117 118 119 120 121 122° Meand 1 .7 -19 -15 “ 17 03 08 13 00 -09 12 03 0.61| 18 -07 -05 -11 07 -07 02 -02 O il -06 -01 0.71 19 05 06 11 06 OS- 0i| 03 -o s 10 -0i| 0.39 20 13 11 0k °7 11 -11 06 os 09 2S 0.61| 21 16 10 22 08 07 09 -01 -03 02 -08 O.19 22 02 07 08 0 1 4 . 07 08 07 -01 -01 01 0.0i| 23 05 01 08 11 O S IS -Ok -Oil 01 00 0.29 2k -01 21 00 -06 -11 O S -11 -02 06 -01 0.07 25 -02 01 -06 01| 07 01 -Ok -06 02 06 0.1|7 26 -07 -ll| -15 -07 11 -01 08 02 0i| 20 0.92 27 -06 -01 02 07 00 -01 06 21 11 12 0.10 26 05 -05 03 16 01 06 -08 -02 12 1 1 1 0.06 29 “03 12 OS -02 00 -OS -01 11 09 11 0.29 30 09 08 -07 09 -06 -01 -01 -09 -12 -01 0.62 31 -07 -12 -OS -0i| 11 09 02 -19 02 07 O .89 32 -09 -01 -03 09 -0l| 16 03 06 07 10 0.57 CCalifornia Test of Mental Maturity I.Q. ^"Yes" responses were scored "one" and "no" responses were scored "zero." u> CD O' so <AU\ CT't\IO'(\lHOO(M 0'fr»4^)'0 OA O O O h o o h C \ | h q o ( \ ] h C \ J O O I I I 387 IA f - 'O — • — • O c A _ = f.c tO — • O OOCM-• 0 0 -40-*CM-i'-<d00 I I —•CO _ = fc A ~ * C A O H U \ C h O H C \ l c A c A c O CO t 1 o H H • —4 H O CD H C 1 H O CD ^ I I I I rA OJXAcO C^-sO J ' H J - A O C M — • o o o — <0 0 0 0 0 — * o — i o — < o I I I OJ C M O c-AvO 'LA-Cj'— • cA — « C - — vO — • O IA — • C - — O O O —l O O —• O O O O ' H O —< 0 0 I I I I I C M _zJ-fA CA CA cA^O — • O— GO O C — C — — • rA — * O —l O - c O O O —I O O CAO CM —• CM CM II II II I •a < a 3 4-1 c 0 u 1 I rA I PQ rA L A -C jO A O — 1 C M O O —l O - H O —I O O I I _j-CM r A f - O - O O O « - • O O I I II (A f A ( M A f - J - H ( \ I O J - l T \ c O ' O O ' H 0DlT\ OO—tO—<00000000000 I I II CO \O a o O C A o C M C'-CM -3nA rA CM CMcO\A-=f- O - O C M O h O - • O O O O O —1 I O O O I I II C M CM-^J-fAvO O C A 1 A C ^ -f-c A — ICOCMCOCA 0000—< o —l O O O - H O O O O O I I I w tx, a , < M3 —1 J'O'-• vO O-d'^CO O OOOOOO—'-*OOOJOOOOO I I I I U \ I A A - l A s O 1 A C O —1 CO CA —1 C M C M -C fL A cA \A O O O —• O O O - H O O —• —• —• O O O I — • lAMD -M"CACM O "IA CAvO C M CACO O-CM O —I O O O C M — • —• —• —' O J —i O O —t o o I II II I CA — 1 C A O' C A - < C O l A J * ’-1 CM C M c O CM - • 0 - < O O O O O O O —tOOOOO*-HOO II II III C M C M C M CA O ' C — O O C M O h O C M CMcO vO -Zj" —1O O O 0—100-<0-<-«0000 I I I I c A v O x O I A I A - ^ c A c A — I c A ^ f J - r — M3 _=}-C M —i00-<0000—'O-cOOOOO II I I I I e Q ) +-> c A ^ f L A M D 0 - C O 0 s O — • CM C A ^ J " l A v O A- G O cAcAcACAcAcA< ‘ ' .......... APPENDIX B-3— Continued Item 17 18 19 20 21 22 23 21+ 25 26 27 28 29 30 31 32 33 -12 -02 07 18 06 -08 -07 06 -02 -06 06 05 13 01 “07 00 3k 11 08 “03 -Ok -06 -17 03 -01 12 17 -05 06 02 02 03 12 35 11 -01 0 1 + 03 °7 10 17 00 03 01 00 09 07 07 -10 -02 36 -01 -Ok 02 -08 28 -11 12 -01+ -03 17 11 05 12 “03 -01 07 3Z -11+ -11 13 20 06 -02 07 15 -12 -07 11 -02 22 -08 -05 01 38 12 06 -11+ -12 02 05 01+ 01 01 06 -10 -01+ Ok -05 05 11 “03 39 13 02 -01 -08 12 -11 -05 00 18 02 17 00 01+ -06 -01 ko 23 21 -12 -0 1 + -06 08 00 11 27 09 03 16 05 01+ 01+ 11+ 1+1 -06 02 00 09 !l+ 01 06 -09 00 15 07 10 07 07 -11 11+ 1+2 -23 -12 22 16 08 08 01+ -21 -09 -02 10 13 -02 -18 -09 k3 16 2k -22 -08 -07 -06 00 -02 27 20 08 05 -03 12 Ik 01+ 31 10 -08 00 03 -11 -15 -02 12 36 06 05 12 06 20 17 1 + 5 26 15 00 -07 12 01 22 05 25 08 02 12 -11+ 06 10 12 1+6 1+7 -01 -01 0 1 + 11 10 01+ 01 02 03 03 01 -08 09 05 “13 05 10 -02 03 00 -06 -05 13 -01+ 22 07 -05 00 -09 01+ -11 11+ 1+8 23 11 00 -17 -02 -01 10 03 22 03 -02 18 -08 -01+ 18 07 VjJ C O CD _J U - > Uo V jJ UJ cd-j ovnp~UJ ru *- o ^ d oo-j o \ aP"uo i iii tit iii I— i— O O O O O i— 00>— (— O t— o ro ro t-'-P 'co o -J cd* — -j roP- c d i i i i o o o o ru » - o o o o o o o o o 0 ' V n a i o v A o O ' H U ) \ n v D - > ] v o o c d i i i i O O O O O t— > — OOl—O o O O i — p - cd-j cd\jt.o->3 cd-ouj ru— j I-* o P " I I I o o o ru i — ■ o > — * i — 1 o t — * * — o h^DvDio i —p~ cduj • — lu fuvn. o o o t— vD ru i i i i i i OOl— OOOUJO*—0»— UiououjruvD ru o o V n -J o o o i ' jt. - j-j I ii ii o o o o o o r u o i —o ru cr'-'O r u v o o r u a ' o o i i i i i —> I —* O O i —1 ->j ru ruvO-J i —* o i ovn i •ooooo • vo ru ru ooUr i i O o H - * • — 1 o o O'Vn ru uo Ut. ► — i— i-* ru o o o • — ru h-~j K--P' i i o > — I — o o o o V n o o •— -ouo c d OOOOl—OO O'ODOOUl CD I —* I I o o ► — o t— ru uu O'vo ruv-u o i i i t— • — o ru u j t— o o P~ o ru ru ru c d -u o ->j h O O h |U vn o 1 — 4=" o i i i i ru OH O O O O i— ► — o OKtBWOvOPOOO 68C i i i i — o o » — ru»—o t—o o o t —o r u o o iu - J ro ovjo- j -P"v Dvo ro i— vavacd i i OO O h h O O IU h o o i u o o o v o r u v u ru-pro • —- ^ 3 • —roujuo CD04D- i i i i o o o o o t —ruo>—o h - o o o o U o U j U o i— vO I U p - t - - J u , v O - J C D . I I I I t— o o o o o * —o o o o o o o * — uo ro ru o o -P " v o v n o o o cdvaiu i i i i I—OO*— t—Ot—Oi—O O O O O l— i —ujvo oVnv_o i — * — e x ' ruvn. ► —P" o ru c+ CO 3 U J U J v _ o p - U J Vn UJ o - J U o CD U J sD P" O P- i— P- r u p - U J £ P- U l p " ex' p * — 0 p " CD 5> 13 13 W § l— x to I Uo I I n o D c+ *— P 0 (0 a _3- OJ-O S ^ O U \ O O O 4 v0 O 4 ^ ^ v O O O C D C D C D O C D h h * h h h h h h O I I 390 <o ^ NtncoiAvoo'cD'Oocy vO O -H o — • o o o o o o o o o o o o I I I I I I OJ CM <0 (O < 0 vO _dxO - 3 - 1 0 M3 rO vO - z t U \ SO — I o o o *-* O O — ' O — < COOJ OJ o o o I I I II I ■ - 1 1 0 OJ _ 3 -'H CO C M C M r o rO •-< -3 "-3 "OJ CO vO 0 » - < O O C M o o < - < O C M ' - ) ' - H ' - h O O —• I I 1 I II I O J - > - C \ | ( \ J O o o o ( O J - r O h - U M ^ - sO O O O O o O O OJ O o h OJ OJ O o ’- t I I I I I I CO [— C — rO cO '~i t o rO CM vOcO vO O 1-0 C M IA to O O O O — 'O— t— < OO o— IOOO-H I I I I •o C J c +J c o 0 1 I r o I cq p w a , C L . <s CO sO M D O - — I rOvO t o r o t o W o o C —IO OJ -3" t o O O O O o O O r o o o - h O O O O -H I I I II I O- O-CM ro O CO-3--Ct'-0 '-'CO t o c o _=}-tO t o O O —f O J O o O O O —' O O O J O O O I I I I vO r o o r-1 — i O-OJ COOJ O O v O (O O v O r o o t o O ' — ' O O O . — < 0 0 0 0 0 0 0 0 0 " - H I I I I II t o t o O • — < —_3"OJ O rOvO CO CO-3" O -ro t o ’- H O O O O O O ’-*’-!'— ' O O O O O O II I I I I I I -3 h-CMO rO vO J -O H(D WnrOlAJrOCM tO O O O J O J O O O O O C M . - I O O O O O I I I I II r o OJMD c>-ctrO cM _crtOCM O i ^ c O r O f O O - ’ - ' t o O O O O O - i O ' - < O ,-<0JCM—l O O O III II I C M CO J ) C M O h O --3'~ * sO OJ C M • — 1 OJ t o t o O O O O O O O O O ’- ' O O O O O O I I I I III OJ O O O -=J- C'- r o c o [— rO r O H t o O O jr o t o O ' — •CM>— l O o O O J O O i — i ^h CM'-'OO I I O _3"-3-CM _3’v '0 r-i t o -h i O CO C O t o -3"OJ vO t o ^-<OOOO^Hr-iCM'— l O o C M 1 — 1 O I I I I I I I I CO rOvO — < CO o t o c o OJ J -v O O vO CO O r o ^ _3" O O ' -H ' — I ’- H Q '- 'O '— t'-'CM'-'O'— I O O I B u +j < 0 - 3 1 0 ^ 0 r— G O COO ^ r O _ 3 tO v -0 C —CO ro r o r o r o r o 00 < X) t s 3 +3 c 0 C J 1 I I (X ) Q 3 W o, a, o ao - c f O CvJ _ 3 -c --_ 3 -o —4 c v j c v j —• o _ = f - c v j • O O —4 O 0 0 - - 4 Q o —4 0 0 0 —4 0 0 1 1 1 79 <TLT\ C'-'H 4 IT W A S 0 4 O —4 0 0 0 —4 0 —l O O O c ^ O O O O 1 1 1 CO c * - 0 S f ^ O — 4 -4 _ 0M A O O cO U \ nO C^J-CVJ 0 0 —4 —4—4 0 —• —IH(\|OHOOOO 1 I I 1 1 1 1 1 77 iA-=ft'-N 0 s-ao oao cvjtrvsO -4u\ 0 —4 0 0 0 0 0 0 0 0 0 —4 0 0 0 0 I I I II I I vO t"- co o n H vO - 4 ro s - h n n c o - ^ - c ’vcvi -4 0 - - 4 0 0 0 0 0 0 0 —4 0 0 0 0 0 0 II 1 1 U\ r - lrv<-4 —4 C V 1 vO _ z j" 0 CO C—C V J t— -O I A c\| C V J C^ O O —4—4 0 —I C V I O O O O —4—4 0 —4—4 1 1 - = } • C ' - NO ^VV'O J'O'O C^--=tc^vr^ J-c^^co O O O O O O O O —4 0 -4 C V J —4 C V J O O —4 I 1 1 73 vO r —ao uv c^VvO r'VJ'O'vO vO CT"X) 0 —4 0 0 0 0 0 0 0 0 CVJ ( \ ) o o o o I I I 1 1 C VJ I S - —1 t v -_zj- ' > - c \ —4 o c v j c v j C'-^-zj-o u\vX) o 0 0 0 0 - ^ 0 0 0 —4 0 —4 0 0 0 0 —4 1 1 1 1 1 1 —1 s- oao j-oirvnc^--d-csco—4 0 r —<^uv j- 0 0 0 —4 0 0 0 0 0 C V J 0 —4 0 0 0 —4 I I 1 II 01 -aMAso Oco —4 c v j —4 r^vso 0 _^-o r-voco 0 - 4 0 —4 0 0 —4 0 0 0 C V J - 4 - 4 0 0 0 1 1 1 o sO c —f —vlt\^ 0 000 cs —4 —1 c v j vo 0 c - —u\ -h oocvjo—4 0 0 0 0 0 —40—4000 II 1 1 ao O 0 NO vO-=tcvj c^-o cao-VGO CO c Y ' V _ z l - ' U ' \ C V J C V J 0 0 0 —4 0 0 —4 —1 —1 0 0 —4 —4 —4 0 0 1 1 1 C- vO —4ir\ h-c^-trv.^-'Lcv cr-co so 0 c —c v j cs r — c — 0 —4 0 0 —4—4 0 0 0 —4CVJO—4 0 0 0 1 III 1 II II 99 t f\ —4 ( J \ 4 ' rV < X ) vO Uv —4 00 —4 O ' * —1 C V J _ r } T ' " V t — 0 0 0 0 —1 0 0 0 0 —4 0 —4 —4 0 —4—4 1 1 1 1 1 1 1 t r\ sO -4 0-4 C v j ' L T \ ' U \ C V J 0 C V J 0 -CJ-CVJUV^O -4 0 0 —4 0 —4—1—1 0 0 —4 0 0 0 0 - 4 0 1 1 1 1 1 1 Item c " \ _ 3 - ' L r \ s O r —co cso —4 c v j c^v^fLrvo s-co c ^ v ( ^ v f < v C ^ v ( V ^ (W ^ 391 appendix B-3--.Coamm&d Item 81 82 83 81+ 85 86 87 88 89 90 91 92 93 94 95 96 33 -Ok -01 02 03 05 10 -10 08 09 -08 02 °!* -12 -02 -01 -04 34 o8 -08 09 17 05 03 -05 06 -11 "07 03 08 09 "13 -06 -07 35 -01+ 00 -01 -01 -03 -01 07 00 01+ 07 09 01 03 11 08 15 36 -08 -10 19 -08 -06 10 16 12 19 05 11 05 02 12 06 04 37 01 -06 20 07 02 08 11 -06 09 -11+ 07 30 02 15 -01 24 3B 18 09 -08 -01 -11 01+ -06 -01 -18 08 -09 -12 -11 -lk 03 -10 39 01+ -08 -02 -01 01+ -01 Ik 11 09 01+ 01+ 0 1 + -01 16 01 05 1+0 Ok 20 09 10 13 03 05 07 12 -05 -09 18 "03 08 03 U1 06 -09 07 -01 -10 01+ "03 "03 18 06 13 00 17 06 00 42 -01+ -11 06 -10 01 -07 02 -12 23 -08 13 26 03 27 -01 24 k3 06 01+ 17 21 23 12 06 07 -08 05 -07 -16 00 -18 01 06 kk -02 05 10 16 01 02 03 09 -19 08 -02 -07 07 -08 11 -09 45 -06 08 01 111 18 05 23 -01 -01+ 08 18 -01+ 14 12 07 19 1+6 1+7 -06 -11 "03 02 -11 4 -01+ 06 13 -05 22 13 10 11 04 -01 03 09 03 x7 29 06 02 09 -07 02 09 09 01 02 02 -05 i+6 07 -01 01 08 19 -02 26 07 -03 08 09 "03 16 05 "03 11 v * > vO ro APPENDIX B-^— Continued Item 97 98 99 100 101 102 103 10k 105 106 107 108 109 110 111 112 33 -01 22 -14 11 04 03 12 06 -21 -17 -03 -07 -01 -01 04 08 % 01 05 04 -01 -14 -03 11 -02 Ok -02 04 03 05 04 “17 35 08 01 07 -10 11 04 02 -06 01 05 22 -02 02 -06 -02 09 36 15 -03 -01 -04 21 11 06 03 01 -06 03 05 -01 03 07 20 3Z -10 17 -05 00 14 16 09 -06 00 -14 08 -03 -11 00 19 21 38 10 -07 04 05 -23 -08 -01 05 12 12 -07 06 11 11 -07 -09 39 18 -02 -06 03 23 06 -02 -01 -08 06 10 04 00 05 -03 12 ko 12 07 19 08 01 03 03 13 13 10 -10 07 22 08 09 “17 41 01 -01 -11 08 04 01 09 00 -22 -18 19 -03 03 -01 15 16 i+2 01 13 -23 -10 14 12 -02 -17 -18 36 -03 -27 -06 08 38 43 22 -03 13 13 01 04 15 22 15 16 -15 04 21 08 13 “13 44 20 04 15 11 02 -01 04 12 07 16 -15 13 24 04 05 01 45 23 -07 07 04 02 09 03 16 13 05 -02 08 07 13 04 01 46 03 02 -Ok 05 13 08 -05 03 10 -19 15 01 15 -06 07 11 47 11 13 -08 03 01 -10 21 02 -02 -0^ 06 -12 -03 06 17 01 48 17 01 00 -05 -07 09 04 -04 04 13 06 -11 01 01 01 -02 VjO vO u> APPENDIX B-3— Continued Item 113 114 115 116 117 118 119 120 121 122C Meand 33 -06 07 06 15 -15 -07 03 06 -03 20 0.57 34 -04 00 -09 08 01 06 00 -15 10 11 0.82 35 15 n -03 04 11 13 -05 14 -11 -07 0.18 36 16 14 12 08 17 07 16 12 -01 03 °.2k 37 12 30 05 06 20 00 09 06 04 22 o.55 38 06 -06 -02 -05 04 04 02 -07 -03 -05 0.49 39 09 07 08 03 -04 -01 01 12 -03 -05 0.25 40 -11 -15 -03 03 14 11 01 -06 -02 11 0.43 41 -04 07 08 11 -05 12 -05 07 13 08 0.46 42 32 32 15 11 00 06 01 10 -01 10 0.31 43 -li -li -03 05 07 -03 -08 -09 17 19 0.65 44 -14 -07 -14 -13 13 01 °7 03 00 06 0.83 45 05 01 00 14 09 15 08 -05 03 08 0.35 46 n 13 09 07 03 09 05 01 04 0.66 -13 15 -06 26 08 14 -01 -07 08 12 0.50 48 03 03 -03 01 -03 09 -10 -04 07 -13 0.26 cCalifornia Test of Mental Maturity I. Q. ^"Yes" responses were scored "one*1 and "no1 1 responses were scored "zero*1 1 vD 4=- •o V 3 c •H +J C 0 u 1 I <A I CQ X — 4 Q S W o. C L , < vO C M -o f O ' o U \\A -1 cA rAvO QO C M vO CO O 'O ■ h W h O C M O O O H o O h O ' - 4 —l O 1 u\ U \ f - a o O 'l A rAMJ O c o f ^ C '-IA -^" ^ —4 0 —4—4 0 0 0 —4 0 —4 0 0 0 —4 0 I 1 1 I I -3- '—i vO — 4 o \A r^\C M cO O ' — 4 — 4 TA — 4 C 'C r i O O ' O O O O o O O O O O O —4CM—4 0 0 1 1 <A — 4 CM -ott— — 'CO —t — 1 — t- c f lA C — [ ■ — _zf 0 " O - c f —t —t —t O O —4 0 0 0 0 0 0 —< 0 0 0 1 1 1 CM H C —M3 'O M3 lA -^ f-rA h O h c O o O IAM 3 C M - 4 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 III II H rH —• O \T\CO -3-CM O ' —' O C '-'O [ — — 4 CO O o O —4 0 0 - 4 0 0 0 0 0 0 —iCM — • — < o 1 1 1 o '—1 cm vo cm 0 '_ ^ - — i r ^ c ^ c M iA 'O cm M3 t '- —4 0 0 0 0 —t o —t o o —< 0 0 0 0 0 1 1 1 1 1 1 O' -cK O C M C M O C — — 4 C M C -M A -cM A O H C O ^O O O O O O O O O —4 0 0 0 C M 0 0 0 II 1 1 1 1 1 00 -4 -4 _=}— 4 -=J-vO C M — < - = n r \ cAvO *A \T \ o _cr - 4 0 0 0 0 0 0 0 0 0 0 0 0 0 - 4 0 1 1 1 I 1 III 1 t>- CO C M 'O O C M O ' O 1 A <A C - - ^ 4 A C M CAM3 O O O O O O O O O O O O O O O O O 1 1 1 II M3 -4 lA v O o \AXA_z}-_=}-0 O M) C M cm -4 _^-C A .zt —4—I O O » H O O O O O O O —<—<—t o 1 1 1 1A o — 4 CO C M O ' C M r — CO — < M> _cf C M o - 4 —t —4 0 - 4 0 0 0 0 0 0 —4 0 C M 0 0 1 ' O O H CA_3-CA_CJ-OCO 0 '-= h A 'L A 1 A c A - 4 0 - 4 - 4 0 0 0 —4 - h O O O o O O O O 1 1 1 1 1 1 1 1 1 1 1 rA < A O — 4 O 'f A O -zfCMcO CACO (A \A _=f C M 1A O O O O O O O O O O O O O O O O 1 1 II 1 1 II CM C '-tA ['— M3 fA cO — ' — 41A *A C — M3 C M — t C M O —4 0 0 0 0 0 0 — 4 0 0 0 0 0 0 —4 0 1 I I I »-i 1A O o X A o O -zfC A -cJ’XAcO -4 O CM—'O C M —4 0 0 0 0 —' 0 —4—<—4 0 1 1 1 1 1 Item O ' O -4 C M < A _ = n A '0 t'- c o O ' O — 4 C M CA-=J- ^•'LA 'LA IA 'IA 'LA IA 'LA 'C A IA 'LA 'O M3 M3 M3 M3 395 96e O'O'O'O'O' VJTVjtVjtVjtVjtVjtVJTVjtVjtVjt 4= " 4^ "V_o ro i — O OO OD—J C T ' V J l . - f r - V j j ro * — OvO Item I I I 1 WOWHI-MOOOOOWOWHO ovn*- ooru 0'4=-'0 -j vjt. vjt. V jj r \ j ►- cd cd » - * -J i i i oot—» — h-*— OOOOi—OoOOO vjt» —*-P"0sro vjt. vO ro to ro o coop-—44=- h - » C D i i i ii i ii OOOOOi-'i-»OOi—*o*—‘OOOO ro h-vjt. co ro o o—o ooro-f=—- J j r - o ► - * v £ > it i i 0 0 0 0 0 0 0 0 0 0 i - * i - * 0 0 0 0 4=TO t — CD/V) OVjJ o—J on o 04=—J - £ = " V J T . 2 0 I I 1 1 1 O O o O O O OVjJ 0 0 » — Oh-OOl— vjt. o ro i — oo-o ov_o ro—J * ——3 * —4=" ru H 1 1 1 1 1 OOOOOOOOOOOOOOOO —0 V j J 00 O rooo i - * ~ 0 0 ( - * - 0 CN4 = - ' - £ > VJT CD 2 2 I I I I I OOOOOOOK*OOi— 00000 0 vjt. cd vjt rovjji—Vn.K-*CT'ro»—-o-^roo 2 3 11 11 11 1 11 1 OOOOOOOOOOOOOOOO I-* » 4T O'-P" ro t - * VjjVjt 0 4 ^" t — V j J O'VjJ CD ro £ 1 I I I ooruui^MH*^■ ooorooro*—*-* t — V jj * — » - * 1 — V jt 0 V jt. V aV jt cd 0 ro • — O'Oj to vjt 1 1 1 1 ooroooooo*—i-*o>—ootoo Co ovo ro cDODrooi— oro^o O'-P'V jt ro 2 6 1 11 1 1 OOOOOOOOOOOOOOOO o3 4=--P“ rovDofoVjjVjjoo vrur- 0 ro v j t ro —3 1 1 1 Oi— OO0OOOOOOO00O0 o 4=" 4= " 0 — 3 4="—J IOVjjVjt 4=" c d\j- 14=-\jt0 28 II II I I *-rooooooooooooooo ro h 10 cdm v0-P*Vjj • ro ro oj o * — ovo 2 9 1 1 1 1 1 1 1 OOOoOOOl—OOOIOOOoO OvO ro 0 cdvjj 0 0—3.P" ro 0 ro-Pro—3 3 0 1 1 1 1 O0O0O0OOOOOO000O v j t 0 cd—0 4^ * odptp- • — ro oj'■04=- oojOj Co I - * 1 1 00OO00OOOOOO0O0O u>vO-o cd od O'0 ro vjt—0 vjupr od arvjj V j J ro :> T) s w 2! D M X to I V u o I I n o 3 3 C » a APPENDIX B-3— Continued Item 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 03 06 ii 13 10 -05 18 02 14 16 20 16 09 19 03 01 50 -14 04 -02 -Oil -06 11 -15 21 -10 -09 09 25 11 -04 12 16 51 02 10 20 10 04 -07 03 28 07 03 13 11 25 10 -02 03 52 08 06 -02 -09 -01 -07 04 01 06 12 -02 -01 -06 01 02 05 53 02 06 -09 -04 -03 12 04 15 -02 -10 27 29 13 -03 07 01 54 -07 02 20 23 06 -04 00 -01 08 22 -11 03 05 04 -03 -02 55 15 00 -01 -05 04 -07 04 -12 10 13 -06 -09 -09 -04 07 03 56 -03 10 01 -01 -07 12 -09 02 00 00 06 09 00 -06 -03 10 57 -07 02 13 20 04 -01 09 04 04 16 -01 08 25 08 04 -05 58 -06 06 07 -01 -03 06 05 33 -05 -02 10 00 07 05 02 -14 59 -07 07 03 03 -11 05 13 12 06 -08 06 10 05 -02 05 11 60 -Ok 07 -02 02 00 00 -08 24 -04 -06 13 24 23 -07 05 17 61 -01 15 -02 -04 -21 08 02 12 -03 -21 13 11 14 -Ok 02 13 62 -12 03 -09 03 -11 06 04 18 -04 -15 31 26 23 -06 04 05 63 02 13 04 11 -03 -06 -07 -03 08 -05 06 09 08 -06 00 02 64 00 04 00 07 -03 06 05 10 10 -10 14 16 10 14 13 03 V j i > vO -J APPENDIX B-^— Continued Item 49 50 5i 52 53 54 55 56 57 58 59 60 61 62 63 64 49 -05 14 -16 15 22 02 03 16 -05 -01 -03 01 10 15 - 01 50 -05 14 -02 22 04 03 18 11 04 08 26 05 30 07 -05 51 14 05 19 03 09 11 18 ii 05 13 Ok 12 15 19 52 -16 -02 05 -10 09 -06 06 -05 -08 07 Ok -06 -03 -09 03 53 15 22 19 -10 -02 01 12 12 04 11 05 03 20 12 16 54 22 04 03 09 -02 -05 -02 05 06 05 -06 00 -03 08 07 55 02 03 09 -06 01 -05 -0i| -03 -0i| -11 04 -14 00 06 -Oil 56 03 18 n 06 12 -02 -Ok -09 -01 09 12 05 15 03 00 16 ii 18 -05 12 05 -03 -09 09 08 -05 -05 14 -03 01 56 -05 °4 li -08 04 06 -Oil -01 09 -10 -02 08 15 -10 00 59 -01 08 05 07 11 05 -11 09 08 -10 -01 17 11 25 03 60 -03 26 13 04 05 -06 04 12 05 -02 -01 10 08 13 61 01 05 04 -06 03 00 -14 05 -05 08 17 10 18 05 00 62 10 30 12 -03 20 -03 00 15 14 15 11 17 18 02 09 63 15 07 15 -09 12 08 06 03 -03 -10 25 08 05 02 01 64 01 -05 19 03 16 07 -Oil 00 01 00 03 13 00 09 01 u> sO OO O • — 1 c o c\| roCM r o c o c o -c f O r o - * - H O O O O O O O O O O O ' - H ' - I O O I I III 399 C T ' t r \ v O C M H^o O _ c t O ' ' C O f - t r \ O'CM C M (O'— •Or-iO'-iCMOO I I —t -Ct r~--=l'"LA COCO CM r- —•-'GOCO '-CQOCMvO O C M O —I C M O O O O O O O ' - ' O O O I I I I I I I I I I I vO-d-OO C —C M C M C M rOOO C M co.J-cocMlACM OCMOO'-'OO—lOO-Hr-lOCMO-< COIAJ-JCO 0N rOl_0_c|-rolnCM I —_ = J - —< ro O O O O O O O O O O ' - H O O O O O I III I I I I cO vO O C M 'O c — r O v O C — r O _ ^ t * v £ ) — « C M IA r O OHCMO^rtOOHOOHOrtQO I I v£)lr\CM cO CT'CMCO—IO rO U \ O C'-sO J * J - r-H « -H * ~ H r-H « “ H ( ) t— I ( ) H rH C5 H * -H I I aocovO OCDlA-^-'LAO^flACT'CXD C " - t ' - o OOOO'-ir-HOOOOOOOCMO'-i I ro_cj-CM vO O C'n'lTs'LO •-HQOOCM—'c^CMro O O —c O O C M O O ' - t O O —I' ^ ' - H O O I I I I I I — I O^vO O —'CO -G fO _3-co.-^'L r\C M _= trO cO O O O O ' - ' O O O O O O O O —<—IO II I I I I I rO vO aO -cfcO r o «-• r o r O I A - c tO <0 _ d r0 r o ■ — l O O O ' - ' O O O ’- ' O O ' - H O ' - H O O I I I I I C M cm G O CO o — • r-MD vOCO J - O C O O t '- *-<0CM0'-<0 0 ' - H 0 0 0 0 0 > - i 0 0 I I I _Zt0's-d '''O t'-CO C — O ' C M C M > - H > — * C M CO O • OOOOOOOOOOO—<oooo II II I CM HCO -hvO o 'lA'CACO OCOH _rJ-CM CO O ' - t ^ O O ' - ^ - H O O O ’- t O O rocM O O I I I I I I rO C T '0 s ’ - 1 O s O r o r o t — « - h C M CO OOCMvO < 0 < — |,_,' - < C M O O O O O O ,-<'-h O I II I r o r o o O C M h c o C ^ - C ^ -O '-i'lA '-1 CMlACh O O — • O O ’- ' O ' - H O ' - i O O —< o I I I I C T ' o — I C M GO-cj -X A MD C^-CO O" O — c C M r O_ cf -zrtAtr 'UMA'UMAl-rN'i-rciA'LrN'JD -O sO mD MD APPENDIX B-3— Continued Item 81 82 83 8i | 85 86 87 88 89 90 91 92 93 9i| 95 96 U9 01 -0i | 11 11 03 18 03 01 13 -02 03 09 03 06 13 05 50 08 26 19 iU 17 li+ 07 10 -22 07 01 01 20 —2i | -01 06 51 03 08 11 n 07 11 11 08 11 lil 11 10 09 -02 06 1 11 52 09 -11 -09 -03 -08 -12 -09 07 11 -07 05 12 08 14 Oil 03 53 09 21 16 25 10 18 12 09 "!7 05 0i| -0i| 17 -15 Oil 06 Bh 12 “03 13 -23 02 13 0i| 08 18 -11 09 17 -03 15 Oil 23 55 13 02 07 02 li| -07 13 -06 13 06 -17 11 03 -05 -05 03 56 06 08 13 07 01 02 -0i| -0i| -0i| 07 01 02 19 -lil 02 01 57 01 03 01 03 -01 01 0i| 05 0i| 03 00 10 00 05 11 12 58 05 03 02 -05 Oil -06 00 03 -10 -01 -03 -16 -08 -05 -08 18 59 -02 19 10 06 -07 -07 01 06 -15 10 09 -02 12 -08 10 16 60 02 10 12 17 17 02 1U 06 -09 06 -02 06 15 -10 15 -01 61 00 08 00 1U 13 -0i| -12 Oil -17 05 -02 -10 16 -16 05 01 62 11 li| 15 22 25 03 09 -02 -15 02 -08 -11 lil -25 08 05 63 00 09 13 09 -02 05 li| -01 00 00 17 -02 10 -10 Oil 10 6k -01 00 -03 06 03 09 07 03 Oil 12 21 -0i| -12 06 05 -13 -P* O o APPENDIX B-3— Continued Item 97 98 99 100 101 102 103 101+ 105 106 107 108 109 110 111 112 1+9 12 10 -08 05 15 13 11 01+ 02 00 06 03 09 08 07 07 50 06 12 13 il+ -20 -01 06 17 13 17 -03 05 17 06 03 -05 51 16 13 11+ 03 01+ -03 08 03 12 01 07 11 10 13 01+ -02 52 02 11 -03 -07 -01 00 -03 -07 -Ok 09 02 01 -05 -01 02 01+ 53 01+ 12 05 16 -02 -06 09 16 08 11 -09 08 19 10 17 -ofi 51+ 09 00 -25 -13 19 13 03 05 -02 -01+ 17 -01 -12 05 05 19 55 -03 02 -09 -02 -01+ 00 -02 -ii+ -01+ -06 13 -09 -12 00 07 16 56 -12 07 -02 01 -10 -06 13 -01 05 19 00 03 -01 ol+ -03 00 10 -03 -01 13 -01 -05 06 10 -03 -08 07 08 08 10 -01+ 11+ 5& 13 -03 10 03 -02 06 05 05 11 08 -01 15 05 02 -01 00 59 09 -01 05 13 13 -02 13 12 -01+ 06 -11 01 09 15 03 -10 60 15 07 03 05 -13 02 -08 01 19 02 -17 -03 12 01+ -11+ 09 61 16 -11 17 06 03 -08 08 09 13 17 -10 13 23 -02 -01+ -22 62 10 06 09 12 -02 02 08 11 07 20 -10 12 16 02 03 -07 63 07 01+ 16 °7 13 05 11 01+ -09 -02 -03 -06 -01 02 10 01+ -03 61+ 03 07 01+ 13 -07 08 -01 13 07 07 -09 01 12 -03 00 -pr o APPENDIX B-1— Conti nued Item 113 111+ 115 116 117 118 119 120 121 122c Meand h9 08 16 09 20 11+ 07 06 06 00 11 0.51+ 50 -09 -18 -ii -05 13 12 08 -12 13 01+ 0.71+ 51 -06 06 02 22 08 22 08 -05 01 15 0.39 52 03 -03 06 03 01 03 11+ -05 -06 -08 0.35 53 -01 -11 -18 10 01 09 11+ -21 09 26 0.91 51+ 29 12 12 02 08 07 12 08 -01+ -05 0.1+2 55 01 13 -08 05 -03 02 02 -02 15 18 0.11 56 01 03 -01 05 -02 -06 00 -03 02 11+ 0.12 57 05 01+ 18 12 11+ 07 08 -02 -06 -Oil 0.12 58 10 -03 -01+ 06 -01 -05 05 -05 -05 09 0.36 59 03 -16 03 01+ 11+ 13 -13 -06 -01+ 00 0.1+2 60 -18 -05 -02 06 10 01+ 07 13 22 09 0.22 61 -07 -05 -05 -03 -06 03 -07 -12 "11+ 01 62 -13 -ill -02 01+ 09 -Oh 18 03 12 18 0.86 63 -01| -03 11 13 05 06 02 -03 17 15 0.19 61+ -05 00 -10 07 06 05 09 -01+ 11 07 0.27 cCalifornia Test of Mental Maturity I.Q. d"Yes" responses were scored "one" and "no" responses were scored "zero." -fr o ru — « vO lr\C O O C\| C '- O 'Q C M CO \£) OO CO O ' n O O O - H ^ O —< 0 0 C M - < 0 0 0 —‘ O I I I I 403 o A O - ^ O H r t v O H 0 4 - r f \ 0 J - h CM c\J h h O ( \ | O h O h o ( \ | O O O O h O I CAcM O'CO C '-O 'O 'cA C M t'-CT'CMvO 0 0 r - t , - ( 0 0 0 0 0 0 0 0 0 0 " - » 0 I I I I I r H fr \ 0 ' ( \ J c O O ' H CT''H O ' C Q t\J H O O o 0(\|000(\J h 00 h h 00000 I I III f'-£v.crvC'-c\J'0 -^ co a o o cAfAao ir\ j - c o 000000000«-H000000 I I II II O ' o i r \ c— C“~ r ^ - o i a ■ — < s o o ' cm oano H ( \ | H O O H O H H ( \ | O O O r t O H III II vO < a c—ca t—cAi-f\ c~\ • — <c o cm cm o o O O ' H O C V J O O —' O — 1 O O O —• O II II II I cAcvj cvj O ' o — 1 -rj-iA cm * - * \ A i A — 1 trv — < — < —< o o o o —' o o » - « o o o o o o o I II I II II I H H t\J _=J-— < C M — 1 C M J - H O l A t ^ . —•.-h .— i O'- h O O O O O —< O O O O o I II II 1A C M O «-h _= t— ' -< 0 0 CM -ZfO 1 A -C J-C -C ^ O O O — h O O O —1 O 0— <000000 I III I III lA x O O 'l A — < co • — 1 — < a o c o — < _tJ-nO o cm O O —< 0 0 0 0 —' O O O O o O —«—< II II II c o r o c— c o c a i a qvczd n o ' c o ^ M r \ ' A - ;i'-ct' O —tO<— < 0 —, 0 0 0 —< ' - i 0 ' - < 0 —' O I I I I <M O' CM —< \A"Lr\ CM cr- —< —I O O O O O O ' - H O —» 0 —« 0 —i *-<Oo II III II r—C M C M lA -ctC O C M 'O _3-sO m C M cO C M o _ z t o o o o o o o o o o o o < - « o —< o I I I I I I I I C V J _zf f - c o o -=J"CM O ' —1 I 'l A o 'l A 'O C M —‘ O O O O O —< 0 0 ( \ ] ( \ J 0 h 0 0 q I I I I I O 't A 'O C '-.^-G O O ' O — tv O ^ A v O O^H^OO—'OO * - < » —< O O * —< O O O I I I I I l-Tv vO C«-aO O 'O — 1 C M (A_Gf1AvO c^-0 O O ' O ' - 0 \j) vO so 'O c— c*— f— r— t'- c— r— C '— co APPENDIX B-3— Continued CM ro C M sO v O IA C O ^ ft'— lf\QOCOCO « O C O *— • O O ' ^ O O O ' - t O O 1 — I O O O O O 1 1 1 < — i ro rOCT'CM-d-^OCM C M O O O X A rO _d-vO -=tO J 0 0 *-h 0 0 0 0 0 > — t O O O * — •■— • O O t i l I I O ro A O J - 0 ' H J - C M l ^ H C M r o o t o O O - c O O O O O O - * —« 0 0 0 ' H —< 1 1 O' CM — < r - t c O r '- O r - t O'. rOIACM r o C"-COXA O'CM o o —C O O ' H O ' ^ O O O O O O O O I I I I 1 1 28 O sO O - ^ - O H Q C M O '-c A O c O — t C M r o r o - • O O —i C M O O O O ' - ' O O O O O Q I I I I 1 r - CM -* -d-CM XA CO A - r-X A COMMA r o i A O — < -h O O O O O O O O O O O O O O O O I I I I I I 1 26 vO O 'C O J J 'O 'v O 'O J O J nO O C O C O O O O - c C M O —< 0 0 0 C M 0 0 0 0 - < 0 I I I I 1 IA CM O O O 1 A J O ^ C M CO C M ^ J-J-O c O -Z fC ^ - Q h ( M h O h h o h ( M O O h h h o 1 1 1 -=t CM vO CO c o f-CM < - * \Q rOvO 'O t ^ r O i vO A - —l O O O O O O O O O O O O O O O I I I I 1 ro CM vO CO O'"-* C —XACO O ' O ' H O'CM O O O O O O O O O O O ' H O ' - I O O 1 1 I I I 22 CO CO C M NO XACO h c O O ( M h _^foO H O I A 0 0 0 0 ' - < ' - < 0 0 0 0 0 ^ - < 0 0 0 0 1 1 I I I I 21 C M C M — < _zN=J’_=J-1A'IA •-« ,~, XA-=3‘ C^CMXACM —i O O O —<0«- <—i - h 0 0 0 0 ' - < 0 * - i I I 1 I I I 20 vO C M O ' o C M U \ C M CO O ro_= fvO CO vO r o ' - H O O O O O O ' - I O ' H O O O O O O I I I I 1 1 O' H O [ ■ — XAXA O _ ^ f O CM O r o C'~-_c}-GO 1 A O sO O O —< 0 0 0 - H 0 0 —< 0 ^ - 1 0 0 0 0 I I I 1 I 1 CO ■ — < O C M O CO C M CO r o C ^ - it O ' C M — < GO CO ■ -* O O —< ' - < 0 0 0 0 -h 0 0 C M 0 0 0 0 1 I I 1 1 1 1 C-- r«4 O — < f— CO O 'X A f— •—< CO r — O ' C'-_cAO h h M h h o O h h C M h o o O h o I I I I Item XAvO t"-00 O ' O C M rO -d-X AvO A-CO O ' O sO vO vO 'O 'O C * — f — f — C C '— £ — C' — — t'-CO CD -J —J “"0 "J — 0 —« J —J — 0 —J - > ] 0 s 0s O' O' O' o no c d - ' J O'Vjxp-oj r v > ► - * ovo cr-o O'Vn i >i i l l OOOOOOOOOOOOOOOO P“V jj O V n C D V a o < J \ t-v04=--j o h \hh I I I I I I O t — 0i-*t-*00^00»-*00*-*00 O ' vjt— J P - o • — p - - N j — o cD V nvjj o v j i . i-* o ' I I I II ► - * o»-*ooi—oooooroooo rop-oj-o v _ u i — vn cdP-p- O'vji O'—O'O i ill o 0>-*00i-*000*— ► — 0t-*000 -p-vo o o>— ro cr'vO vno ovjtP-->]Vjj ro i i i i i i O oh-*00000*-,00»— -J p- • - * -o 0s O'p-p-1— V j t . CD o ro v j t . cdvjt ii i ii Of-OOOt— OOOOOOOK- Of— p - o i—P"» —P"vO t— O U j ►-vO-jp- O'Vjt. I I K-*ot-,oorooooo*—o^-ooi-* o-op-vnro o ovji-o-o ro ooovjivjT.ro i i i i i 0i->i—000i-*00000>-*000 • —* m vjv-o —o cd—o \jj rv>p-1—• vO Vo \0 i —* o' I I I O o ^ - O O O o O i — O O O l — o o o ro V jj o c d » — -op-O'rovOVjj * — vo ooooro i i ii i i i i ►~oroof~oooorooooi— »-»-* ro p - v £ ) O'VjJ IO o j O J 'O O j O '* — CD O '!-* o i i ii oooooororo*— oro^-orooo ►- i — cd cdoj—o v^jp-p-1 —■ o ro CD O vOp- i i ii i O U h h O h h W O i-'h O h O m O ovjivnro cDO'p-vOp-oP'O'Vjj-o » - r o i i o o o o o t — ‘ r o o o o i — ► —» —o p - v n O'VjvP 'V jt.vjo O' o — o o o p - ro ro v n i iii i ii * - * 0 0 0 0 0 0 0 0 0 0 0 t — 0 0 0 r o —3 o-> O'VjJ r o » — 0 '\ a v * ) - > i -^3 v n s o p - u > I I I I I I O O O O O l — O O O O O O o O l — *-* p- O'p- ro ru cdvO o'Vjt O'vjt i\j-o v j j o ii i i OOOOOf—i —Ot— OOoOt-*0 ►-P" ro V jt k-oj o 0"0p-cot— ro-'!—J > — 1 - 4 r f ro 3 V j J V j O V j J p - V j O vjt V j O O ' VjO — 0 V jJ C D VjO v£> p “ o p - t— • p - ro P - VjO £ P - Vn P - O' p - - o p - CD 5> *n TJ w s: o C D i VD I I o 3 3 C W a O 'n O O - h f^ rA o O c A O _3-cA <A C M '•O C M -« vO O O O O O O O O r H O O O « - n O O o I I I lj.06 <"A XA<\J rAO OOO CAcM 0--=*XA*-« VACM CM rA vO —l - ^ O O O O ^ O O - H O O O O O O I II III C M C M O CMcO c'A-^f-^J-C'AC'-vO CM-Of CMcO 0 0 "O O^CVJO-H-H'-tHCM'^-tOC'JOCMft II l l | •h O J’ CM O cACM <-tcO C — • " * C * — VA -f no o o n o o o o ^ h o - — < o o o r~* — • I I I I I I O VACO rH_=}-o'Lf\CM O O v O C M -d-CO t'- c o vO «-H0 0 '-H0 '- <0 rH0 'H '- < 0 ' - < 0 0 0 I I I I I I O -4 CMCO ~<aO _ = f-= tO X A X A -= n A tA c o rA c o XA o o o o o o o O O O O <-4 O -H o I I I I XII 0) 3 c •H * > c 0 u 1 I <A I « p 2 5 w a. f t . < CO O '- * O C M v O lA ^O O -C J-rA tA cA C M — • CT'cA XA >-HO—l O O O O o O —‘ O O O O O o I I I I I C * “ f'-HDCVIvO'AJ'HOOt^J’ OONjtCM XA O O O O O ^ C O r - H O ^ H ^ H O o O r H O I I I I vO o - rAXA 0 ' C ^ ( A ° XAXA •-< XA ^A C M o OA XA »-» O O O — i O O O O O O O • — « O rH o I I III I XA CO rA U \ [ ■ —- h - h -^tX A -^J-fA fA rA C M C O o C M XA o c m o o o o o o o -h o o o o o o I I I H \ O O a D CA ("AGO q-\XA C M A - CA cm c AXA cO XA o < -* —• O O O O cM'-h O ^ O O O O O I I I I I rA C M 0 """0 0 - 0 cA r~l O C O CAvO GO C M XA — < r-t XA H H H O H H ' - ' O H H H Q H f y l H O • I I C M o — < • H 'O c O - j - 0 Nv£l O c O C M J - f — CfCMXA XA - H « - i O O O O O O O ' - i O O O ' - < < - i O I I I I I I I I O COCO J X D GO '•O C M sO C M o -=fCO O-vO O - XA -< O O O C M O O O C M O O O O O O A O ' H CT'CMMD 0 N_=roO X A M D lA -G t-G nA -ct XA O H h o o o O o O h h o c m W h o I I I I O c A < A C M _ d ' C M C A ’*'1 C A C O v O O O C O vO 0 ^ 0 o«-*— <0— i - H O o O — t O O O O — ir-) I I E XAvO 0-00 c r - o —• CM cA_^fXAvO o-co O o v0'0'i)s0\0 c — t — o- c— c — c — r— o - o - o - c o 0 > - > J —0 - * n ] —* 3 - * - 0 - nJ —> J —> 3 —J On Qn 0s 0s 0s O n O 0 ^ * 3 O^Vj t -P'Vj J ro » — O O OD->] 0 s O l r+ * C O 3 l l l l l i OOOOI— Oh-OOOOOOoO ro oorovo—J O 'O 'cdut.'O ro - O' vn i i i ii OOOh-*(-»i— O O *— •— » - » 0 O O' ro O 'v n v n p P v o ro r o P c® *-* ro •- P O' i i i i i i i ii OO t —ot— ooo*—oooo OO O' v n o 'v n r o » — pv£> * -‘p h-cD f-vn h --j -o i i i iii i i— o o o o o r o o * — o o * - o * — o O ' o r o o o o " 0 - o o - j o c o v n r o v n r u p c d i i i i — O o O h - O O O O O O » _ * O I — o o v n v o p v o O'Vn cdvO ro ro *-. *~ ► - i i i 0 »-‘000 i— *i— t— * o o P CDvD U)h*0 ' 0 0 Vop I I O O O i— o rovncDooro i i i i O O O O *- c d o P o - j v n -Jv o c d i i i i o o o o o o Pv O CDf-.p-vO I I I * — 00000i-»0 o O 'V n v o 'O P P V n i i i i i * — o o ► — * — o o c d v o c d o p * ro Vn o V o t —* O O O * — 0 - 0 CDO'JO I I OO*— OOOi— o vnvo o vn-o * - » ro oo i i i — I — * - * o o o p - - o vo vO r o - o i i • — ► — O*— OIOOh * — IOP—J O O' O 'O Vo O' O' vO - 0 o -o ro —j V o - 0 p i> • v T) w s o to I Vo I I o 3 3 c (0 la Vn.* I I *- O O O O O O » —O O O *-O - > J o o cd -o O'P'Vn.O'Vo—]p"jr cr v n . i i ►- o o o r o CD O ' CD oooooo*—o*—* —•*— o=ro cd^ o —o *-pvD * — p —j -o O' I I I o * — ro ooooo*—ooooi—o -j vn cd ro cdo'O-j vo ovovo O'loVnvo - > j o Vo ii ii i i i i ro o * — •— ► — o * — o o o * — o o - o ro O ' O ' P o v n P ' O v n c D V n V n ro cd i i ii i O t —i —O*—* —t — O*—* — OOOOO -J Vo Vo CD CD * — -~0 t —■ O'O CDOroO'O'CD sO Lo*l I I I I I I O * — O *— *— *— O *— ► — O i — *— O O O CD v o o v n ro v n P v o o cdP * — o V n r o ro o APPENDIX B-3— Continued Item 81 82 83 81* 85 86 87 88 89 90 91 92 93 91* 95 96 65 05 09 26 15 11* 06 13 -Ok 01 01 09 09 15 -07 10 16 66 22 09 11 O k 19 05 22 08 -06 12 -02 10 15 01 02 27 67 08 05 10 16 16 00 -06 -09 -25 13 -02 -10 19 -23 00 00 68 -12 05 -01 16 11* 07 -03 10 -06 10 06 06 09 -08 02 -09 69 02 -09 06 13 02 15 08 10 02 07 08 09 06 01 -02 08 70 03 03 11* 23 02 10 10 11 -01* 15 -05 -06 09 -08 16 00 71 21 -08 -12 -21 -01 -06 11* -01 09 -01 16 19 -12 25 02 06 72 -08 -06 01 -16 -05 10 07 “05 09 -11* 01* 12 -18 13 01+ 12 73 05 “03 -01 11* 11* 00 08 -07 01 01 -11 -01 -21 07 -08 7*1 ol* 12 12 23 21 08 05 05 -12 16 -12 -01* 02 -11* 12 13 7f> 19 20 13 09 oi* 12 20 09 -03 07 11 -01* -02 02 03 10 76 77 -01 02 -02 -01 1? 07 16 01 -02 -09 15 -01* -09 11 03 10 12 10 09 16 07 05 09 -09 08 oi* -01 00 -01 02 08 78 -01 -18 -01* -15 -06 -03 01 02 15 -02 il* 11* -08 11 00 05 79 00 09 05 -01 10 02 09 02 12 05 01* 15 -12 08 01* 80 07 05 00 -02 -10 00 02 -01 02 03 12 01+ -03 00 -02 03 •fr o CD APPENDIX Item 97 98 99 100 101 102 103 10i| 105 106 107 108 109 110 111 112 65 03 23 07 13 13 05 15 11 iii 08 00 Oil 06 01 19 05 66 17 00 -0 5 -0 3 0i| 07 10 -11 05 00 -01 01 -0 9 18 Ok 10 67 07 -0 9 15 17 -1 3 -0 7 -0 6 17 07 19 -0 7 00 16 O il -0 3 -2 3 68 12 05 12 20 00 Oil 05 13 11 13 -0 9 10 09 -0 9 Ik -0 2 69 -0 i| -0 2 07 -0 i| 01 01 06 -0 3 11 05 03 33 09 -01 07 -0 1 70 11 05 12 10 11 -Ok 05 11 -0 2 03 -11 -1 2 16 05 02 -Oil 71 00 -01| -0 i| -0 3 -1 3 08 -01 -11 -1 2 -01 29 -0 8 -1 8 ik -0 5 Ok 72 -0 5 -0 9 -11 -0 8 05 17 - l i l -Ok -0 3 -0 5 12 07 -0 3 10 -1 0 19 73 12 02 05 12 05 03 12 -0 5 01 12 -1 0 15 lil 01 00 -Oil 7k 30 03 03 16 -0 2 0i| 32 26 21 01 -1 6 05 21 01 ik -0 2 75 16 16 -0 8 07 -01 02 05 08 03 01 15 02 01 23 02 17 76 77 09 -1 0 -0 3 -0 2 -0 2 -0 2 07 00 15 02 03 13 -11 ik 09 07 06 08 -0 1 12 06 -11 O il 17 05 06 -0 6 11 -0 3 05 -0 3 78 -0 3 08 -0 1 -0 9 0 6 °7 -0 5 -21 -1 2 -1 1 28 01 -3 k -0 7 03 32 79 16 13 05 10 10 08 01 22 03 13 -11 09 26 07 -0 5 -0 3 Bo -0 3 07 05 -0 2 -0 3 -Oil -08 -0 7 -0 1 -0 2 15 -0 3 -0 9 00 -0 7 02 p- o sO APPENDIX B-3— Continued Item 113 lllj 115 116 117 118 119 120 121 12f Meand 65 -0 1 | 01 “17 16 03 -01 01 -07 10 27 0.51+ 66 03 1 1 1 00 05 11 13 03 -07 13 11 o.5i+ 67 02 -10 -10 -02 01 -07 -11 -15 00 08 0.83 68 -01 -08 -01 12 10 -06 11 0 1 + 06 16 0.7 1 + 69 12 -01 -01 19 06 06 09 -Oil 02 03 0.29 70 -06 -Oil -17 -06 -01| 06 02 Oil 02 19 0.77 71 16 20 18 -03 -°7 12 -03 -05 05 -11 0.31+ 72 23 05 21 -02 -08 16 11 07 -05 -09 73 -ok -09 -08 05 05 00 1 1+ 03 l l 17 0.88 7il 06 -03 -12 02 06 -06 00 -07 05 21+ 0.55 75 Oil 13 -03 12 -02 19 01 -Oil -10 07 0.27 76 77 11 10 06 11 10 17 06 -03 12 01 0.20 -03 -02 07 03 05 03 07 -06 -03 13 0.1+1+ 78 07 12 15 -01 -01| -02 -05 17 00 -12 0.13 79 -08 08 02 03 05 00 09 03 -07 15 0.87 80 13 13 -03 15 03 18 Oil 02 02 -06 0.91+ cCalifornia Test of Mental Maturity I.Q. d»Yes" responses were scored "one" and "no" responses were scored "zero." APPENDIX B-3— Continued Item 1 2 3 k 5 6 7 8 9 10 11 12 13 11+ 15 16 8l 09 09 00 -07 10 11 06 06 03 09 08 “01+ 00 02 01 -06 82 12 08 09 01 11+ -01 -01 -03 -15 -12 15 -03 09 05 15 18 83 11 26 12 05 22 % 07 07 06 -03 15 03 21 -05 31 05 81+ 19 08 -06 n 11+ 06 -06 01+ -08 -10 21+ -06 15 12 18 18 85 21 -01 00 03 22 09 15 01+ -02 -08 51 05 17 11 07 05 86 01 05 08 00 01+ -02 -01 01+ -06 10 -06 -07 02 01 21 13 87 11 12 06 02 °u -01+ 03 10 00 03 12 02 06 00 10 01 88 07 15 -01 -07 0? °7 -02 -01 -10 01 01 06 15 03 16 08 89 -19 Oh 22 02 -il+ -08 -01 05 12 23 -15 -09 01 -03 -11 -01+ 90 07 08 06 -03 07 10 11 03 06 -05 06 -06 09 00 08 05 91 00 00 -°3 06 -06 01 -02 09 05 09 -01 -01 02 01+ 01+ 11 92 -12 10 08 13 -07 05 -09 19 -01+ 18 -10 01 07 -09 02 00 93 12 01 16 06 11 09 -13 08 -03 08 12 -12 12 09 12 19 91+ 26 08 05 19 -01+ -13 ol+ 10 ok -13 05 -11 09 00 -11 95 09 10 -11 -Oil -03 06 00 00 05 -05 -02 03 01+ 05 -03 03 96 11 00 02 01+ 03 05 02 03 16 07 16 -08 02 03 07 -03 21*1 sD sO vO vO vO vO OO CD CO CD CD CD CD GO CD cnvn-P'Vo ro ►- OvO cd-j cnVn-p-vo po i- Item 1 1 1 1 1 oooro*—i —t-*vo»—• —ororooroo vovo c d o -P"ro (>h o vnvo-P" rovnovo i i i ii OOOOO*-.*—Ot-'OOH-*»—oo>-. —j ro cd * — O ' . c r O'U) vo vn—J vo ro • — vn. o 1—• a> i i i i i i i ooh-o»—* —* —rooooi—oooo t — t —• - p - ou) cwr-vn o o cdi —• » - * vO i i i i 0 0 0 0 »-*i—Ot—Ot—O O O O O o Vticdi- oo 0svo CDoVn-4 c»O'->0 o—Jvn 2 0 i i i i i i i f r — O f r - O • — i— O i- * O O O O i— OOo i —* on o vo vD o-P"Vn—J o ro vo ro 0 — 3 ru H ii i ii * —000*-0000000i— OOo Vo • — t —4 “Vovo *“ Vo CDVO vD ro O tO—Jpr 2 2 II II fr- O O O i — ►- * — O O O O O O O O O o t- o—j o os ro i ——j vrvO sO cn4=-vO ►- ro VO i i i i OOOO^-oOoOOOOO*—Oo ro-P" Vn.ro vo-o o o vop ro cdcdvo ro cp £ i i i i 0 » —O^OoOi-»t—i —>o Vo ►— O O CD OVO CDp-p— 0 MlUOCCO CD— 3 • — Qs ro Vn 1 1 1 1 1 o»— ooooooooi—rot—o Pro cnvnvm-^o oncdom- j—JVnro ropr 2 6 i * i OOOOOoOOOt—o>—OOOo VRsO ► - > Vo Vn. i- so prvo Vn o • — O O'!— vo r o — 3 i i i fr-OOOOoOO»—OOOfr-»—Oo * — ro o v j cdvo~o vorovoVn.rorot-vn.»- ro CD i i i i i i i i OOOOOoOOOOOfr-fr-OOo \n-Jvo ro vo * _ * ► — cd ► — Vnso — 3 OvO ro ro ro sO i i i i i 0 0 0 0 0 0 0 0 0 0 0 ^ * 0 0 0 0 Vno^vn4="->JvO'Ovo-P"Vn»—vo ro-PTo o VO o i i i i i i OOH*OOo^**t— *— O O O O O f r - o cdvo CDVnsO vnVo ro * — cn— 3 ov n cd—3p- VO ► — i i ii i OOOOOfr-OOt— fr-fr-fr-► —fr-oo • —vncn*- rop- ro vo vncnro c d o -P* cDp- Vo ro a> • t ) g ► H x to I Vo I I IQ o 3 3 c ( 0 a CO C— <-« —ICO O ^CM vO C— COCO o ' r O v o * A c o « - * - 3 " O O O O - i O C M O O O O O - h O O - i I I I I I 1*13 (>- cOO'COf«-0'‘'«0 0J C T 'C —C V J OnO'«h C M CMU\ -=f O o o —ICNJOOOOOOOOOOO I I vO vO — i cOCM - • _ d -^ fs O COXAOJ c o o — • -=r Q h O O h h o o h o c \|h h h o o I I I I I I I 1 A > O c O H J h d U \ ( ^ - l ^ t C O c O ^ t - ^ - W t ' - O ' -=r Q O O h h O (\ 1Q O O h O h H o h I I I I C \| Xf\ O O n C V Ir^ O ' <js co C M C — f — 00 O '* o o —<—<0 0 0 0 —t o o o o o —< o I I I I I I CO v O - = t t * - - * C O C M sO f - C O x r v C~-vO O C O -» * £ > 0 0 - * C M C M ^ 0 0 0 0 0 —• O ’-'OO I II I •o i 0) a c c o 0 1 I CO I C Q O J - 3 " —<\ 0 O h f - ( \ J ( \J COCO c O * 0 _ d - -=f O H O H O O O H C \ | O H t \ l o N o ( \ l I I I I I I I vO O' C'-’^ 0 -zt* co c0 a0 v 0 rO _3-o t'-vO O o o o o —1 0 0 0 —i o —• —i o ' - ' o o I II II o ^j-o ChO t^J-(\IU\0'C0 ^OO - 3 " OC\JO— <— < 000— <— <00— tOoO I II I O' - o T c O C M — i _ 3 " — • O ' - ^ ' - d ' - o f — • ' O — 1 1 A 'M O O O O O O —I—100000*^00 I I I I I w a. a. C C O C O O ' C O — • — • -3*vO — < C O C O O ' C M — i -zt’cr\ 0 c o — <000— < 000— lOO*-*— I'-'O— < III III I I I I I £ - —< v o o f - o j c o —i v o o - z T r - o c j i A —i - z t CO OOlMOOOHOOHonoHQtM I I I I VO OO O O 'C O sO o \ 0 CM C M A —< XA CM CM vO CO o —I ' H O O —* —< —* —' O —i O O O O II II 1-0 - C f O —t —i r O —• ^ - O - j ' C ' - 0 s —• CO CD 1 A ° o O O O O O O O O O O O O O -* O -* I till -=t CO C O 0 'C * - U \ C O I A vO -« C"-COCO Q sC O v O C > - c o O O O — < 0 0 0 0 — l O O O O ^ O O I III III ro — I C M C O I-O O O O O o x t) C M _^r O J C M — I r O o O O O O - i O O O O O - i O o O II I I I I I I £ 0 > + J - « CM c O ^ n A ' O f - C O C O O —« CM C 0 - = n A '0 C O C O C O a Q G O C O C O O O O O C O C O C O C O O C O C T ' Item 81 82 83 8ii 85 86 87 88 89 90 91 92 93 9k 95 96 APPENDIX B-3— Continued 49 50 51 52 53 51l 55 56 57 58 59 60 61 01 08 03 09 09 12 13 06 01 05 -02 02 00 -01* 26 08 -11 21 -03 02 08 03 03 19 10 08 11 19 11 -09 16 13 07 13 01 02 10 12 00 11 111 11 -03 25 -23 02 07 03 -05 06 17 lil 03 17 07 -08 10 02 i l l 01 -01 Oh “07 17 13 18 1 1 1 11 -12 18 13 -07 02 01 -06 “07 02 -Oil 03 07 11 -09 12 Oh 13 -Oil Oil 00 01 l i l -12 01 10 08 07 09 00 -06 -Oil 05 03 06 06 Oil 13 -22 11 11 -17 18 13 -Oil Oil -10 “15 -09 ~ll -02 07 Ik -07 05 -11 06 07 03 -01 10 06 05 03 01 11 05 Oil 09 -17 01 00 “03 09 -02 -02 09 01 10 12 -Oil 17 11 02 10 -16 -02 06 -10 03 20 09 08 17 -03 03 19 00 -08 12 15 16 06 “2il -02 1 11 -15 15 -05 -111 05 -05 -08 -10 -16 13 -01 06 Oil Oh Oil -05 02 11 -08 10 15 05 05 06 1 1 1 03 06 23 03 01 12 18 16 -01 01 v£> vO vO vO vO vO v£> C D C D C D C D C D C D C D C D C n o v V n P * V j o r o i - o 'O oo->i o v v n p - v o r o •— i i t - ‘( - ‘Ot-*ooooo»-,ot-‘i - ‘rv)oo o o - J v n v O v O y- i—.p rv jo o v p * v n o v v O V n i i I \ J O O w m O m O O I \ ) O ^ O m OI\3 —j ro * - v n o ro ro o c o r o v n v o p - ^ * v o ro i ii i i i ooiUMh.OHNoooi-t-MOO o o v o v o o r o Vjj vjtvo o o C 'O s o \a ® i i i i i i 000000i—0*—00i-*»~*00»-‘ vD r o CI>vO O ' O ' O O ' O ' j J - O P ' O ' m V j t W I I OOOOOOoOh-Oi-Oh-OOO a > r o t - o w e c D - o r o o c D V n r o v j j o o r o i ii i 0 > - * 0 0 0 0 ( — .O i—i—t—o r o i—o o o o cdsO o v V n v n P " •— o o r o v j o p - v o o o i i i i i i i i ootun»— ► — ooo*— ooron-oro oroVnrovo o » — vo ► —p- o » - • ► - * ro cd » - > i i i ii ii ►-o»-»*-‘ » - * o » - * o o o i - » o » ~ * o o o ro-t=-vo cDro-P"4=-v£> vn~J o v n o i — o c d i i i i i ii o o t o o * — o o o o o o t - K - o o o C O - > J I — 1 l — • H — I — • 0 C D 0-p--P"-P* ► - V jO Vn i i i i HMMOOHh-MOOOWIUHHO v o ro -P " ro-P * r o o r o v n v n c d i—v o r o ro -P - i i i ►- O O O O • — o O O N h O O l - l O H o v j o r o r o - P " * — — j v o v o o r o - p - v o v _o o o i i i i i i i »— 0 » - 0 0 » —O O O t - ' O i — O O O O — o V j j » — v o -P "V n v o r o » — o - ^ - P - •— r o r o ► - * i i i ooooooooooo*—o»-**-*i-* o o ro •— o * —P “ cdvo vo V n -o O v O o r o o i $ 1 * 1 i i i i i i i o o » — o»— I - O ^ - O O O O I — O ►- O vnot- cdP'P" ro vn ro h-vjo ovnP"CD»- i i O O i — f--OOi—• O O O t - ' O O O t - ' O p - cd ro v n P " V n r o r o vo ro o ► - v n v o P 'o i t i i i OOOOO*—00000^-0000 r o o v j j P T o u > i o h i o o o i o o v n — o I - H r+ a 3 O v vn O v O' O v - J O' C D O v v O -0 o — 0 ro -0 V jO P " “v j vn -0 O v — 0 -0 -vj C D - v 3 v O C D O co I VjO I I o 3 f+ I - * * 3 C (0 P . n O O cO cm — •C D U \C -.— • cO n O - 3 'O p—c O - 3 O ' '-h O ^ h O'- h O O J O O O —l O o O O I I ^16 1 T V - h CM_=t-cO-* 0'-3, c0t'-0 OJ'O.^-rH _ = f 0s O CM O O O O O -h O -* O O O O O I ■ I _ 3 CM 'OcO h « o C V J . 3 — 1 «-»cOCOCO XA — < CO O ' Q O o (\Jo h h o ( \ | O O H h o O I I I I I I I I I c o cm o _rj"— i c\i _ 3 cm cvj _=r o ' o cm t f \ - 3 t ‘ — O ' O —*—«C\J"-hO—<0--<000 r-i o o I I OJ sO c O c Q 'L O O 'O O ' t'-C O O J OJ OO n O v O O ' o h o h o h o o n o h o • o o I I I I OJ CO-3CM CV JCO P -C O P-C O C M O'QO OJ - 3 O ' r - i O o < — • O O >-• O O < — i o o o •— * I I I I I •o 0 3 3 c c 0 u 1 I co I CQ O C M 1-0 O - 3 - 3 N O ' H < r \ c o O q O O M D O ' < - * O ^ H r - i » - i o O O O o o o o * - » o I I I I I O ' O C M C O O P - c O O l O P - . p - t ^ - - 3 ^ t'~CO OO O C M O O J —l O O O 0 0 (Mh ( M 0 0 I I I I I I CO COOJ (VICO O O t f \ "L T \ h CO O ' OJ CO CO O O o O O O - H 0 0 ' -40 0 0 ' - * 0 I t— C — O 'vO O 'vO o t f \ O O ' P - '-1 CM , , . CO »-• O O O — I O h q o ^ O h h c X M Q 2 to a. a. c vO O 'tA o-C M C M O o c ^ h - c o O J-C M ( M A CO o o o o o o o o —« o * - * c > o I I 1A vO O 's O O ' C M vO o P - - 3 0 J O ' C M vO —* CD CO O O o • “ 1 • - t r t Q H H 0 0 H 0 0 ' H I II I - 3 3 \ - 3 n O O ' C M O 'CO O - 3 C M t f \ *-H CO •-< CO O ' - * ' - * HHOO(\jHHrtC\|C\IOO I II I CO CO-3- nO vO C^-vO C M C O O - 3 X 0 -=fC O -3-O J CO O — * ' - ^ 0 0 0 0 0 ' - ^ 0 0 • - ^ 0 0 • - , I I I o j CO - 3 - 3 - O 'I A O 'C M C M U \cO cO O vO CM CO CO O » - « « - i O O O O C M O O ' - < ,- * O C M O I I I I I I CO COXO'O O ' I '- C O O C M C M vO C M C M O CO 0 0 0 0 0 - H O O ' - * ' - * 0 0 0 0 ' - < I I I I e w +J • C M 0O _3L r\yO P -cD O ' o *-« C M tO - 3 lA v O OOOOCOCOCOCOCOCOCO O ' O ' O ' O ' O ' o O ' APPENDIX B-3— Continued Item 97 98 99 100 101 102 103 101* 105 106 107 108 109 110 111 112 81 03 08 -02 -02 00 03 12 -06 -08 01 11 -09 -01 11 07 01 82 -02 08 08 06 -01 -08 00 21 07 02 -21 -03 08 05 Ok -02 83 10 16 -07 08 13 -01 18 17 15 13 -15 09 Ok 00 16 05 81* 07 10 17 22 Oi* -16 15 10 i i* 09 -26 09 16 -06 08 -22 85 21 16 19 11 13 02 02 03 09 11 -01 -02 -06 13 06 -Oi* 86 00 09 -03 06 06 12 08 11 01 -11 08 -02 03 li Oi* 01 87 Oi* -03 07 10 10 21 06 -05 01 09 05 -03 06 02 10 11 88 10 05 -01 06 19 07 18 01 07 -05 -ik 05 07 01 09 -07 89 -05 06 -10 -03 13 13 -02 -19 -19 -li* 26 02 -09 -11 -03 22 90 12 07 23 22 -02 Oi* 03 08 Oi* 20 -08 -05 16 08 03 -06 91 03 00 oi* 09 11 07 -03 03 01 -01 22 -03 02 -02 08 13 92 -oi* 12 -15 01 06 12 08 -01 -03 -15 19 -Ok -06 05 16 13 93 -Oi* 10 22 02 08 -li* -01 06 02 19 -02 08 07 -01 15 -03 91* 02 01 -11 -09 li * li* -Oi* -07 -11 -18 13 -01 -12 -01 -06 20 95 06 Oi* -02 19 13 -06 19 00 Oi* 03 00 01 -03 -02 00 -02 96 06 01 -03 08 13 11 10 01 02 06 13 02 -17 12 Oi* 15 i —• -o APPENDIX B-3~£ftflUjLI»d Item 113 111* 115 116 117 118 119 120 121 122c Meand 81 -05 02 00 06 03 01 10 -02 02 09 0.07 82 -12 - 11 * -02 08 -08 09 -01 -20 00 23 0.90 83 05 -01 * 01 12 06 -17 01 * 03 03 33 0.83 8 1 * -23 - 11 * -25 18 02 01 + -02 - 11 * 10 32 0.80 85 -10 -05 -02 16 Ilf 03 05 07 20 11 * 0.1+5 0.06 86 -02 02 05 15 08 06 12 -10 05 01 * 87 03 -01 03 05 03 20 16 11 * 17 -01 0.19 88 03 -09 -12 ol* 01 -01 * 08 -03 00 06 0.15 89 15 19 11 * 02 03 -11 09 11 * 03 -01 * 0.19 90 -16 -12 -15 -01 l l -06 -06 07 -10 13 0.1*8 91 03 06 06 19 03 09 11 * -05 07 00 0.31 92 15 19 05 09 11 * 02 12 -08 06 12 0.59 93 -08 -05 -10 18 07 05 -01 * -°7 11 09 0.52 9 1 * 18 25 15 01 03 11 + 09 08 -06 - 1 1 * 0 .1+1 95 06 13 -07 ol* 11 * 00 02 17 -01 -02 0. 1 1 + 96 27 11 21 10 09 03 06 -01 * 09 02 0.22 California Test of Mental Maturity I.Q. d|fYesl ! responses were scored "one1 1 and “no1 ' responses were scored "zero." II 99 100 101 102 103 io5 105 106 107 108 109 110 111 112 APPENDIX B-3— Continued 1 2 3 k 5 6 7 8 9 10 11 12 13 111 18 05 -06 09 20 17 17 13 11 -11 25 09 15 21 16 17 11 05 2il 01 02 06 -Oil 10 22 05 10 -01* 12 -07 06 -05 10 -Oil Oil 08 -10 Oil 1 11 00 06 03 22 19 03 08 13 17 09 -07 -11 -13 05 -05 13 08 02 16 00 10 16 -09 09 12 06 Oli 07 05 05 03 -02 01 06 02 09 -08 03 00 02 17 -03 07 -02 -12 ok 01 -08 06 19 -12 11 -08 05 09 01 19 -08 10 06 -05 -Oil 10 23 12 -111 -03 -15 17 Oil 10 Oil 09 06 -Oil -09 15 06 06 -03 -06 -ill 13 -01 Oil -01 -Ok -06 10 -07 03 10 02 02 -08 -01 06 -03 02 07 -10 -07 00 19 06 -09 11 12 12 u -15 -01 -07 -Oi* -03 Oil 01 -06 02 -06 -Oil 10 00 07 -05 -06 06 -09 00 13 10 -11 11 17 Oil Oil -08 -°7 08 07 07 07 -01 -08 02 02 06 01 Oil 12 01 -08 09 -10 06 03 08 25 06 Oil 08 11 01 -02 01 07 1 11 00 11 -10 -01* 15 05 15 11 -09 03 07 22 1 1 1 -12 06 Oil -06 APPENDIX B-3— £aRjjJlue.d Item 17 18 19 20 21 22 23 2k 25 26 27 28 29 30 31 32 9Z 2k 05 -0 5 -08 02 -ok 08 -01 k2 15 -01 18 -09 06 ik 02 98 00 “05 -0 2 20 -0 2 01 03 15 02 -01 06 “ 03 12 18 -Ok 13 99 22 11 “ Ik 03 -1 6 -01 -0 1 -0 2 11 05 09 -0 5 -01 15 08 16 100 07 06 -0 6 03 01 07 -0 1 -1 0 10 07 -0 1 11 07 ik ok 09 101 05 00 -01 19 00 -07 -03 -0 5 15 01 06 03 19 00 ok -01 102 -01 06 13 05 17 -01 03 07 03 03 12 -0 5 -01 ok 15 103 05 05 01 12 07 08 0k 00 Ik 23 -01 08 03 -01 01 00 105 21 -0 2 -1 2 06 ok - i k -03 -0 6 07 18 03 07 05 16 ik 06 105 20 -01| -111 -0 5 -1 3 08 02 03 07 17 08 05 -0 6 -08 12 05 106 20 09 “ 15 “ 19 -11 03 00 01 11 12 -08 -03 “13 01 10 03 107 -1 1 -0 9 16 08 13 05 Ik 19 00 -08 -0 2 ok -Ok 10 -28 Ok lOB 05 -0 2 Ok 02 09 09 10 -05 13 02 00 -02 “03 11 06 “ 07 109 22 03 -08 0i| -0 5 -01 00 -01 15 21 -08 -o k -Ok 09 16 05 110 12 01 00 01 -0 2 -0 6 06 Ok 09 “ 03 °l 00 “ 15 -08 11 09 111 11 13 -01 05 01 -08 Ik -Ok 06 09 08 03 20 09 08 O k 112 -1 2 -09 13 06 05 01 02 -05 -17 06 17 ok 09 -0 2 -1 5 -0 1 4 = - ro o Item U 99 100 101 102 103 104 105 106 107 108 109 110 111 112 APPENDIX B-3-— Continued 33 3 1 + 35 36 37 38 39 1+ 0 41 1+2 43 44 45 46 -01 1 1 1 08 15 -10 10 18 12 01 01 22 20 23 03 22 01 01 -0 3 17 -0 7 -02 07 -01 13 -0 3 04 -07 02 - 1 1 + 05 07 -01 -0 5 01+ -06 19 -11 -2 3 13 15 07 -0 4 11 01+ -10 - 01+ 00 05 03 08 08 -10 13 n 04 05 01+ -01 n 21 -2 3 23 01 01 + 14 01 02 02 13 03 - 11 + 01+ 11 16 -08 06 03 01 12 °4 -01 09 08 12 -0 3 02 06 09 -01 -0 2 03 09 -02 15 04 03 -0 5 06 11 -06 03 -06 05 -01 13 00 -1 7 22 12 16 03 -21 -0 2 01 01 00 12 -08 13 -2 2 -1 4 15 07 13 10 -1 7 0 1 + 05 -0 6 12 06 10 -18 -18 16 16 05 -1 9 -0 3 -0 2 22 03 08 -0 7 10 -1 0 19 36 -1 5 -1 5 -0 2 15 -07 0 1 + -0 2 05 -0 3 06 0 1 + 07 -0 3 -0 3 04 13 08 01 -0 1 03 02 -01 -1 1 11 00 22 03 -2 7 21 24 07 15 -0 1 05 -0 6 03 00 11 05 08 -01 -0 6 08 °4 13 -0 6 0 1 + -0 2 07 19 -07 -0 3 09 15 08 13 05 04 07 08 -17 09 20 21 -0 9 12 -17 16 38 -1 3 01 01 11 APPENDIX B-3--Continued Item 1+9 50 $1 52 53 51 + 55 56 57 58 59 60 61 62 63 61+ 97 12 06 16 02 Ok 09 -03 -12 10 13 09 15 16 10 07 03 96 10 12 13 11 12 00 02 07 -03 -03 -01 07 -11 06 O k 07 99 -08 13 lfi -03 05 -25 -09 -0 2 -01 10 05 03 17 09 16 Ok 100 05 ll+ 03 -07 16 -13 -0 2 01 13 03 13 05 06 12 07 13 101 15 -20 O l \ . -01 -02 19 -Oif -10 -01 -02 13 “ 13 03 -02 13 -07 102 13 -01 -0 3 00 -0 6 13 00 -06 -0 5 06 -0 2 02 -08 02 0$ 08 103 11 06 08 -03 09 03 -0 2 13 06 05 13 -08 08 08 11 -01 10k 04 17 03 -07 16 05 -lk "Ol 10 05 12 01 09 11 0 1 + 13 105 02 13 12 -01+ 08 -02 -01+ 05 -03 11 -Ok 19 13 07 -09 07 106 00 17 01 09 11 - 01+ -06 19 -08 08 06 02 17 20 -0 2 07 107 06 -03 07 02 -09 17 13 00 07 -01 -11 -1 7 -1 0 -1 0 -0 3 -09 108 03 0§ 11 01 08 -01 -09 03 08 15 01 -0 3 13 12 -0 6 01 109 09 17 10 -05 19 -12 -12 -01 08 05 09 12 23 16 -0 1 12 110 08 06 13 -01 10 05 00 0 1 + 10 02 15 0 1 + -0 2 02 02 -03 111 07 03 0 1 + 02 17 05 07 -03 -01+ -01 03 -11+ “0 1 + 03 10 00 112 07 -05 -0 2 01+ -08 19 16 00 1 1 + 00 -1 0 09 ”22 -0 7 01+ -0 3 ■ C r - ro APPENDIX B-3— Continued Item 65 66 67 68 69 70 71 72 73 71* 75 76 77 78 79 80 9J 03 17 07 12 -01* n 00 -05 12 30 16 09 06 -03 16 -03 98 23 00 -09 05 -02 05 -01* -09 02 03 16 -10 08 08 13 07 99 07 -05 15 12 07 12 -01* -11 05 03 -08 -03 -01 -01 05 05 100 13 -03 17 20 -01* 10 -03 -08 12 16 07 -02 12 -09 10 -02 101 13 01* “13 00 01 11 -13 05 05 -02 -01 -02 06 06 10 -03 102 05 07 -07 oi* 01 -01* 08 17 03 01* 02 -02 -11 07 08 -Ok 103 15 10 -06 05 06 05 -01 -11* 12 32 05 07 01* -05 01 -08 ioi* 11 -11 17 13 -03 11 -11 -01* -05 26 08 00 ll -21 22 -07 105 05 07 11 11 -02 -12 -03 01 21 03 15 05 -12 03 -01 106 08 00 19 13 05 03 -01 -05 12 01 01 02 06 -11 13 -02 107 00 -01 -07 -09 03 -11 29 12 -10 -16 15 03 -ik 28 -11 15 108 ok 01 00 10 33 -12 -08 07 15 05 02 13 -06 01 09 -03 109 06 -09 16 09 09 16 -18 -03 1 1 * 21 01 -11 11 -31* 26 -09 110 01 18 01* -09 -01 05 lli 10 01 01 23 11* -03 -07 07 00 111 19 01* -03 11* 07 02 -05 -10 00 1 1* 02 09 05 03 -05 -07 112 05 10 -23 -02 -01 -01* 01* 19 -01* -02 17 07 -03 32 -03 02 4 = " ro VjJ Item 3 99 100 101 102 103 101+ 105 106 107 106 109 110 111 112 APPENDIX B-3--Continued 81 82 83 8 2 + 85 86 87 88 89 90 91 92 93 91 + 03 -0 2 10 07 21 00 0 1 + 10 -0 5 12 03 -01+ -01+ 02 08 08 16 10 16 09 -0 3 05 06 07 00 12 10 01 -0 2 08 -0 7 17 19 -0 3 07 -01 -1 0 23 0 1 + -1 5 22 -1 1 -0 2 06 08 22 11 06 10 06 -0 3 22 09 01 02 -0 9 00 -01 13 0 1 + 13 06 10 19 13 -0 2 11 06 08 1 1 + 03 -08 -0 1 -1 6 02 12 21 °7 13 0 1 + 07 12 -11+ 1 1 + 12 00 18 15 02 08 06 i6 -0 2 03 -0 3 08 -01 -01+ -06 21 17 10 03 11 -0 5 01 -1 9 08 03 -01 06 -0 7 -08 07 15 ii+ 09 01 01 07 -1 9 0 1 + 01 -0 3 02 -1 1 01 02 13 09 11 -1 1 09 -0 5 - 4 20 -01 -1 5 19 -18 11 -21 -1 5 -2 6 -01 08 05 -11+ 26 -08 22 19 -0 2 13 -0 9 -0 3 09 09 -0 2 -0 2 -03 05 02 -0 5 -0 3 -Ok 08 -01 -01 08 0 1 + 16 -0 6 03 06 07 -0 9 16 02 -0 6 07 -1 2 11 05 00 -06 13 11 02 01 -11 08 -0 2 05 -01 -01 07 Oil 16 08 06 01+ 10 09 -0 3 03 08 16 15 -0 6 01 -02 05 -2 2 -01+ 01 11 -0 7 22 -0 6 13 13 -0 3 20 APPENDIX B-3" Continued Item 97 98 99 100 101 102 103 10i| 105 106 107 108 109 110 111 112 97 “03 Oi| 13 19 01 05 17 02 -0 5 O il 11 M l -08 98 -0 3 07 13 02 09 08 05 -0 7 -11 00 -01 02 08 M l 08 99 0i| 07 08 05 00 -0 6 00 11 28 -01 11 1U -0 2 08 -18 100 13 13 08 -0 5 00 11 16 07 19 -0 9 02 lil -0 7 O il 00 101 19 02 05 -0 5 12 05 -01 -0 2 -0 6 06 -Oi| 00 -06 10 17 102 01 09 00 00 12 07 00 02 -0 7 21 00 08 12 -01 11 103 05 08 -0 6 11 05 07 o5 06 03 -1 3 08 01 02 18 03 io 5 Ik 05 00 16 -01 00 05 15 15 -0 2 -2 9 -o 5 19 08 lil -1 3 105 17 -0 7 11 °7 -02 02 06 20 -1 7 22 15 -0 3 00 -0 3 106 02 -11 28 18 -0 6 -0 7 03 -02 20 -OQ li| 1U 06 -02 - l i l 107 -0 5 00 -01 -0 9 06 21 -1 3 -2 9 -1 7 -08 -111 -08 08 02 34 108 O il -01 11 02 -Oi| 00 08 -0 5 22 10 -02 10 -0 3 109 11 02 li| li| 00 08 01 19 15 -08 10 05 05 -01 — 2i| 110 lk 08 -02 -0 7 -0 6 12 02 08 -0 3 06 08 -02 -0 9 00 111 -0 8 lk 08 O il 10 -01 18 li| 00 -0 2 02 10 -01 -0 9 15 112 03 08 -18 00 17 11 03 -1 3 -0 3 - l i | 3i| -0 3 - 2i| 00 15 APPENDIX B-3"£9HUimg<3 Item U3 lli| 115 116 117 118 119 120 121 122° W d Mean 9T 01 00 -12 03 12 -06 -03 -03 02 0i| 0.20 98 -05 06 07 20 -01 -0i| 07 08 35 0.k9 99 -13 -12 -13 07 12 03 -06 -07 -01 03 0.53 100 “03 -12 -08 10 10 -08 07 -11 02 20 0.72 101 00 02 -05 10 05 -07 0i| 18 -02 13 0.12 102 16 03 0i| 01 17 07 07 11 07 06 0.26 103 05 05 -02 ik 15 01 02 -10 -ik 18 0.68 10k -04 -15 -07 01 13 -11 -05 -25 05 22 0.93 105 -Ok -16 -07 09 16 -06 07 -05 02 13 0.32 106 -0? -18 -15 -01 09 -08 05 -Oil -09 -01 0.30 107 15 2I 06 03 -06 12 -09 11 09 -12 0.27 108 13 -18 07 15 05 -06 12 -03 -10 -0k 0.19 109 “19 -21 -19 -10 02 06 05 02 -08 16 0.89 110 -07 03 0i| 03 06 18 -05 -02 07 03 0.08 111 -01 -01 “03 15 -08 01 02 -10 03 30 0.69 112 18 20 13 06 -06 -10 17 19 -03 05 0.12 CCalifornia Test of Mental Maturity I.Q. ^•'Yes’ 1 responses were scored Mone" and HnoM responses were scored "zero.” APPENDIX B-3--Continued Item 1 2 3 1 + 5 6 7 8 9 10 11 12 13 1 1 + 15 16 113 01 01 00 08 -0 6 -0 6 07 12 07 1 1 + -1 3 05 -0 6 -0 5 01 -01+ 111+ -0 2 -0 1 05 16 -01 01 -0 2 03 16 09 -0 9 13 03 il+ -0 2 00 115 -0 3 0 1 + 0 1 + -01+ -08 -11 06 01 02 09 -1 0 01 -0 5 02 -0 3 03 116 09 11 00 12 11 03 06 11 -0 7 09 13 -0 2 0 8 03 07 10 n Z -0 7 01 08 “ 05 11 08 -1 0 02 10 01 05 06 11 00 05 13 118 02 02 05 09 03 -1 1 -0 2 07 -1 0 12 -1 0 -1 0 05 06 00 01 119 02 -0 2 01 -0 2 02 02 -01 -0 2 03 11 -0 6 02 01 06 09 11 120 -0 6 11 -01+ O il 06 -0 7 -0 3 -0 2 21 -0 3 -0 5 20 Ok -0 7 Ok 121 18 -0 3 -0 1 o 3 01 07 07 -01 -0 3 0 1 + 1 1 + 05 -0 8 -0 6 01 -0 6 122 23 16 1 1 + 05 29 07 10 -0 3 00 01 2 1 + -0 2 25 -0 6 27 19 % APPENDIX B-^— Continued Item 17 18 19 20 21 22 23 21+ 25 26 27 28 29 30 31 32 113 -19 -07 05 13 16 02 05 -01 -02 -07 -06 05 -03 09 -07 -09 Ilk -15 -05 06 11 10 °J 01 21 01 -11+ -01 -05 12 08 -12 -01 115 -17 -11 11 0 1 + 22 08 08 00 -06 -15 02 03 05 -07 “05 “03 116 03 07 06 07 08 01+ 11 -06 01+ -07 07 16 -02 09 -01+ 09 n 7 08 -07 05 11 07 05 -11 07 11 00 01 00 -06 11 -Ok 118 13 02 01* -11 09 08 15 05 01 -01 -01 06 -05 -01 09 16 119 00 -02 03 06 -01 07 -01+ -11 -01+ 08 06 -08 -01 -01 02 03 120 -09 Oli -05 05 -03 -01 -Oli -02 -06 02 21 -02 11 -09 “19 06 121 12 -06 10 09 02 -01 01 06 02 01+ 11 12 09 -12 02 07 122 03 -01 -Oh 25 -08 01 00 -01 06 20 12 11+ 11 -01 07 10 -P" ro oo APPENDIX B-3— Continued Item 33 3l| 35 36 37 38 39 40 41 42 43 44 45 46 47 48 113 -0 6 -01| 15 16 12 06 09 - l i -0 4 32 -1 1 -14 05 11 -1 3 03 l ll l 07 00 11 14 30 -0 6 °7 -1 5 °7 32 -1 1 -07 01 13 15 03 i i 5 06 -0 9 -0 3 12 05 -0 2 o8 -0 3 08 15 -0 3 -1 4 00 09 -0 6 -0 3 116 15 08 01| 08 06 -0 5 03 03 l i 11 05 -1 3 14 07 26 01 n l -1 5 01 11 17 20 04 -04 14 -0 5 00 07 13 09 04 08 -0 3 118 -07 06 13 07 00 04 -0 1 l i 12 06 -03 01 15 03 14 09 119 03 00 -0 5 16 09 02 01 01 -0 5 01 -08 07 08 09 -01 -1 0 120 06 -1 5 ill 12 06 -0 7 12 -0 6 07 10 -09 03 -0 5 05 -07 -0 4 121 -0 3 10 - l i -01 04 -0 3 -0 3 -0 2 13 -01 17 00 03 01 08 07 122 20 11 -07 03 22 -0 5 -05 11 08 10 19 06 08 04 12 -1 3 4=- r \ j vO APPENDIX B-3— Continued Item U9 50 51 52 53 51* 55 56 57 58 59 60 61 62 63 61* 113 08 -0 9 -0 6 03 -0 1 29 01 01 05 10 03 -18 -0 7 -1 3 -01* -0 5 ill* 16 -18 06 -03 - l i 12 13 03 ok -0 3 -1 6 -0 5 -0 5 -11* -0 3 00 115 09 -11 02 06 -18 12 -08 -0 1 18 -01* 03 -0 2 -0 5 -0 2 11 -1 0 116 20 -05 22 03 10 02 05 05 12 06 01* 06 -0 3 0 1* 13 07 1 1 + 13 08 01 01 08 -0 3 -0 2 1 1 + -0 1 1 1 + 10 -0 6 09 05 06 118 07 12 22 03 09 07 02 -0 6 07 -0 5 13 0 1 * 03 -° k 06 05 119 06 08 08 1 1 * 1 1 * 12 02 00 08 05 -1 3 07 -0 7 18 02 09 120 06 -1 2 -0 5 -0 5 -2 1 08 -0 2 -0 3 -0 2 -0 5 -0 6 13 -1 2 03 -0 3 -01* 121 00 13 01 -0 6 09 -oi* 15 02 -0 6 -0 5 -01* 22 -11* 12 17 11 122 11 0 1 * 15 -08 26 -0 5 18 1 1 * -01* 09 00 09 01 18 15 07 +=* V - O O APPENDIX B-3--Continued Item 65 66 67 68 69 70 71 72 73 7I 1 75 76 77 78 79 80 113 -0 i| 03 02 -01 12 -0 6 16 23 -Ol| 06 01| 11 -0 3 07 -08 13 11I1 01 1 1 1 -1 0 -08 -01 -01| 20 05 -0 9 -0 3 13 10 -0 2 12 08 13 115 -1 7 00 -1 0 -01 -01 -1 7 18 21 -08 -1 2 -0 3 06 07 15 02 -0 3 116 16 05 -0 2 12 19 -0 6 -0 3 -0 2 05 02 12 11 03 -01 03 15 11J 03 11 01 10 06 -01| -0 7 -08 05 06 -0 2 10 05 -0 i| 05 03 118 -01 13 -0 7 -0 6 06 06 12 16 00 -0 6 19 17 03 -0 2 00 18 119 01 03 -11 11 09 02 -0 3 11 1 1 1 00 01 06 07 -0 5 09 01| 120 -07 -07 -1 5 oh -01| 01| -0 5 07 03 -0 7 -Oi| -0 3 -0 6 17 03 02 121 10 13 00 06 02 02 05 -0 5 17 05 -1 0 12 “ 03 00 -0 7 02 122 27 11 08 16 03 19 -11 -0 9 17 21| 07 01 13 -1 2 15 -0 6 APPENDIX B-3— Continued Item 81 82 83 81| 85 86 87 88 89 90 91 92 93 94 95 96 113 “ 05 -1 2 05 -2 3 -10 -02 03 03 15 -1 6 03 15 -08 18 06 27 lll l 02 -111 - 01| -111 -0 5 02 -01 -0 9 19 -12 06 19 -0 5 25 13 11 115 00 -02 01 -2 5 -02 05 03 -12 14 -1 5 06 05 -1 0 15 -07 21 116 06 08 12 18 16 15 05 04 02 -01 19 09 18 01 04 10 U Z 03 -08 06 02 14 08 03 01 03 11 03 14 07 03 14 09 118 01 09 -1 7 01 | 03 06 20 -Oh -11 -06 09 02 05 14 00 03 119 10 -01 0i| -0 2 05 12 16 08 09 -0 6 14 12 -04 09 02 06 120 -0 2 -2 0 03 -111 07 -1 0 14 -0 3 14 07 -0 5 -0 8 -07 08 17 -0 4 121 02 00 03 10 20 05 17 00 03 -1 0 07 06 l i -0 6 -01 09 122 09 23 33 32 14 04 -0 1 06 -0 4 13 00 12 09 -1 4 -0 2 02 i I APPENDIX B-3--gfinmulS<* Item 97 98 99 100 101 102 103 104 105 106 107 106 109 no ill 112 113 01 -05 -13 -03 00 16 05 -Oil -Oh -05 15 13 -19 -07 -01 18 I1U 00 06 -12 -12 02 03 05 -15 -16 -lb 27 -18 -21 03 -01 20 n5 -12 07 -13 -08 -05 Oil -02 -07 -07 -15 06 07 -19 04 -03 13 116 03 20 07 10 10 01 14 01 09 -01 03 15 -10 03 15 06 n I 12 -01 12 10 05 17 15 13 16 09 -06 05 02 06 -08 -06 118 -06 -0i| 03 -08 -07 Oil 07 01 -11 -06 -08 12 -06 06 18 01 -10 119 -03 l k -06 07 07 02 -05 07 05 -09 12 05 -o5 02 17 120 -03 0 7 -07 -11 18 11 -10 -25 -05 -Oi| 11 -03 02 -02 -10 19 121 02 08 -01 02 -02 07 -ill 05 02 -09 09 -10 -08 07 03 -03 122 Ok 35 03 20 13 06 18 22 13 . -01 -12 -Oi| 16 03 30 05 - P * K jJ K jJ APPENDIX B-3— Continued Item 113 114 H5 116 11? 118 119 120 121 122C Meand 113 28 10 08 04 -04 12 -05 -08 00 0.33 114 28 12 08 04 14 05 09 01 03 0.34 115 10 12 11 10 -03 09 18 09 -13 0.12 116 08 08 11 10 01 17 -Ok 09 21 0.29 04 04 10 10 01 02 06 06 -04 0.56 118 -04 14 -03 01 01 -01 -07 08 -13 0.54 119 12 05 09 17 02 -01 06 01 09 0.57 120 -05 09 18 -04 06 -°7 06 -04 -10 0.00 121 -08 01 09 09 06 08 01 -04 06 0.28 122 00 03 -13 21 -04 -13 09 -10 06 5.06 c California Test of Mental Maturity I.Q. d| l Yes” responses were scored "one” and ”no” responses were scored ”zero." - 1 = " £ APPENDIX B-if. Unrotated Factor Matrix4 Boys’ Sample Items Factors A B C D E F G 1 -22 11+ 16 -02 -o k -10 01 2 -12 18 11 12 -13 -08 -06 3 05 16 -12 05 -07 20 07 6 -21 10 05 -12 19 -07 -08 7 -20 27 18 -11 03 18 -11 8 26 21 11 -18 03 05 -19 9 16 08 -o k -16 -2k 12 25 4 -37 13 -05 -03 -11 18 -10 16 -31 19 -06 10 32 -o k -03 17 -1+5 10 18 -15 11 ok -02 20 10 12 21 20 -31 -12 -03 21 32 33 -30 -05 -03 -08 -12 2^ -30 23 00 -15 -18 00 -18 26 -20 08 -2 k 27 12 -03 09 27 19 11 11 -16 07 -02 28 31 -37 07 -13 -06 -° k 03 -08 33 17 !i+ 27 21 08 -06 -25 37 31+ 08 03 28 21 -2k -11 39 -0 k 28 -20 -28 12 26 06 l+o -36 03 -23 -12 00 -20 09 1+1 11+ 06 06 • -01 22 17 -10 1+ 2 1+2 21+ -2 2 31 22 -17 09 1+ 3 -1+3 19 10 -10 -13 -0 5 ok 1 + 1 + -1+9 -10 -32 17 15 -03 -09 k5 -23 31 15 -05 08 -16 07 1+6 -16 11+ -02 o5 ki -09 02 1+7 -05 lk 29 -° k 11 -11 10 1+8 -17 16 17 -28 17 -09 -07 1+9 01+ 36 -28 13 -05 10 02 50 -1+3 09 -31 -09 07 -18 13 aAll decimal points have been omitted. APPENDIX B-ij.--Continued cb O U M A C - t - T * c'c.d’H 1A CM ^<0 _d<X> XACO C \ J c^O c o c > v O t r \C '- H C 0 - d - 0 ' OOfOOOOHNOHO^OHOO^WHrlOHHOOOOWHW 1 I I 1 1 1 1 1 1 1 1 1 1 1 CO < v' i rH OOO vO OUN C —U\_d_ U\ C" rH O'vO lA-d'O' CU^O vO tA C'-'U'y COCO -d-f'-tA HHHfONOOHHONOHOHOOHOHWOOOOOOOHO 1 1 1 1 1 1 1 1 1 1 II W CM O f — O 00 OO rAcO CO O' CM -d-'lA-d'IA O CO CM vO C\ CM fA <AvO <A O' O vO X f \ H H H OOCMOCMHOHHHOOOHOCMOO©OOOCMO<AOO I I I III 1 1 1 1 1 1 1 (D u o ■p o P CM fAO.rj-cAt'-eO r*~U\H H CM rH>0^0\AfA_d-0'U\'0COMAO-d-O O CM CM CMOOr-lCMOHHHOCMOCMHCMHOHOHOHCMHCMHOHOO III 1 1 1 1 III II 1 III GO o C-c^_3-_ri-vO CM t^CMOO-d-lAC^iH OvO CM rH'O_=ttACMC0_d-H <A< AC'_d-CO WHrlHOOcnOOHWrl 0^0 OOOOCMHOHCMHOOOHO 1 1 1 1 1 1 1 1 II II 1 II 1 1 m CMlAC-vO H t^-MDvO O.dC'-CM H O rH C O CM t'-.dCM CMHCMOOHOHCM H H W O ^ O ^ ^ H CAOHCMCUHCMCMOOCMO 1 1 <« OCMHCO XATA'LA HHIAOQD CMO'HOH<ACMCMCOvO HJ-CVI CM H _d-dCO CM O CM H Hd-cnrld'^O CM CMHd-^H HfO^OriW^OO^^HO 1 1 1 1 1 1 1 1 1 II 1 II II 1 Items ^KO t“ -CO O' rH CM_d't'-CO O' O rH CM fA .d -lA C '-a o O'O iH <A_dvO C'-O'O H l A m am a' i a ' i a i A ' O v O v O sO v O 'O C --t'-r ~ -t'-t'-C '-c — a - r v- c o c o c o c o c o c o o o O 'O 'O ' 96 97 98 101 102 10l| 105 106 107 108 109 110 111 113 115 116 117 118 119 120 APPENDIX B-k— Continued k 37 Factors A B c D E F G 06 16 -1 1 -1 2 21 -1 0 05 -2 7 38 20 -1 8 00 -0 6 - i k 10 35 26 23 -1 3 05 -0 6 03 12 05 -1 0 -1 3 08 10 06 26 -1 5 06 -0 9 25 12 -26 01 07 13 13 17 01| -3 1 -0 5 -0 3 16 -1 3 -21 -0 2 -3 5 -0 7 -2 0 -28 02 -111 18 1+ 5 31 -0 9 02 05 -1 3 1 1+ -0 7 21 -1 2 -1 9 -2 7 -1|0 02 -5 3 -0 1 -1 9 15 09 07 03 09 15 02 -2 7 02 06 Oil -06 29 21 28 -18 -0 1 15 22 28 19 -0 6 15 -0 6 27 09 -3 1 00 -2 0 -1 2 -1 6 16 30 29 07 -1 7 -1 0 10 -Ok 26 12 06 -0 l| -08 00 08 11 -21+ -1 2 02 -0 6 01 03 15 -3 9 09 -2 6 03 -11 38 31 09 -1 2 07 -2 3 -1 0 APPENDIX B-ii--Continued is t^OJ-J-0'C0 0'CVIJ-0'C-jW)4<Dj-fnH H^too (\JHH\n-d-C\JOJH C V J OHOWOOftlOHOHOrlHOOOHOOCHHONOftlOOO I I 1 1 1 1 1 1 II 1 I 1 1 E ojt-t-oH«>oxr\Xr\^H30 o--o o ^ ojo- hooo- cmojh o-=j-t— o -V \< 'O C v j OOOWHOOJOOHHOrlrlOfUOOOHOOOOOOOHOO I I I 1 1 1 1 1 1 1 1 1 1 1 1 II 1 TO .dC O O O J t^ -v O O J O J v O C ^ cO C V J rO v O f^HOOlACf'(^ISvOlAN'r\v D C \J_^-J"O J HO^OOOrlHHOOOHOOJOHOHOOHHOOHWHOO 1 1 1 1 1 1 1 1 1 1 1 1 II 1 1 1 1 1 1 1 b O -P o (ti pH w C O O -0-\A C '-<'O vO - lA -d -< 'r\_ = j-'0 t* ~ O O -rH J-O-UN^tCO O J 0 — O C O r-lU V O H >C HOHOrlOOrlMrH OOOrlOOOOOrlWOOHHWOOOO II 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 II » -3 v £ > O J H C U U A s O C O 0 O O -v O O - 0--=f O J_d-V \O - H H 4 ^ H O 0ja0_40 0 H-d" OHOOOOOOOOHOHOOHHHOOOOOOJOOOOJOO 1 1 I 1 1 1 1 1 1 1 1 1 1 1 w fO sO -rtvO 0- H r^C — £ > O c \J 0-_dlA C O C O O ' O J O O _ = J - O J 0s O OvOWO (MOOOOHHOHOOOJOHHOOOOOHOHOOOOOOH I I II 1 II I I I K HHvO C"_d-H HCO n D JxOvO o'V rH lA C V d-H O O w H O O -d C V J OOJOJOJOrHHH OOOrlOHOHOO^OOOWrlOrlOH I I I 1 1 1 II 1 1 1 1 1 1 1 I terns hcvj<^n Or~coO'.d-vOo-oh x rv ^o p - hcoo-O 'O H c v jm_d-u\vOo-co O'o i-H rH r— IO JC v JO JC v JO J cr\ co cod’ -d-d-d3~-d'-d-d'-d-d-'l A APPENDIX B-li--Contlnued O' -=± J-OO' C'-CO 0 < ^ N P J H _d"CM \Af 'A_d‘ _d-CM-d'0' i-l.d'C\J.d"CM-d'_d‘0 Ch f'A.d- O O O O O O O O O O O N O O O O H H H H O H O O H O O O N O III I I I I I I I I I II I IACO HH'Of'rHNWO'vOvO H i n S H l A O ' O J ‘O'0UN0''0 CAIA-dCD A- O H O H O O O O O O O O O O N O H H O O H O W H O N H O H O I I I II I I I I III a b O •p o 0 » O H © rOiH-rJ-O t\!OH©I^O O-d’O'.d-CM'O'lA'O OVA CM CA-d-vO VA CM-d- C M O O O O O H O H C M H O C M H O O H O O C M O O O O O H O O C M H III I I I I I I I I I I I O 0'_d-_d-0 CAvO CM n n CMIAVAH CMCOCO VAVAO-d-CO O CM rH H'O O A-vO W O H H O C v J H C M H C M H H O O O C M O H O O i H H H H O O H H H O O III I I I I I I I I I I I I II I I cA CM O CM O-d-VAA-O'C'-d’ -d'CM.d-VA.d-O CM 0'_d-_d''0 O'C O CM C^CO CM oAVA H H H O C M O H H O H O H O O O O O O H H f A H H C M H H C M O H i H I III II I I I I I I I I I I CAVA CMCM'OvOOCMCMCAC'—CMC— O'O'OCOO'Oi—IO O-drH iHvO f-rH CM H W CM O fAO O O H O O H O O H O O O rH O H O CM CM H O O H O O O O II III I I I I I I I II III I I I I CMvO'OCOcOCOCMC'AHCO rIO -d'-d'O'CO CM cA_d<D MDsOCO'OrHCMO'0VACD O O H O H O r H C M O O O O O O O i —I H C M O r H O H O O r H H H O O O I I I I I I I I I I I I I I I a S © ■p -WD f— CD O' H CM _d-A-cO O' O rH CM cA.d'lA 1 — CO O' © H A- O' O H VA lAVAVA'LAVA'O 'OvDvOvO'O A-A-A-A-f^A-A-A- A-CO COCOCOCOQOCO O'O'O' APPENDIX B-li— Continued Ss QO C V J H CAVA-d-P-CO O G O C V J O O'VA C V J P--00VAvO rIOOOOHHOOMOOCVJOOOHHOO 1 I I I II III 1 S3 rHlA-dfH H-d-d-CACAOO C V J P-P-CO VA <A O vO C V J P- OHOHOOOOOHOHHOOWCVIHOH 1 I I I I I Factors K P-'O iH C V J VA H O 0s f — N O 0s C V J _ c J - v O © P-fA_=t-VA OOOOWOHOOOHHOOOOHrlOH I 1 I 1 1 VAH P-CO O C V J O H CO VA rH C V J O C — C \ J -=*-000 00 O' OOOHCVJCVJCVJOOOOOOrHOOHOOO I I 1 1 1 1 1 * ■ 3 O P-'O'O'O <A P- <AVA C V J VA ©'CO 'O H O' C V J I —oACO OOHCVJOOOOOOHOOrHHOOOOO 1 1 1 1 1 III 1 1 II H VA'-O VA H fAOHHOOvOCOOO CAvO O CAO CPCO O' OHCVJHHOHCVJOOHfAOOOHHCVJOO I I I 1 1 1 1 1 I I I W vO CAVA O VA CAOO O -d’ O'VAvOVA.ri-H-d-'O C V J VACO OHOWOWOOOOOOOOHHOOOO 1 1 1 1 1 I I I Items O P-CO H C V J _3-VAvO P-OO O' O H <A1A vO P-00 O' O O'O'O'OOOOOOOOHHHHHHHHW HHrlHHrlrlHHrlHrlHrlrlHH APPENDIX B-Ij.— Continued * ^ 3 OvO O _d- 0 -d^O O O-d’ -d-’ UMTV-d-rac^r^O O'vOCO^'O C V J HvO CVJlTNO'tA _d-cvi co fO co^^^VO co r r * r c \ co co_d co co cotrv cOXA-d- co fO co CM _d- E h d-d-o t^oHO'O'OH cao cmvOco c-cm o o ncT'dd-do^odiA'O co OOHHOOOHHHOOOOOOHOCVJOOOOOOHHOlHO I I 1 1 1 1 1 1 1 1 1 09 « 0Q vOXA-d-O CACMvOr'-OvOvQsO C'-OCO H CACM ^P-O^d^^OlAW cAf- OOO O O OH H H O O OO H O O H OO O H O O O O HO O O H I I 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 I I I H O -P o od Pn « O roO-d-fOCM-d-fOCT'CM OvO rAA-CM-d-rAvO t'-vO.d CM cococo cmco' laoj O H O H O O H H r H O O C V J H O O O O H O O H O O O i — I O O O O O H 1 I I I 1 1 1 1 1 1 1 1 1 a? O -d -O v O C X ) S O ' C ' O C V J 0 '_ d _ d f O 0 0 C 0 C 0 C M Cdo r A _ d - P - \ T \ t —1ACO H W N O H H O O O O H O r i O r l H O O O N O W O O H O O H O O 1 1 1 1 1 1 1 1 1 1 1 1 1 I I I Ph _d-_d-OvO cAlA-d-CA-dO H cACM-d-00 O G O 0 _d"H OCACAcAvO P-CM CMMD O O O r l O r l r l r l O W H O O r l O O H O O O H O O O r l H H r l H O 1 1 1 1 1 1 1 1 1 1 1 1 I I I o O OtA_d"-d"(M vO_d"H CM-d-C^_d-_d-H H CMvO’ LA-d'O H CMvO CM HlACMvOlA O r l O O O O O O N H O O r l H H O O H O O O O r l O O O O O O H I I I 1 1 1 1 1 1 I I 1 1 Items H C M cOvD A-CO 0 'd M ) N 'O H M \ v O A - H O S O O H CM CO J-lOvO A-CO O' O HHHCMCMCMCMCMcOcOcO rA^^^^-chd'-dvd'-d‘ -d’ ' ' - A APPENDIX B-ii~Continued C M .C " L A C '-_d-< A O _d'fA C O C M IA r^O 'rH C A O O C M C M r'-H C M C M O O C T-O xO cA H G O C '- _ d -C V j3 -C V I < A -d’ lArA _d-cA < A C A < A _d-\A < A .d-‘ A _d -_ d -< A rA cA C A .d -< A 1 A -d -rA C M U \C T >H -=t^-C \J H 1A C O 0'1A < A C M 1A H x0_d-C M C M C O 00 r-x O x £ > x O C M C M C M H-d" OrlOHOCMrHOOOCMrHOOHOOHOOOOOOOOi— Irlr-tO 1 t i l l 1 1 1 1 1 I I t o » CO H 0O 0O C M cAlA-doO OOvOH C M - d ~ x O 1 A < A O O xO -cfO C t> -_ d -cA OHOOOOHHOHrlOOHCMOOOHriOHOOHHHHWO 1 1 1 1 1 1 1 1 I I I 1 II H O ■ P 0 0 1 f t , tt 0-=NO O C M O Wd-J-HvO C M O O O C O O O C O H O nj-J-HvO C M C M 0-<AfA h h o o o c m o o o o o h c m o h o o h o o o o o h o c m o o o h I I 1 I I I 1 1 1 1 1 1 1 1 1 1 & <A H IA nO H r-i-H U N C M C M C M < A x O C M 0--d-V\x0 c A o x O O _dO ^tt^-O O <A < A H OOOOOOOOHHHOHHOHHOOHOOOHOOHHOH I I I II 1 1 1 1 1 1 1 1 1 1 1 C M > A C M -d-vO vO -d-© O iH C M C A C M n O C M C M v O H-d-d-H O O O 0'<A xO OA O xO HOOOOOCMCMOOOOOHHOHOCMHOOHOCMOHOHO I I I I I 1 1 1 1 I I I 1 1 1 1 1 1 1 o C O (A lA <A rH -d-C — iHlAlA O C M x O iH_d-H C M x O fx-lA C M C M x O 00 O C M X A x O HHOOOOOHOOOOHOOOOHOOOHHHCAOCMOOCM 1 1 1 II I I I II II 1 1 1 1 1 Item s _ = h A r-00 < A H C M -d 'C '-C O 0s O H C M <A _dU \ r-C O O'OH < A _ d ^ D NOO H1A taia' iaia'ia x o xOxOxOxOxo^-r-c^-cx-f-r-A-^- r-co c o c o c o c o o o c o c t'O O 96 97 98 101 102 10k 105 106 107 108 109 110 111 113 115 116 117 118 119 120 APPENDIX B-[t— Continued Factors 0 P Q R s T h2 08 -07 -10 -16 01 27 27 06 -0 6 00 02 16 44 15 0§ O i l - -02 09 -0 4 42 17 -09 10 -Hi -21 09 35 07 -OIl -07 16 15 03 37 20 16 -01 08 08 02 34 01+ -01 13 -09 08 15 36 -03 -06 01 -10 10 12 36 -10 00 Ok -01 -11 00 4o 11 -08 -02 22 05 -03 49 -07 01 07 10 -02 04 44 -18 -18 05 11 -05 03 42 -03 0 1 4 . 14 -01 -13 -04 39 01 -15 -14 01 -10 12 5o -23 02 10 -10 08 01 37 -0 8 21 -18 11 -09 11 49 22 -06 08 -01 06 01 28 08 -12 00 08 -0 8 -06 30 -02 07 -02 -01 -0 8 00 30 -0 6 12 00 -01 09 04 44 APPENDIX B-5 Unrotated Factor Matrix8- Girls1 Sample Items Factors A B C D E F G 1 27 o5 02 -21 35 11* 15 2 15 23 29 -18 i{* 07 01 3 -01 08 05 01 -1 8 -16 -03 6 32 05 -01 -02 01* 10 09 7 11 10 -16 -05 -10 16 !1* 8 -01 20 -03 -03 -07 -10 -0(3 9 -0 6 20 03 06 09 27 -21 21 02 -23 -ll* -26 08 08 16 29 25 25 08 -13 -11 02 17 55 00 -20 -06 01 -15 -ok 20 -05 21 36 01 -03 06 i3 21 -07 36 -12 11* -02 01 10 25 1*9 15 -30 -11 -15 20 16 26 38 06 H* 05 -17 -01 -18 27 0 1 4 - 15 12 -06 10 03 -21* 31 31 -0 8 -11 11* 25 02 -09 33 -11 08 23 -30 02 09 21* 37 -17 31* 29 01 26 -05 -09 39 08 29 -20 -13 -22 11* -17 i*o 39 08 -05 11 -15 -09 07 1*1 -0 6 29 08 -22 -29 -01* 09 1*2 -38 1*6 00 -03 12 02 06 1*3 1*8 -02 -0 8 02 12 01 hh hi o3 12 01* -12 -0 6 -30 h$ 31* 26 -21 11 -02 01 06 1*6 -03 33 16 02 -36 -11 12 W 11* 13 -01 “3£ -03 -23 21* k8 20 05 -38 -1 8 07 -11 -11* 1*9 11* 1*2 12 -06 -10 08 01 5o 1 * 1 * 01 00 12 21 -28 00 *A11 decimal points have been omitted* APPENDIX B-E>—-Continued CU .d-<*VO C'NH OCvl CVJODvO nj-f'iJ-O'O'O^'OvOCD r>^CO 1 -r\tr\ H C M C M > h - N O O O H O H H O H O O C N J H O O H O O H O O O O O H ^ O H O O 1 1 II 1 1 1 1 1 1 I I I CD-d-H OvO t'-O-d-r'M'-rHCOvO rldOvO HXf\r^CO _=J-CvJ H vO vO H 0J1ACO O H H H O H O N H O C M H O O O ( M H O O O H O H H r l r l H O ( \ J H 1 1 1 1 1 1 1 1 1 t 1 1 1 1 1 M * w \r\ f'^-d-d-'O C g _d t'-\A O ' CM CMf\NvO o r-C^O-d-f-r-lvD N O O O H C S OOOOOrHOrlOCMOOOOOOHHOHOCVJCVJH OCVJCVJOOO 1 1 II I I I 1 1 1 1 1 H o •p o at p -d-O Offlf^HO (M tAcO t"-vO O r— t'-f\J>0_d'0 r-tvO'£>_d‘OV\vO H l A O N t V I H H W O O H O O O N W H W O O r l O H O O H O W O O O O O O 1 I I I I I I 1 I I 1 1 1 1 1 1 o co o O'vOco .d-f^cg oxo vO_dco O'OH'OO'OOtvit'-fncvjinojO'Cvjo'iA O O O O H W O O H H O O J-H O H H O H H H H C V J O J H C M O O H O 1 1 1 1 1 1 I I 1 1 1 1 I I I p C\J_d-OJ C-CO t^sOCO OvO OGO OOO J-CVJ-d-\Af\|vO H tnOvOdffi O rH CVI-d- d O n O O H O O H O W O H W O H n o C M H C M H W O W O J f O O ^ H I I I I I < OC'Vd-.d-sO t'-0'vO'LT\vO j d l A O H O t'-O'e-vO vO t^-GO h-^to CM r^CO-d-OJ H H H H M rH CM CVJ (M OJ .diH CV|f^<no O CvjIdrH H f ^ W O H 1 I I I I I I I t e m s _dvO t>-0O O' H eg _d-^-GO O' O H eg c^_d"lA r -o o O' o H c ' rV-d'-0 t ' - O ' O H I A \AUM AiAi-r\vo v O vO 'O vO 'O t^t^ -e-r-t^ -t^ -t^c^ - r - c o oo co go co gd go O'O^O' 96 U 101 102 101+ 105 106 107 108 109 110 111 113 115 116 117 118 119 120 APPENDIX B-5~c<ai Factors A B C D E F G 02 1+0 -20 20 35 16 01+ 39 20 -20 -10 -11 31+ 02 05 22 29 -23 16 -13 07 02 31 11+ -11+ -09 31 -13 -06 31 -10 11 -02 -01+ -Ik 1+ 2 00 15 06 07 10 26 3k -06 08 29 01+ -03 -01 32 -17 -18 20 00 -09 -22 -37 37 -29 -11+ -13 -11 -02 Ik 07 09 1+0 -06 -02 01 1+6 -07 12 03 -2 8 -0 8 -0 8 11 12 -22 -03 07 -08 -02 13 17 22 -13 15 -0 8 13 -22 3l+ -13 33 08 17 16 -23 27 -05 17 02 08 11 08 33 12 -06 08 -17 29 18 19 09 22 01 -02 -10 01 15 -27 -09 01 -37 00 06 21 16 20 00 -13 -0 6 16 17 13 -09 -16 19 “1+2 APPENDIX B-£— Continued n h O ■p o aS W J - 1 A H r—vD H s O O v D C O O O i-t t'--d--=i-CO _=*-vO H W C M 1A H lA 'O O O H H O O W O W O O r l H O O O j O H O O O O O O H H O O O H O I I I II I I I I I I I CO_^-C\) N ' l A J - O ' H O ' C M 0 s C M CO 'O — O C O t*- iH CO 0 s t C V J 1A O N H H O O H O r l O O W O H O N O H H H O H O O H O O O H H I I I I I I I III I I II II j^C O V W O sDC O C A IA H -d -iH O iH ^ t_ d " lA fM iH O C V J C M \A O C v J (\J O ^ t H v O C M O H O O O O O O O O C M H O C M H O H H H H O C M H H H H O C V J O H I III II II I I II I III I H (H'LfN O r-C'-'LA CM_d-CO J-CM H O \A C M rH -=j-CO vO vO O C M C^-C^-C- C M O O r l W r l r l H O O O r l ^ r l H H O O O O O r l r l O r l r l O O O O O I I I I I I I I I I I I I I N 1 A 0 ' C -rH CMHCOvO vO U N H nO O cA v O O p J C M O O C ' O H W H fA rA -d -C ^ rH H H C A H H O H O O O H H O C V J O O H O H H O O H H O O O O O H I I I I I I I I I I I I CAvOsO C M H v C <^\_d^)CD i— I C M CM vO O O C M O H O O H i H O O O H O C M O O H O C M C M O H O O O O O O C M H O O i H C M II I I I I I I I I I I I O n C M l A H H f r J 0 ' H U \ 0 ' f r \ H N H C ^ J ’O ' O ' H C V J O CA 0 1 A C M _d"MV C M 0 s O O H O O H r l O C M O O H H O O H O O O O H H H C M O O O H O H I I I I I I I I I I I I m fi a> +> H H CM <AvO C —CO CT'-dvO r - O rH 1A \£) N r i n t ^ - O ' O H C M rA_d-1AvO r—CO O O r-Jr-li-JCMCMCMCMCVJC'ArAC’ A c A ^ ^ - ^ t .d '- 3 - .= i'.= i- .d '- d '- d ’ 'CA APPENDIX B-5--Continued fc O ' N O ^ O C M sO _d-CO " L A O'C\J H 'O O 'O 0'_=j‘H rH -=j-H vO C M O -rj'tA IA A - iH O r l r l O H O H r l O r l H r l H O O O r l H O O H O O H O r i O O H O I I 1 1 1 1 1 1 1 1 1 1 1 1 S QO-d-O'CO A - O'CO tA'tA'LA_=t OJ lA sO 1A CA_d^O \ A H J O A-vO C M rH-=J" O 'O O' H O H H H H O H O O O H O O O H O H O H O H i — I H O O H O H O II I I I I I 1 1 1 1 1 1 1 1 1 a m O cACO C M H C O H A-.zj-_d-CM'LA_=HX> H C D lA O C V J f^CV] H W H N W O H O O H O O O r l O O H O O O H r l H O O H O O C M H II II II 1 1 1 1 1 III H o •P o a t C M O C M -d-C'-CM CM'OCO rH CMtAVA'O -=J-C M -3"CM J-XACD CO O O <A ( M r l A O O O H O r l r l r l O O r l O H 0 0 4 0 O O O O H H O O H O 1 I I 1 1 1 1 I I III 1 t^-vO J-H O O lA O O O O H - d - O t A J -0O _d -rA rA rH CAH <A C M O -4 -C M -d -O O'CM C M O O O H H H O O H O H O O r H f A H O C M O H O H C M H O O H H H H II 1 1 1 1 II II 1 II 1 II H V \0 'tA \A i-t_ d -O C 0 U \0 'C M _ 4 < X > O <A O _d-rH C M ' O H ' O J - C M O N H H l A N O C M O O H O C A H O O O O O O H H O H O C M H C M H O O H H O C M O 1 I I I 1 1 I I I w SO O C M CACM O C A A -IA OCO O -Z j’H C O 'O C D H H 0 0 C M C M C M H 'G CM1A O CA<A H H C M H C M H O O O C M C M H O C M O O O C M C M H O O H C M O H O O O O I I I 1 III t i l l 1 II Items J -v O r ^ c o O ' iH CM-4-r-CO O ' O H C M C A ^ I A ^ C O O ' O H fA^-MO f ' - O ' O H1-A lA 'LAlA'LA'lA'O y O '£ > 'O vO sO A -A -A -A -A -C " ^ C '-A - A-CO G O 00 G O CO CO CO O 'O 'O ' 96 97 98 101 102 101+ 105 106 107 108 109 110 111 113 115 116 117 118 119 APPENDIX B-5--Continued Factors H I J K L M N 10 -02 03 -06 -08 05 11+ 01+ -10 00 -10 06 08 -12 03 18 02 -06 03 -03 15 09 -17 -17 -21+ -11+ -12 00 00 -18 15 -21 07 02 15 -26 -17 17 05 -01+ -08 05 21 -20 01+ -10 -03 07 -01+ 25 18 02 -01+ -12 -13 05 02 12 13 00 -11+ 16 -06 32 02 -18 11 15 -08 -19 -15 -02 06 -16 08 -10 -10 -03 03 ok -15 12 08 02 17 -15 18 09 -05 -16 -01+ 02 -03 -08 -15 00 -10 -06 12 -05 12 19 -11+ 28 26 00 -11+ 06 08 -07 08 -01+ -03 09 00 -16 08 10 -17 -11 -09 -08 11 07 -11+ 06 10 -18 -08 02 22 01 07 -o5 02 o8 06 22 APPENDIX B-S--Continued _=+-C \J 0" £> .^ -< A O 'A -C O O O ' fA A-CACO O C M VVvO sO " L A < A z ± 0 ' O .zt'CO O I — C V J rA_=J-<ACACVJ C V J C V J C A < A X A «A z± lA ^ C M -d-< A _d-cA cA rA tA _3--zh zt-cA < , A -z i-fA \A Eh J ’O H ' C O O'UNCO CO H H I — C — O rH CA^KO O'CAC'-CMAJrHCMO'rH 0'_=J-<J' O O H C V J C V J O O O O O H O O C V J O O O H O H O iH O O O O O O O O I I I I 1 1 1 1 1 1 1 1 1 1 ■M cO CA-zt-H UMACD HO'CVJCVlvOCOO'CVJH O'vO O CAO'vO OCACACVICVJ.ztCVIfAO' O r l O O O O O H H O O O r l O H O O O H O O r l O H O O N O O O I I I 1 1 1 1 1 1 1 1 1 1 1 1 1 «u Jn o ■p O od « H CVJztvO <A \A C A A -C M '0'O '»O t-C'-C'-CO H -d - O OCOO W CA C M lA -d -vO rH H O O r l r l O O O O O O H O O O O O H H O r l H O O O O O O O r l O 1 I I 1 1 1 1 1 1 1 1 1 I I I I o f O '-zJ-CMVYIAH C M vO " L A A -'A A - O - d ’.zJ-.d-O 'lAC O vO A-vO O O 'O O r H 'O rACM O H H O H O O O O H O O H O O H O H O O O O t M H O O O O O I H 1 1 1 1 1 I I I I 1 I 1 1 I PL. CA-d-H'OUVCVJ O O O C M H O 'C A O < A tf\\A H z ± C V J v O lA O fA C V J C'-xO tA H A -O ' O r i H H H H H r l O O O H H O H O O O H H O r l H O r l O r l W O O 1 1 1 1 I I I 1 I I I I I I 1 1 Items O C'-vO'O 0 " 0 0 0 H C M O O A - H CVJ_=J-H CAztUVCVJ_d-H C V J O O O H z ± fA _ d -_ d - O O H O O H O H H H O O O H O O H O H H H O f A H O O H O O O 1 1 1 1 1 1 1 I I 1 1 H C M c A n O A-CO O ' J ' O t— O rHIAvO C — rH A A O ' O H C M CA_=RAvO A-CO O 'O HHHCVJCV1CVJCMCVJ c A r A < A < A ^ ^ z d -z ± I ^ ^ .z J -.d -z ± -d - V A APPENDIX B-^—-Continued C V J si C V J P - c O O '.d - P - 'O C V J rH \A P -C O f^ lH v O P-CVJ f f ' 4 H ^ A N 0 ' t - 0 t'-C O H CVJIO J -C v J _ d -fr \3 -^ d -_ d -fr v j - c ^ < ^ < r v j - J - f ^ J - _ d - c v j 3 - - d - C v J co c o .d -c o _ d -c o c v j.d -rH Eh H H C V JJ A O O O O O H H vO -d -'O -d 'O 'C O U \'D P-CVJ CO C V J CO COCO vO - d P - CM-O O r l O W r l r l r l H H C V l O O O r l O H O O O H O O O O O O O O r l O 1 1 1 1 1 1 1 1 1 1 1 1 1 1 I I 0 0 0 CO vO J - O ' O C V J ' O n O r l O v O cOOO P - O VO 00 _=J-C V I n H V V O ' CO COP-CVJ CO ^ o O H O O O O O O C V J O H C V J O O C V J O H O H O O O O H C V J O O O O H I I I 1 1 1 1 1 1 1 I I 1 w o ■p o aJ « H O - d - c v j v O 'O t o c v j c o c v i P - O H o c o - d - a o o o c v J d c v jN O v O a O 'O 'L O O 'iA O c o H r l O O N H O C V I r l O O O O r i O O O H O O r l O O O O O O O H O 1 1 1 1 1 I I I I I 1 I I & c o cvj © co_d-cO vO o O c o t o c o o t o c o n c o p - t o c o co c o t o . d H vO cvj cvj co P - H O r H C V J O O O O O O O O O O O r I H O O O O O O H C V J O i — I O O O I I I I 1 1 1 1 1 1 1 Ph C V J VA O CO H O CO O C V J vO C O - d O '® t o H C V J O _ d - - d © t O c O t O P - O '® CO C V J O O H r l r l C V J O H O O O H O O O H O O O r i W H O O O H O H O O I I I 1 1 1 1 1 1 I I I 1 O C V J-d-CVItO O'COU VCV JlO -dO ' c O o o tO tO P - C V J v O tO O - d c O c O H O '® P-CVJ H 4 O O H O H O O C V J H O O H C V J H C V J O H O O C V I O H O O O O O O O O t i l l 1 1 1 1 1 II 1 Items -d ~ ® t'-C O O ' rH C V J d"C —CO O ' O iH C V J c O _ d tO P-CO O ' O rH c O -d - ® P - O ' O rH t o " L O tO tO tO tO ® ® ® ® ® ® P - P - P - P - t ^ P - P - P - P-CO O O C O C O C O C O C O O '0 'O 96 97 98 101 102 101* 105 106 107 108 109 110 111 113 115 116 117 118 119 120 1*52 APPENDIX B-5--Continued Factors 0 P Q R S T -06 10 -02 -10 06 -09 -10 -09 -01 18 -08 00 -07 -06 07 -01 01* 00 -11* -01* 03 -10 02 -11 21* 00 -09 -11 -02 02 01 01 -02 12 13 02 -05 -06 01 20 02 03 -02 -07 Ok ol* 05 -03 10 -Ok 15 -10 03 -09 -02 -06 ol* -17 -07 05 12 10 03 -11* 02 -18 -09 -20 -15 -15 16 03 10 02 15 -16 -17 -01 12 06 09 01* 06 09 -15 09 -10 -09 -07 18 -12 -15 -11 09 Ol* 05 -17 -11 -1*0 07 -21 -06 -03 13 -07 -16 -07 01 12 06 10 23 -02 -03 -05 -01* 10 -02 -09 06 1 * 6 fc7 31 $ 36 1*0 51* 1 * 8 25 36 1 * 5 1*1* 1 * 2 1*1* 39 3 1* 1*1 APPENDIX B-6 Rotated Factor Matrix for Temperament Inventory Itemsa Boys' Sample Items Factors A11 C13 D8 E6 f7 a n 1 -09 -07 -05 08 00 -18 20 2 -01 13 26 18 07 -13 -02 3 10 19 02 -09 15 11+ 03 6 -05 01+ -06 -22 01+ 00 7 -15 01 18 -09 05 11 10 8 Oh -27 17 -11+ 20 -0!+ 15 9 18 01+ -12 -30 18 07 -13 -25 32 16 03 00 -01 11 16 10 05 16 03 -28 06 33 17 -27 08 07 00 -19 08 06 20 13 11 05 12 27 -20 -29 21 21 11 20 -22 11 -05 02 25 -23 19 19 -11 06 -17 10 26 11 25 -13 00 -27 11 00 27 22 -10 -07 -10 13 02 10 31 -21 20 05 -11 -26 01 -07 33 21 -11+ 22 21 13 -03 -08 37 1+6 -15 15 11 -06 -06 -16 39 -09 20 08 -28 -01+ 33 11+ 1 4 - 0 -22 22 -01 03 -27 -21 19 -22 -06 —O l j - -01 21 08 1+2 5§ -02 16 “03 00 02 06 1+3 -22 19 08 07 -°k -11+ 19 1 +1 + -20 25 -02 19 -1+8 02 09 i+s -01 25 29 11 -05 -11 09 1+6 16 02 26 09 -31 07 13 1+7 13 -05 11 03 -03 01 07 1+8 -10 02 23 -03 -07 -06 23 1+9 15 31+ 07 -12 10 11 08 50 -09 31+ 01 -07 -1+0 -10 16 aAll decimal points have been omitted. APPENDIX B-6— Continued H p H C5 C V J C O O ' p H pH VACO CO C^-CACO pH cAvO C V J C - A O ' O _d"C V J pH C V J CVJnOCO CAVA H H O O O H O C V J O O O C V J O H C V IH O O O O C V J O C V J H H C A O C V J H O I I I 1 III r-- OOOCD O V A C V J pH HVACVJ C V J O 'V A ^ O 'Q O C V JC O O rH H J"pH O - d - lA H C O V A _d CV J Or l CV J CV J HOr HO OCA Or HOO OOr HC Apl CV JOO OOO OOr HO 1 1 1 1 1 1 1 1 I I I a NO w vO V A -d-H H AOv O O V A C V J vO C A O C O C A C '-A J t" -_ d _ d -H O C V J A - O c A O O O HO H CV JO O d r l O H O O H O O H H O O C V J H H H C V J O H H < A C V J O 1 1 1 1 1 1 1 1 1 1 1 t i l l U o ■ p o a CO p O <A C V J C V JC O CAA-A-_d-_dHX) O J - d - S O l A f A N N A - r H O vO rH fA O OA -H p H O O p I O O H O H O C V I O ( V J J - A O C v j O H O O O H H H O O H O O 1 1 1 1 1 II II till 1 II 1 CA pH O OAC~“ O rA VA V A ^±vO V A V A -d-V A -d--d-J-V A V A O J -H J -v O V A v O O O O O OVAvO H H O O O O O H O O O - d - H H O p H OC AO CV J HC VJ H Op H Op H OO H 1 1 1 1 1 1 I I C V J rH © OAH CACO O C V J f-_d-O V A G O C V J O V A CA OCO H O OCOCO CACO CAvO ( \J d - c A O pHOCVJHHCACVJrHCACAOOrHHCVlCVJpHHOCVJOOCVJHrHOCAOrHO 1 I I I rH pH < « ; CA f— C —.d'CA O CO VA^O CAVArH HCOC'-OJCVJCOOCVJ O A-CVJ _d"C^ O "O C V JV A C V I CVJOCVJOCACApHCVJpHpHOHOOpHOCVJpHCVJOHOHOpHHCAOOO 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 Ite m s _dvO t^-CO O H CVJ-d-A-CO O O H C V J CA_d"VA r'— C O O O H cA _dvO t^ - O O H VA VAVAVAVAVAvO s O v O s O s O v O t '- t '- r '- t '- f '- C '- f - r '- C —CO C O C O C O C O C O C O O O O APPENDIX B-6— Continued Items Factors A11 B12 C13 D® E® p7 G1* 96 03 07 -15 -12 -01 13 97 -15 10 23 03 06 -11 31 98 20 11 17 06 32 02 -06 101 -ok -01 -13 -03 15 -01+ 09 102 11 28 -09 -12 13 20 01+ 10k -10 21 08 22 -07 21+ -01 105 -11 27 03 17 -16 -21+ -10 106 -2k 11 -06 -21 -32 -16 16 107 k$ -02 03 -18 12 00 -03 108 -03 22 02 -11+ 06 -50 10 109 -22 33 -03 22 -33 06 Ik 110 02 -06 ok -39 00 05 -01 111 22 19 -06 25 25 -07 11+ 113 25 27 02 -12 15 05 12 115 10 03 03 -21 12 -19 -02 116 2k 08 05 11 35 -10 11 117 10 16 10 -03 03 -06 -16 118 06 03 -01+ -23 -01+ -09 18 119 -02 -27 -Ok -13 07 -08 -01+ 120 3k -10 28 -28 11 -08 -12 APPENDIX B-6— Continued ca te H O C V J O v O n O n O O sO C ^ H H ' O HCOXAH'LA'0'U'\<ACOCO C M C M C O O C-vO CA O H O H O O r H O H O H H H O O O O O O O H O O H C A O i H H O O I I I I I 1 1 I I I ' II 1 t f \ £ O O 1A O c o c o vO f —OCOvO O CD CO r-l M 3 CA C M CAVA H C O C D O lA H t'-vO " L A C " — O' H O O W H O H O O ^ H t M H H W H O r l O O O C M ^ H W O f O W r l O I I I I 1 1 1 1 1 1 I I I 1 1 t i l l 1 m CA ►q C M CO _d"sO C M d W J - O ' O ( ^ d O C O O d O ' f f ' W A d C i i— 1 O C M 'LA rH <A_dCM r i r l C M O H O H O H O O O O O r l H H O O O O O ( M C M O O t \ l C M O r l I I I I I I I I I I I I 1 I I I 1 I I H o +9 o cd C V J W cA t'-vO rAcO < A O vO C M O -d t^ M D C M M 3 C M vO C M -dCM C"-0OsO O H H N d O ' C H O H O H O H H C M O O O O H O O O H O H C M O O H H C M O O O O I I 1 1 1 1 1 1 1 1 1 1 1 1 1 1 I I - d •-s CM C V J C M ^d-'LA’ LAf'ACM O - d CA-d" O CO CO C A C A C M H O H cO fA C M 'L A C M O C O C M LA O H N O O H O r l H O H O p l O O O H r i t M O H O O O O r i H O H O I I I 1 1 1 1 1 1 1 1 1 1 1 1 1 <A M C M <A C — CAC^-rH O v O O tA C M CACO CA C M tr \- d v O O LA CA_d"CO 1_A O LAMD C M CM1A H O O O O C M C A O C M H O C A O C M C M O O O C M O O O O O O O O O O O 1 I I 1 I I I I I I vO w O C A _ d -0 C AH t'-O C O vO vO r^vO lA C O J-CM fA <A CA O T-AO O H r-1 r-l r-1 H C"-1 — 1 - d O O r l <A ( M O O H C M r l O r l W r l C M C M O O O A O H O O O O H O H 1 1 1 1 1 1 1 1 1 1 1 I I Items H C M <As£) C-CO O - d ' O C - O r l t A v O C-rH A N O ' O iH C M r A - d lA s O C'-GO O O HHHCMCMCVJCMCMcAcaca c A - d - d - d - d - d - d - d - d - d - d d v <A 5s nOHOCDO^t-^CM-NH fA C A rH sO ,dC O O 'H C V J < ^ ^ 0 O - d f A C A C M H H f t l H O H H O O O O H H O H O O r i W H O O r l O H H H O C M O III 1 1 II 1 II II 1 1 1 1 1 UN S <Av0 C M O' H O O _ d -d -n -\U \ H C M A-GO VACO C M V A _d*A C V J _dCVJ " L T V CA C M VA'O VA O' fYV O O O O r t C M H C M O H H O C M O O C M O O O H O C M frV O O H rrVOH 1 1 1 1 III 1 1 1 1 1 1 1 1 1 1 1 II 0 0 m <A id <ACM f A . d O 0 s O - d - d ^ A CAnO nO CA <A_dCA t'-vO CO VAvO CAVAvO rH O H O H O H O O H r l O H r l O H O O O O O O O O r i H r l O W C M O W O C M H 1 II III II III 1 1 1 1 1 1 H o -p 0 0 1 C V J W C M O nO CAvOVAVAO C M rH iH T A -d iH C M CO O C M " L A C M CACO CACAO H C O O V A M 3 O W H O H H C M H N H H O O O W O C M O O H H H H O O H H H O O 1 III 1 1 1 1 1 1 1 1 1 1 1 1 II 1 1 - d • ■ a O ' f f ' O d A O ' O C — C — CAVA C M N f A r l ( M A O ' A-<A_rfvO r-sO C O O'VA <A H V A H O H O H H O H O C M O O O O O O O O H O C M C M H H O C M H O H C M 1 1 1 1 II 1 1 1 1 1 1 rA H OOlAC'-CM cACO^O CAW LACAcAsO O V A C M O C V JC O t^ H v O - d l A <A lA C M <ACM C M riOcAOOOrHOOHOOOOOOOOOOCMCMHOOHOOOO 1 II 1 1 1 1 1 1 II 1 II III 1 1 O tn _ d C '- \A lA t A O rH t— O rH CO f^-lACO <AcO rH cAvO NCVJ O C-.dC'-CM H H 0 s - d O O H O r H H O H C M O O H O O O C A H O O H O H H H O O H O O O t i l l I II II II 1 1 « § w ■p M _dM3 C*-aO 0s H CM-dA-CO CA O rH CM cA_dU\A-C0 CA O rH CA_dM3 A-CA O rH 1A 'LA'LA'IAXA'LA vO sX 3 vO M3 M3 M3 a- a- A-A- A- A- A- A- A-CO CO COCO CO CO CO (A CA CA n o (\i_d-\A H ( * \ c v j n o \f\\f\\r\co o^jro i-n 'L c v c v iu v c o ( M r i O O H O O O H C V I O O H H O H H H r i H I I I I I I I I II I O C D CVJ O ^ t C v J s O Q D O t A ^ o n O W H O O O O H O O O H W C M ^ W H r l ^ O I I I I I II II I vO_=J-f^CO rH vOX/M T\r^if-CO O O O _d"00 N N C O J - O O O O H O H O O O O O H H O O H O O H III II I I I I j - n o O C O _=)-|H O O t'-C \c v l_ = t_ d -C \J C V J O O C O C O OOHHHWCVIOHOOOOHOOHHOO I I I I I I rH c'VxO C O CVJ C \ rH H CVJ O CVJ C^-CO x O <^VCO C V O vO J - H H C V I r H C V J O O O r l H H O r l O O r l H C V l O r l I I I I rH _ d " 0 O t"-vO CVJ_d-OvO C'-lCVvO C VO vO xO O . d ' t ' - O O C O O H H C V J H H O O H O C V J O C V J O O H O I I I I I I I I I I O-d’C 'V C M A C O C ^ v r ^ V O o C O l A O O trv r < - \ o C V J OCVJHOOOOHOOHOHOOOCVIHHO I I I I I vO t—CO H C V J _d-lfVvO C^CO O O H crvirvvO C-CO o o O O O O O O O O O O O H r H i — IHrHrHrHrHCVJ r l H H H r l r l r l H H H r l H H H r H r l r l APPENDIX B-6--Continued O' " UN -d- O ' v O O _d-vO OVLTV O O OJ cc\CVJ _=h C^C^CMCO C M O vO C D lA vO C V J H n O f^ v O C O ^ t < y ' v < r\frvcr\ _ ^ ' _ r f ‘ C\cr Mf\cr \'lA-d’ C r\c| ’ \<v " ' C V l _ 3 " C M vO O' O O' C V J n O O 'v O O O r— C M C rV 0'_= j-0'v0 J - O ' fH'UV<vV_^cO O J -d -O OVcJ-H E-I O O H O O O O O N H O O O O O O H O H O O O O O H H r l r l r l O I I I I I I I I I I I o l t . O +9 O c d CM CO CM P S . d - O C-UVrH r^r^O'vOlACVJ C V J00 C '-H OOO CM _d-rn^KO C V J rH C M CO - d ‘- d ''0 o h o o o o o h h o o o o o o h o o o o o h o o o o o o o o c m I I I I I I I I I I I I I I I l f \ H O CO 0 0 COO O C M H rH -d r H ^CVJ O'CO C V J IA J - H C V J to , t cO C M O O O O O O C M C M H O C V J H H O O O H H O C M O H O H H O O O O H II I I I I I I I I I I I I I C M C '-O C O 'O O O O'-d-CO t ' - W O f-O v O C O G O C V J C V J O 'O 'vO Jd -IA IA IA t^ -d --d - o ’ O C M H O H H O O O O W H r l O O H H O O H O H O r l H O O H O O I I I I I I I I I I I I I II C M C M H C M O O O 'r - C M f^V-dOO r - C M C M H C M r-ccVH rH C ~-C M c a n O'CM O 'C M o o p L i H O H C V l H O O C V J O H O H O H O O O O O H r l H H O O H H H r i r l I I I I I I I I I I I I I C M C M _d'lA '0 c O lA -r t-d ^ O U V O f^ rH O 'O 'lA O O O - d 'I '- O C M r v o O O J ’O 'O C'-CO o H O O O O O O O O r l r l H H O H O r l H O O H O O O H H t V I O O O I I I I I I I I I I I I 03 i © -p H rH CM C O n O P - C O O'- d - v O P - O rH V A ' O P - r H f V N O ' O rH CM H H H C M C M C M C M C M C<\C<\cr\ H A ' O C'-GO O ' O I-1A APPENDIX B-6— Continued C V J xi XACO_d-CM rH-d'CMCO (VjU VN ff' OH OO O _d-XA O'.d-CAGO O' O A -.d ’O'aO A- _d-CVl3-C\J <^_^XA<^^CACACACA_d-XACA_d-<A_d-oACAcAcArA_d-cAXACACACM C V J E h rH C V J C M H_=J-0>CVJ J - O C M C M XA O CA A-OAXA CA O XAXA O H cAiHCO fA_zJ-CO C M O N O H H r l H O r l O W O O O O O O H H H O O O O H O W H O O 1 1 1 1 1 1 I I I 1 n C V J CO O O H 'O 'O X A O 'H 'O O 'O 'C M r - I H A - C A r H cm vO j - o c o C M < " A A -1 cvj X A i— t C M H C V J O O O O O H O O O O O O C V J O r l O i — I i - I O O O O H H H H C M O 1 1 1 1 1 1 I I I I I I I I I P i O 43 o c d C V J K O O 'X A -d-'O CAA-^±CO 'O iH 'O C M X A A -O 'O CAXACM_d-0 A O ' H A -_d^O O O H O O O O C M O O O O H O H H O O H O O O O O O O O H O O O O I I 1 1 t 1 1 1 1 1 1 1 1 1 C V J af X A A ->0 C AO CM-d-CM C ^ --d -0 _d"H C M C M O C M O X A A -cA h C M -d-A -O A - O CM _d" O O O O O O O O O H H H C M H H H C M C M O O O O O O O C M H O O C M 1 1 1 1 1 1 1 1 I 1 1 1 1 1 1 1 C V J P L , .d-CAA-CACM H X A f- 'lA O 'C A H r A f A O v O f A H v D C M _d" C M " L A O vO H O' CAsO vO o o o o o o h h o o o o h h c m o h o c m h h h h h c m o o o o o 1 1 1 1 1 1 1 I I I I I 1 I I I I I 1 C V J o CVJCVJvOHvO OO 'O CM 'OCACM CO HC^-CM A - A- C -lA _dC O A - O A -_ d 'O X A '0 -d " H H O O O O O H O O H O H O O O O O O O H O r l O C M O H O r H C M I I 1 1 1 1 1 1 1 1 1 1 1 1 Items J -x O A-CO CA rH C M _d"A-CO O' O H C M cA_d"tA A-CO O ' O iH rA _d -'0 A - O' O H XA XAXAXAXAXA'O'O'O 'O 'O 'O A -A —A -A - A -A -A -A — P~CO CO Q O CO 0 0 CO O O O 'O ' O' 96 97 98 101 102 10l+ 105 106 107 108 109 110 111 113 115 116 117 118 119 120 l+6l APPENDIX B-6— Continued Factors 02 p2 Q2 R2 S2 ip2 h2 10 -01+ -11+ 12 -01+ 23 26 08 17 -11 02 09 18 lUl 18 -01+ 01 -01 03 06 1+3 21 -11 03 -22 -23 20 3k 00 01+ 06 15 15 06 36 21 07 06 11 12 02 35 -06 -Ok 06 -11 08 09 36 -06 -08 -02 -10 01 09 35 -09 10 06 -06 -12 03 38 10 -00 09 22 03 -01 1^9 -09 01 11 05 08 -05 1 + 1 + -2l+ -27 10 06 -20 00 i+i -02 02 -07 00 -11 01 1+0 —o5 -10 -11+ 06 -10 05 U-8 -28 07 -01+ -13 ol+ -02 36 -08 ll+ -o5 18 -13 17 1+9 15 -02 05 -05 09 01 28 06 -11+ 03 07 -21 -01+ 29 -01+ 12 -07 01 -07 01 29 -13 15 -01+ 02 02 02 kk APPENDIX B-7 Rotated Factor Matrix for Temperament Inventory Itemsa Girls' Sample Items Factors a!5 b11+ C9 D9 E? f7 G8 1 19 2k -20 10 -05 -11 02 2 18 -16 -13 36 16 -10 ok 3 -0 8 -36 00 01+ 00 -09 -0 8 6 10 01 -0 8 30 -02 -09 03 7 06 -11 01 -07 -01 -05 00 8 02 Ok 01 06 11+ 01 00 9 -01 06 15 28 -11 -02 35 11+ -11 03 -05 -27 11 -11+ 01 16 27 -0 8 03 11 31 12 05 17 33 02 -31+ -03 09 21+ 11+ 20 00 22 11 06 12 10 -10 21 -12 -12 23 33 10 03 02 25 11 10 -01+ -07 12 -25 Ok 26 21 00 -11 09 17 06 26 27 09 -0k -11 08 -03 02 27 31 38 16 -07 07 -20 07 02 33 -11+ 08 -11 12 12 -21 -13 37 -06 17 01+ 30 06 06 03 39 -06 00 -02 00 22 -0 6 28 U-0 21 -26 -01+ 00 09 05 03 -20 -0 8 -09 17 32 -03 05 1+2 -1+8 16 12 26 07 17 06 1+3 2^ -01 -17 18 02 -28 06 1*4 35 12 -11+ 06 31 05 32 1+5 12 -09 00 01 11 08 10 |+6 -12 -08 05 07 U5 17 -07 -0 8 01 -33 10 13 -07 -2k 1+8 -02 10 -31 -11 -15 02 08 k9 05 07 11+ 18 31+ -27 00 50 33 -01 -12 06 -05 12 -01 aAll decimal points have been omitted APPENDIX B-7--Continued GO e H CA_d-XAOXA-=J-0'rH (^HOOvO CVJCO H CAXACO <ACO © i-4XACACAXAA-O <A O O H O H O C M O O O O C M O O O O O O C M H O O H O C M C M O H O H 1 I I II 1 1 1 1 1 A- c-vO A-cAr-tvO oA<ACM_d-XA O' <AC'vOXA.d-o •" * 0'_=j-cA.=j-_=i- ' 0 v £ > cvi_d-o ca H O O H H O H H O r i H C V J O O H O O O O O O C V J O H H O i H O 1 II 1 II I II 1 1 1 1 1 II 1 m A- w CMXA'O OlAsO O'Of'O'H O'UVH fAcO O'CVJ H O'VACO VO H CO O CVJCO A-XA OOHOOOOCVJHCVJCVJOHHCVJCVIOOOAJOHOAJHHHOHH I I 1 1 1 1 1 1 1 h o • p o at (* < O' o H C M O H O H O O O C M <A_d-A-<AO 0"0 _d‘O'_zfC0 rA OJ CVJ A- CM A-H _d-iH H O C V J O O C V J O O O O C V J O O H H O H O H O H H_=fH O O O H O O 1 I I I 1 I I O' o XA J-CVJ r^CVl-d-^j-cAOCO_=J-s£>OOvO -d-C'-.d-AJvOCO'LACVJ CMCACMCMHA-CMOA CAOCVJHOOOCVJHOOHH Arl r l H O O O O H O ^ O W C V J H H O 1 1 1 1 1 1 1 II II I 1 II 1 1 II -d" H « C M vO HCO <Av£) H CM CM A-rAXAO O H O' O'CO CM VACO vO j^rO H CM O CO CM CD O H O C M G A O O O O O O H O O C M O O H O O H O O H O H H H H H I I I till III 1 1 1 1 1 n E XA H < vO CM CMvO OdrHvO CM GA^tO A-O H cAA-vO A-CM A O J^O^AO'JtJ'O H O O O O W H N O r l O O C M A O H H r l CM-d-CM rt O CM CM H O Arl H O 1 1 I I I I © •p H _H-vO A-CO O'rl CM-d"C— CO O' O H CM lAJ-lAt-CO O' O H OA-dvO A-CAO i-HXA XAXAXAXAXAvD vOsOsOsO vO A- A- A- A- A- A- A- A- A-00 00 00 00 00 00 CO O'O'O' 96 97 98 101 102 10l+ 105 106 107 108 109 110 111 113 115 116 117 118 119 120 APPENDIX B-7— Continued Factors A1* c9 D9 E? p7 o8 -03 12 23 16 -23 10 09 19 08 00 01 13 -10 06 00 01+ -16 23 08 -12 -08 ok 22 06 01+ 12 -02 22 Ok -16 06 00 -02 06 19 kb -02 -01 08 03 06 -11+ 33 -06 00 03 02 22 -03 15 02 -09 -10 -15 07 11+ -1+8 -06 02 00 02 07 13 11 -06 20 10 21 12 03 10+ -19 -13 -11+ 30 -06 01+ 13 -ol+ -01 -01+ -11 -12 -02 03 -07 -2 6 1+0 08 12 -03 -1 8 09 39 10 -02 22 -03 -23 -01 35 07 -06 -02 -02 -0 8 08 -03 30 18 -02 -27 13 11+ 18 16 00 02 -05 oi+ -05 -1 8 -12 09 06 -12 03 -01+ 10 -Ok 18 06 01 -15 -0 3 03 -08 09 -11 1+6 1A O JA CM UNCOcO.^-t'-CM O'vO C^O00 CM rH CO C^H CAO O t'-.J-cACAC'A CM.sf-COCOCO'O fe O O O O O W O O H H W H H O H O W H N O O O O O O O O H O O I I I I I I I I I I I I II •q « c •*- p c c o I I i CQ X M W P h (U < m o p o a t t'- £ oo •J CO W Vf\ iH CMsO 0 0'rr»lAC01A H H H C O <AvO fA iH lf\ cnlACO H H-^-'O CMvO iHOO W r l O O O O H O W H H H W H O r l O W O W O H H O ^ O W O H W II I I I I I I I I 00 t~-C\J\A-=i-<A_d-c'VO>£> r4 OjXAvO MD -zJ-nO OO vO vO r l iH _=J-nO CO «H CM CO fAln H H O O H H O O O H O H H W r l r l O O W O O r l O O H O r l H r l O I I I I I I I I <MCO_rJ-H-d<0 A-IA J-'O C^^t_d-rA_d-l>-H 0'CO-=fO CM r-l O j - ( M v O N n H H O O ^ H H O r O O H 4 H O H O ^ H f M O W ^ H ^ O O H O H I I I I I I rn_^-o o r-vo _ = j < 3 0 r- h c m -z j-c o so r- c m t'-'O m d n O c o caco va c m h o O ' 0s j- H O C A H H H O H O O H O H C M O O O O O O H H O O O C M H C M H O I I I I rA O O O O O ^tO ( M x O A - H nj-'IAO'O C M t'-'O C O C O HO'CHCH 0 _ = j- C M f- OOOOOHHOOOOOO(\IHHOriOOOOO(\IHHH0 0 4 I I I I I I I I I I I I \T\ _3-_rj-P>-CM c'ACM CM O f'ACA\0\A<'Af'-cO O'OCOlAaOvO C'-CA_zi-'tAz±0 t'-O'CA W H O H O r l H H O H O H r i H O O O A O O O N O H O O O O H O O I I I I I I I I I I I I I I B I P M H CM C A v O C^-OO O ' z t ' O t— O H X A ' O t ^ - H A h - O ' O r H CM f A ^ f L A ' O A - C O O ' O H r H H C M C M C M C M C M O A f A C A o sO -d CVJ o cAsO CA CVJCO .dCM moo OlA-dO1 ''© cAC0CD,d-P-P-P-CM'O O © OOtA P - te H O O O O H H H H H H H H O O O W H H O H O O O O O O O O O I II I I I I I I I I II I T3 ® g «ri •P c O I P- I PQ X W P L , PU < a U o ■p c a S Pc A- S co id CO * 1A » - 3 -d- H _d-OVO CAsO CAsO OCMvO rH CAIAMDVACO CVJ A-HtA -d-'O CVJ HIA-df'-CVJ rH O OOCVJCVJOHHOHOOrHOOOCVJCVJOOOOOOCVJrHrHHOOrH II I I I III I II CO A-CAO CVJ -dCO XAVA CA CVJ CVJ vO CVJ CA CVJ CM vO -HD vO VA-^O -d'O OVA CO CAP-CM CMOOrHHOOr—IHHHOCMCVJrlOCArlOOHCMO O H - d O O CM O I I I I I I I I C V J C M O V A ^ tv O O v O 1 — I 1 — I rH rH CM«d"CArH I CA O VA <ACO vO CM _dP^ rH CM CO O CO rH CAGO <A -CMOOHCMOCMOHi—I r l O O O O H O C M H O O I I I I III .___ (AH O-HDMD P-_d<A_dH P-O-dAJIACO CM_dO_d<A1-A CM ( M O H H H O H O O H H O H O H H O O H H O O H r l H O W H r l r l II I I II I I I I OvO-d-vO OCMCVJCOvOCMcACMCAHrH H_dCM_dOcAAJ O "LAXA P— O MD O H H C A O O O O C A O O O O O O O H O H C M H C M H C M C M O O O H O H O I I I I I I I I 1A CM H vO cAsO CM _d\T\0O CO vO _dCO A-cACMCAOP-CACAA-CMP'-CMvO(\JxO O-d W H H r l O r l O r l O O H C V r l H r l H O r l O O O O H O H O H O O r l O I I I I I I I I I I I I I I a S 3 ® ■p _H-vO A-aO OrH CM-dP— CO O O H CM cA_d"LA P“ -CO O O H cAjdHD P - O O HXA XA'CA'LAIA'LAvO vOsO'OHJvO A A A N A P - A A A-CO COCOGOCOCOCOOOO 14-67 APPENDIX B-7— Continued Items Factors H* I* K® L® N2 96 00 -o5 13 05 35 26 -0l | 9Z 0 1 4 . -12 23 29 10 23 -17 98 -07 22 03 -13 17 08 25 101 00 -22 2i| -11 21 -07 05 102 06 -19 2i| -16 25 12 08 1014- -23 -05 Ik 30 -12 07 09 105 33 -06 -03 12 -0i| 13 -Oi| 106 37 26 ok 22 02 -10 -12 107 -20 06 2k -18 15 18 -22 108 35 05 -27 08 07 -10 -12 109 -01 07 15 12 -05 -08 00 110 -01 01 06 -01 20 19 -17 111 01 -01 08 01 10 -03 12 113 02 00 12 -06 16 08 -19 115 -08 -01 00 08 20 -08 2 2 116 -01 -08 10 30 12 06 117 28 -12 18 09 -05 19 19 1 1 8 -09 -02 00 -10 2 2 13 -20 119 llj- 15 -12 -0i| 25 06 2k 120 02 -02 02 -20 08 -06 26 NO H00 vOXA _d-<AC-CD H '-A O vO CAXAOO fAU\OvO vO rAfAO CA-dO CMXACA CA.dCArACM CO CACArA'tArA.dlA-dCM <A CA_d <A CA CA1A _d"lA <A rA_d_d CAIA (M H>0 J-0\0 (^vOvO OvOCO CM CM CM CM CACOlAt—v0 N U \ J - n j - 0 fAXArH O O H C M C M O O O O O H O O H O H O H H H O O O O O O O H O O III II I I I I I I I I I O r-l'0>0-=±CM CM sO O-d-vO N O f r\NO'XAO fACAvO C-_dA> O-d-d-d-HlA O H O O O O O H O O H H H O H O H H O O O O r H H O O C M O O H I I I I I I I I I I I I III n o H H A)0OXAvO <A0O CAtAvOCO CMO CMOOvO CAOO CM CA.dOvO CM H O H O O H C M O O O O O O H O H O O O H O O O H O O O O O O O H O I I III I I I I I I I I I II I I CM CM cArAH CM CM fAtA-dCM CM CM A-O O O XA O-dOO -d"CM CMrlvO <ACAXA_d C M C M H O C M O O O H O H C M H O H H H O O O O O O H H O O O O H I I I I I I I III I II III III _d-HXACM O-d"_d"GOXAH (AMD -dH O <ACM-dA-© H ' O O O ' O ^ O ' ^ O d H C M O r l C M H H O O O O H H O H O O H r l W H H H O H O H H O H I I I I III III III I II CM CO CO O-dCA fACAH H <Ar-_d\AP''XAtACAr— CAOO <A_dC-CM O vO O CM CM O O H H O H O H H H O O O r t O r l O O H O O O C M r l O O r l O O O II I I I I I II I H CM fAvO A-CO O d O A-O HlAvO A-H A N O ' O iH CM <A_dXAsO A-CO CA O HHHCMCMCMCM(M<AcAfA fA_d_d_d_dId-d-d-d-d-d'>A O' vO -=± C V J jC cv j a- h oo j - r - o o v o h ^ v a - c o O' O' c a v a ps co uv c a v a o O 'c o O' O'oo h . — — . ■ - ---------- -------- --- - - \ c \ j cArA.^-cvj-d-cACvjIB-H _d-cvj_d-<A.d-_ a t * O ■P o at fA Eh P S C O <A « PS CVJ O V A CVJ V A C O O N f f ' PS^D P^PS^j-\f\C \ J _ d - H v O H C A O V A C O _ d - ( A v O C O s O O O O W O W H O H H O O r l r i r l H O O O H O O O O O H O O O O I I I I I I I I I I I < A O CVJ s O C O O V A V A J - O H CVJ p H C A v O CVJ A - v O V A - ^ f A - C A O V A A - C O C O o c v j c v j o h o h h c v j h o h h o o o o o h o o o h h c v j o o o o o I I I I I I I I I I I I I _ = J - < A C A O X A v O r H CVJ CVJ f A _ =j-co O C A s O A-.=tCVJ f ' V H C A A - O ' O J V A V A CVJ v O - = ± A - H H O O N H O N H H H O O O O O H H O H H O O H O O H O H O I I I I I I I III II V A v O CVJCO r - I V A C A A - C A c A r - l C A C A C V J C A O CVJ O r - l v O . ^ - C A C V J V A c A v O CVJ < A G O C O A - & O H H W H r l O r l O O O O r l O O f V H O O O H O H O H H O O r l O II I II till I I I I I I I I I I C V J pH -=J--d--=f-C0 O X A O - d - C V J CVJVAvOvO C V J O ' v O V A ' O ( A O 0 -=J-VA C V J_ d - H - = J - v O r H O O O H i H H H H H O O O H H H O H O O O H C V J O O H O C V J O H O O III I I I I I I II I C V J CO H C A O r-C A sO CAHvOvO-d-CVJ C V J CAvOvO J-CVJ CAVAHvO O CVJlAVA-=J-rH_d- O O O O O r l O O r l r i O H O C V J C V J C V I O H O H H O H O H O O O O O O III I I I I I II II a § •p _^-vO A-GO CA H C V J —C O O ' O H C V J O ^J-U V A C O O ' O rH (A _rAA A C ' O H ' A U M A lA 'lA 'lA vO v O v O v O n O v O A -A -A -A - A - A -C ^ A - A-CO QOCOCOCOOOCOCACACA APPENDIX B-7— -Continued 4 4 W O ' N 4 ^ ) f f ' H ^ H H A -fA O 'sO O O C AO _Er-3"rr' <A<,fV .3-c’ r\c rV \A .£t:lA c a c a j - j - r rv_d’ cr\ Eh c o - d - f n o - d - c v i - d ^ o H - d - C M c o c o ir v o cm O' O O O r - J O O O O O O C V J O O H H O O O O O 1 I I 1 1 1 1 1 1 1 f*\ CO t'-sO ^ O ' O ' O OVTVCM C V JvO C V J CO _z}-vD O O H r l O O O r l r l O O O O O O O r l H W H O 1 1 1 1 1 1 1 BO fc w ■p o «0 K O '-rfC M 'C O ' O C V J n d - J ' O d - H C V J O H O O O H H O O C V J O H C V J O H O O H C V J O 1 I I I 1 I 1 1 1 1 1 1 1 1 A a ? m j - - d - c v j cvj j -j - cvj cvjc o a - c a v o c o u v i H c v j _ d - c v j cvj O W O C V J H O H O O O O W H H H O C V J P V O O 1 I I I I I 1 1 1 I C V J fe O'CM O V A H < yYlAC0C 0_=J-© C0 O'aO O O 'O 'H vO C O H H O O O O O O O O O H O O H O O H O O 1 I I 1 1 1 1 1 I I 1 CM O _d-CO sO O '-z t'O H HCO vO C^VHCO N O N O ' O CAA- O O r l H W O O O O O H H O H H t V I O O r i O 1 1 1 1 1 1 I I I 1 I t e m s SO A-CO H C M J -U \v O A-CO O ' O H C O V A s O A-CO O ' O O ' O ' O ' O O O O O O O O r l i — I HHrt r HHrl CVI r l H r l r l r l r l H H H H H H H H r l H H APPENDIX C DEFINITION AND ITEM CONTENT OP TEMPERAMENT TRAIT SCALES TEMPERAMENT SCALES Although the Item assignments were based upon the re sults of the factor-analytic study described In Chapter VII, the selection has led to slight changes In the content of the scale from the original factors* Boys' Scales 10. Persistence (PE)— the disposition to stick to a task until It Is completed, despite varying degrees of ob stacles to completion. This trait does not describe the pathological extreme of rigidity suggested by "persevera tion.” Items: 17 (Yes)1 37 (Yes) 1+2 (Yes) 59 (No) 78 (Yes) 89 (Yes) 107 (Yes) 1Punched Incorrectly; the factor loading was negative In sign and the Item Is logically also a statement opposite to the scale definition. 1*73 1 1. Spontaneity (SP)— the disposition to act without contemplation or planning, on the spur of the moment, to be decisive and act without waiting for much information. Items: 31 (Yes) 1*9 (Yes) 61 (Yes) 67 (Yes) 68 (Yes) 71 (No) 79 (Yes) 102 (Yes) 109 (Yes) 12. Impulsiveness (IM)— the disposition to act with poor conscious control over impulses, to be irresponsible and act with poor judgment. Items: 1 (Yes) 7 (Yes) 1*1 (Yes) 71* (Yes) 117 (Yes) 13. Need for Rules (NR)— a need for explicit and ab solute rules and laws and for strict enforcement of rules. Items: 20 (Yes) (No) 50 (No) 91 (Yes) 98 (Yes) 106 (No) 111 (Yes) 116 (Yes) lk» Appreciation of Originality (humor) (AO)— a lik ing for wild., humorous, silly and original ideas and a self-perception as a humorous person. Items: i | . 0 (Yes) 58 (Yes) 69 (Yes) 105 (Yes) 108 (Yes) 15* Self-Confidence (SC)— confidence in one's abil ity, assurance concerning the Interest and acceptance of others, and optimism about the future. Items: i+7 (No) I 4.8 (No) 5k (Yes) 1 4 : 7 5 6k (No) 86 (No)2 113 (Yea) 115 (Yes) 16* Adaptive Flexibility (AF)— the disposition to be flexible in attitude and In problem-solving, involving the belief that changing set is helpful in arriving at solu tions. Items: 39 (Yes) 72 (Yes) 73 (No) 110 (Yes) 120 (Yes) 17* Fluency of Ideas (FI)— the disposition to pro duce a quantity of ideas and a self-perception as an idea producer* Items: 9 (Yes) 21 (Yes) 57 (Yes) 81 (Yes) Punched incorrectly; Item i j l j . (Yes) was Intended to be assigned to this scale • l | - 7 6 Girls' Scales 60. Persistence (PE)— a determination to complete and perfect a task despite obstacles. This trait does not describe the pathological extreme of rigidity suggested by "perseveration." Items : k2 (Yes) 71 (Yes) 78 (Yes) 89 (Yes) 10k (No) 107 (Yes) 109 (No) 61. Initiative (IN)— the disposition which Includes the following attributes: desire for change, independence, and decisiveness. There is a suggestion, however, that this attitude may not always be translated into behavior but be manifested by occasional flighty but deliberate acts. Items: 2 (Yes) 1 1 1 - (No) 37 (Yes) 83 (Yes) 98 (Yes) 111 (Yes) 1*77 116 (Yes) 61*. Appreciation of Originality (humor) (AO)— an ap preciation and preference for humorous, unusual and origi nal ideas that others produce. Items : 33 (No) 69 (Yes) 105 (Yes) 106 (Yes) 108 (Yes) 117 (Yes) 65* Self-0onfldence (SC)--confidence in one*s abil ity, assurance concerning the Interest and acceptance of others, and decisiveness. Items: 1*7 (No) 1*8 (No) 51* (Yes) 72 (Yes) 81* (No) 113 (Yes) 115 (Yes) 66* Tolerance of Ambiguity (TA)— flexibility in at titudes, a willingness to consider alternative solutions i l - 7 8 and different approaches, together with a belief that peo ple do not need structure and restrictions* Items: 9 (Yes) 26 (Yes) 27 (Yes) 39 (No) 120 (Yes) 67* Moral Relativism (MR)— a desire for less strict, less absolute and less restrictive authority and rules, and a belief In leniency when conditions warrant breaking rules. Items r 50 (Yes) 56 (Yes) 62 (Yes) 79 (Yes) 81 (Yes) APPENDIX D INSTRUCTION PAGES FOR APTITUDE TESTS WAYS TO USE IT There are many ways to use common objects. For example, bow many different ways could you use a tin can? In this test you will be told the name of an object. Write down as many ways to use it as you can think of. Write as rapidly as you can. Give as many uses as you can. Your answers do not have to be complete sentences. You may use short phrases. There will be numbered lines on which to write. Use one line for each answer. When the signal is given (not yet) turn the page, read the name of the object and the example, then list all the uses of the object that you can. You will be told when to begin work and when to stop working on each page. Work as rapidly as you can. No questions will be answered. STOP HERE. Prepared under U.S. Gov*t Contracts N6onr-238l0, O.E. SAE-8384, & O.E. SAE-89U8. o MARKING SPEED TEST This is a test of your writing speed. When you are given the signal you are to make as many rows of l , X*s" as you can until you are told to stop. The X*s are to be placed in the squares provided, one X to each square. The X*s should fill-the squares, but the fit does not have to be perfect. See the sample of such work below. fxTxIXM XM XM ^l m x i i i i i i i~n When you are given the signal (not yet), make X*s as rapidly as you can in the squares below. You will have 10 seconds in which to practice on this page. STOP HERE. WAIT FOR THE SIGNAL. START HERE You will be told when to begin work and when to stop working. Work as rapidly as you can. If you have questions, ask them now. STOP HERE. to FOUR-WORD SENTENCES By P.R. Christensen & J.P. Guilford In this test you are to write sentences. Each sentence that you write must have exactly four words. The first letter of each word is given to you. In the example below, the given letters are: K U Y I. To make a four-word sentence, think of words that begin with those letters. The words must make a complete sentence. You are to write as many different sentences as you can. EXAMPLE: 1* K JULjO 2. 3. k- j j J L K ____ U j jZ£ *4 S U Y U Oks7*-£- j e J L . In the test you will be given four new letters. Make sentences using words that begin with those letters. Make as many new sentences as you can. All sentences should make sense and be complete. Use the letters we give you to begin the words you use. You may use names in your sentences. Your score will be the number of different sentences that you write. Try to make each sentence as different from all other sentences as you can. You will lose credit if you use the same word in two sentences. You will be told when to begin work and when to stop working on each page, idly as you can. If you have questions, ask them now. Work as rap- STOP HERE. I NAMES FOR STORIES In this test you will read a short story. You will be asked to think up different names that fit the story. V/rite as many different names as you can. Look at the example be- You might call this story "Jack and Jill." What other names can you think up for this story? You can see the different kinds of names that will be counted. Begin each name on a new line. Remember that the names must fit the story. You will be told when to begin work and when to stop working on each page. Work as rap idly as you can. If you have questions, ask them now. low: STORY: One morning Jack and his sister Jill went to the well to get some water in a bucket. On the way home they decided to have a race. Jack stumbled and fell down and hurt his head. The water spilled. NAMES: STOP HERE - P " 00 K j J SIMILAR WORDS By P.R. Christensen & J.P. Guilford In this test you are to write words that mean about the same as another word that will be given. Write as many words as you can. SAMPLE: Write words that mean about the same as HARD. Notice that the words written above are all in some way like the word HARD in meaning. You will find other words in this test. Write as many words as you can that are similar in meaning to each word. STOP HERE. Copyright 1959, Sheridan Supply Company, Beverly Hills, California. MAKING A PLAN In this test you will read about a project for which many things need to be done. You are to think of as many of these things as you can. Describe carefully all the different kinds of things that are needed to make the project a success. Look at the example below: Your club Is presenting a play. There will be three performances— Friday evening, Saturday afternoon, and Saturday evening. The play is to be pre sented in the school auditorium. Rehearsals are now going on. Profits from the play will go to the club treasury. You have been chosen as man ager for the production. This means that you must plan carefully to make the play a success. You must make sure that everything that needs to be done, gets done. List all of the things that you need to do. Notice that the things listed tell exactly what you plan to do. Do not just say "prac- tice, ! or "advertise." There will be enough room for you to list many things that should be done. Write as many as you can. List each thing on a new line. You will be told when to begin work and when to stop working on each page. Work as rap idly as you can. If you have questions, ask them now. STOP HERE. • P* C S vn WHAT WOULD HAPPEN7 By P.R. Christensen, P.R. Merrifield, & J.P. Guilford This is a test of your ability to think of many ideas about a new and unusual situation* SAMPLE ITEM: What would happen if people no longer needed or wanted sleep? SAMPLE RESULTS: 1. ; _____ 2. Q J L c U is r * ' s J b d b 3. Yla' 2 . ^rzfoJbt I * . dlufUitj y g /nsr Of course there are many more things that could happen. You might have listed others. In the test you will find other situations like the one above. Each one is on a separate page. You will be asked to give possible results. List as many things that would happen as you can. Your answers need not be complete sentences. Your score will be the total number of different answers that you write. You will be told when to begin work and when to stop working on each page. Work as rap idly as you can. If you have questions, ask them now. STOP HERE. Copyright 1959* Sheridan Supply Company, Beverly Hills, California. .pr O' APPENDIX E RATERS* MANUAL TEACHER RATINGS OP BEHAVIOR PATTERNS A MANUAL I* Introduction Your school district Is cooperating In an extensive research project concerning creativity In seventh-grade children. As part of this study, every seventh-grader has -been given a battery of aptitude tests and interest tests. Now we are asking you to make a more direct contribu tion to this research. Wo want you to rate the children in your classes in terms of behavior patterns that are usually observable in the classroom situation. Forms for these ratings are included at the back of this manual. We shall describe the scales and explain the method and purpose of the ratings, but first, you will find It helpful to read the brief summary of our research objectives which we have prepared to give a broader perspective of this project. II. Purpose of Study The identification and education of individuals who are capable of solving unique problems In an era typified by continual change has been recognized as a national prob lem. Programs have been set up throughout the country to U.88 I j .89 study such problems as guidance procedures, curriculum changes, and education policies. The goal of this research Is the early Identification, encouragement, and education of potentially productive citizens for whom there exists an Increasing need. P.A.C.T. is a project which Is being sponsored by the U. S. Office of Education. This research, which is design ed to study aptitude and preference for specific tasks and skills Involved in creative thinking, is being done with the cooperation of the Manhattan Beach City School District and the University of Southern California. Unlike "gifted" children programs in which selection is made on the basis of I. C£., P.A.C.T. intends to explore specific abilities as measured by new tests of special in tellectual talents, interests, and skills. Ten years of basic psychological research with adults have led us to conclude that the identification of specific intellectual aptitudes is a more nearly complete method of identifying those persons who can perform high-level tasks than is the use of the general measures provided by tradi tional I. 0.. tests. III. Purpose of Eatings Since some of the tests which we administered to your class are experimental, we need information about the stu dent’s observed behavior as criteria, for comparison with 1*90 the scores on our tests* We hope your ratings will provide this information* Secondly, we should like t o analyze the ratings that you make in order to study another problem: in what terms do teachers evaluate their students1 creative abilities and interests. An analysis of the ratings should provide a more systematic and rational bails for evaluating the as pects of creativity evidenced by student behavior. A study of how teachers actually nsee" oreativity in children, that is, what factors are currently being empha sized in evaluations of creativity, should provide an im portant contribution to teaching methods as well as to our scientific knowledge of the development of creative abili ties* IV. Description of Rating Scales Forms are included for you to rate the children in your class according to 16 behavior patterns. You have probably observed each of these, or somewhat similar behav ior, in your classroom though perhaps you have not thought of them in the terms we shall use. There are three types of behavior patterns which we want you to evaluate: First, abilities or aptitudes that contribute to cre ativity. Previous research with other age groups suggests that creativity, like intelligence, is best thought of in terms of many specific abilities* a particular individual may be high in one aspeot of creativity, such as fluency of ideas, and yet be low in others. Second, temperament traits or interests, which may be related to creative abilities. Remember that inter est in a certain area is no guarantee of capability; also, a person may have an ability to perform in some way but not be particularly interested in that kind of activity, A boy may be very interested in build ing things but have relatively little manual dexter ity. Third, the general behavior patterns, how a student typically behaves in a variety of situations. For example, if you were asked to rate a student's soci ability, you might consider his friendliness toward and desire to be with other students, his parents, and other adults in many kinds of situations, e. g,, shopping, vacationing, going to a ball game, or work ing. Because we are interested in your first impression, which in ratings like these are often best, do not spend much time on each rating. Take just enough time to make a reasonable judgment, Eaoh behavior pattern is presented in carefully de fined terns and examples are given in most cases. Techni cally the scales are called graphic scales, because your U-92 ratings are made on the horizontal line presented after each description. You are to make a short vertical mark that crosses the printed line at the point that best de scribes the student. BxampJe A>. Pictured below Is the unmarked graphic scale. V ' ^ 1 John Jones ___ little much If you think John Is "about average" with respect to a given behavior pattern, make a mark near the center of the scale. 1 John Jones _______________ I_______________ little I muck If you think John shows a great deal of the behavior described, exhibits it to an exaggerated degree, or very frequently displays the behavior, then you would make your mark near the end of the line labeled "much." 1 John Jones little mi If you think John seldom or never displays the de scribed behavior, or if he manifests it to a very slight degree or if the opposite behavior pattern is exhibited, then the mark should be made at the end of the line labeled "little." 1 John Jones l l j b i ;tle much You are to rate every student in your class according 14 - 9 3 to one behavior pattern before you go on to another pat tern* We have set up the rating procedure in this way so that you will find it easier to rate each student on each behavior pattern separately. Please try to rate on each behavior pattern independently of the others, as though you had forgotten what rating you gave the student before on another scale* The behavior patterns you will rate are the following: 1. Creativity 2. Impuls ivenes s 3. Recognition of Implications k- Need for Variety 5. Spontaneous Flexibility 6* Conformity 7. Adaptive Flexibility 8. Self-Confidence 9. Unrestricted Thinking 10. Persistence 11. Originality 12. Need for Structure 13. Fluency 1 1 1 - . Appreciation of Originality 15. Curiosity 16. Sense of Humor Each behavior pattern will be defined and examples given later. Please study our definition before you begin 1 4 -914- rating. V. Value of Ratings for Teachers We have been discussing what you are being asked to do to help us in this research and why. There are two ways that this study can be of benefit to you. First, the re sults of this research may provide an objective measurement to select children according to specific creative abilities and related interests* There is a clear socially desirable and scientific purpose for this research. Secondly, by rating your students in a careful and systematic way, using the procedures we have outlined, you may become more aware of the many ways children can differ from each other. Your evaluation of a child in terms of differentiated and delineated behavior may give you impor tant insights into why a child may excel in one subject and just "get by" in another, or why a child may be a leader in one group and be on the fringe of another. After we finish the analysis of your ratings, we shall be able to tell you something about your skill in making this kind of judgment. An analysis of the ways in which you judge different aspects of creativity may be im portant for your teaching, especially if you consider that helping your students realize their creative potentiality is an Important goal of education. You can appreciate that aids to recognizing potential h 9 5 interests and talents are very important in your teaching. Ratings like these may help, VI, Teacher Involvement and Feedback This research cannot be accomplished without your co operation, Carefully complying with the instructions below and conscientously making your judgments will be of inesti mable value for this projeot. Because you will be involved in this research, you are entitled to full knowledge of the purpose and results of the study. In addition to a final prepared report, we have planned two meetings wlth teachers and school admini strators. The first meeting, which should precede your making the ratings, is designed to explain more fully the purpose and method of the total research project as well as to describe the rating process in greater detail. The second meeting, which Is planned for early next fall, after the study Is completed, will explain the re sults of the study and suggest applications of the findings to your work, VII, Instructions for Ratings Included with this manual you will find 16 five-page booklets, one booklet for each scale. You will also find four templates upon which are typed the names of the stu dents in one of your classes in alphabetical order. Descriptions: The first page of each booklet has 11-96 boxes in the upper righthand corner; these are used for i- dentifieation purposes. In the box labeled "class'* there Is a code number. It Is the number that was assigned to your class. Please check the number in the box with the code number that appears on the templates; they should be the same. The numbers run from C70I to C718. Begin with the booklet for Scale No. 1. Read the description of the behavior pattern on page one. Be sure you understand what the behavior is— the examples given will help— before you begin making the rating You may find it helpful to refer back to page one during the rating process. When you feel confident that you understand the be havior pattern described, turn to page two of the booklet. Scales: Page two presents the graphic scale form described previously. There are nine scales, numbered from 1 to 9 on page two, with the words "little" and "much" p printed under each line graph. Page three has scales for students numbered 10 to 18; page four has scales for stu dents 19-27; and page five has scales for the remainder of the class. To repeat, these words define the two extremes between which "about average" can be assumed. They do not define specific points on the scale: they are merely to orient you toward the directions below or above "about av erage." 1*97 Example B. The top of page two looks like this: 1 little muck little much Template: Take the template for page two and place It over booklet page two In suoh a way that the numbers following the names on the template line up with the numbers on the booklet page (which will appear within the cut-out of the template). Example C. Alice Adams ^1^ 1 little much Bobby Brown < D * 2 ' little much Marking the Scales: With a sharp pencil make a ver tical mark through the point on the line which you feel best describes the numbered student In terms of the behav ior pattern being rated. Example D. Alice Adams o little + much © / little much# 14-98 Do not spend a great deal of time on any one rating* We estimate that It will take you between 6 and 10 minutes to rate your elass on each of the 16 scales* If It takes you more than 10 minutes to complete a scale, you may be worrying too much about the task and it may become much more tedious and tiring than it should be* It is very desirable to rate all class members on one scale at one sitting* Try not to interrupt your ratings when you are only part way through the class. Sometimes raters become uneasy about earlier ratings as they go through later names. The best procedure is to push on, complete your ratings for that scale, and then returen and review the ratings of all the students, adjusting where nec essary* If you change your mind, be sure you completely erase your first mark so that your judgment will be tran scribed correctly* Because raters are human, they often let their Judg ments of one kind of behavior Influence their Judgments of another* This Is called the "halo" effect. We want your Judgments to be as free from this effect as possible, so that we can Interpret and use your ratings as a good meas ure of one single ability. For this reason, we suggest that you hot do all the scales at once, but spread them out over several days, concentrating each time on the specific kind of behavior to be rated. We know you will do your best* Thank you. 1 4 - 9 9 Class Rater bp Refer to page one for description of behavior pattern. 1 ____________________________________ little much 2 little much 3 _________________________________ little much k ------------------------------------ little much 5 __________________________________ little much 6 little much

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Creator Gardner, Sheldon Frank (author)

Core Title Creativity In Children: A Study Of The Relationship Between Temperament Factors And Aptitude Factors Involved In The Creative Ability Of Seventh Grade Children With Suggestions For A Theory Of C...

Degree Doctor of Philosophy

Degree Program Psychology

Publisher University of Southern California (original), University of Southern California. Libraries (digital)

Tag OAI-PMH Harvest,psychology, general

Language English

Contributor Digitized by ProQuest (provenance)

Advisor Guilford, Joy P. (committee chair), Harvey, Herman M. (committee member), McDonagh, Edward C. (committee member)

Permanent Link (DOI) https://doi.org/10.25549/usctheses-c18-284593

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Rights Gardner, Sheldon Frank

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