Leontyev Ruslan BA in psychology thesis

Running head: HANDWRITING: PRESSURE, RHYTHM 1
Handwriting: Pressure, Rhythm and a state of affect.
Leontyev Ruslan
American University of Central Asia

HANDWRITING: PRESSURE, RHYTHM 2
Abstract
A state of affect is characterized by distortion of rhythms and fluctuation of pressure
with which the hand operates while conducting fine motor skills. Assuming that handwriting
is a fine motor skill, and using new technologies such as Photoshop software and Galaxy note
tab, the author tries to answer if it is possible to digitize handwriting for statistical analysis
and prove that the traces of affect are found in handwriting samples. The author implies
modified Jungian test to trigger the signs of affect conditions among experiment participants,
the AUCA students, and comes to understand that there are certain words that trigger
immense state of affect, which is also manifested in handwriting.
Keywords: handwriting, rhythm, pressure, state of affect, fine motor skills.
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Handwriting: Pressure, Rhythm and a State of Affect.
What is in handwriting? Plenty, if the matter goes to research. History of research in
handwriting so far has been able to prove only the fact that the word handwriting is
multidimensional. Still the question of what handwriting is remains unanswered and
graphology as a science remains invalid (Brook 2006).
Therefore, the purpose of the literature review aims, first of all, to analyze different
definitions of handwriting, offered by different authors. This must be done simply to answer
on the question of what we are actually to study. Since the truth is a subjective term, I do not
try to find the true definition of handwriting. Instead, I do literature review to find definition
that is less false and is more promising in terms of a possible brake through in validation of
graphology. Such definition, if it exists at all, must be established in accordance to long held
tradition of scientific doubt. To do so, I appeal to René Deckard’s philosophy.
As I wanted to dedicate myself exclusively to the investigations of truth, I
thought I ought to reject as absolutely false everything you could imagine to
doubt, to see if after this, there was something in my belief that was wholly
indubitable (Deckard 1637).
Following the Deckard’s tradition, I invite you to reject as absolutely false every
definition of handwriting that we could imagine to doubt, to see if after this there was
something in our belief about handwriting that was wholly indubitable. This would be a
working definition of handwriting operated in future research, the definition upon which we
could rely.
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To do so, let us look at the historical perspective. As early as 1622, before psychology
itself appeared as a science, the first book on graphology had been published. Its author,
Camillo Baldi, an Italian doctor of medicine and philosophy set up a luring definition of
handwriting that still entices researchers till nowadays. The oldest, yet the most prevailing
paradigm on handwriting define it as a movement, in which our character or individual
features are expressed (Baldi 1622). Of course, they didn’t have the term personality at that
time. Later, with the advent of psychology as an officially established science, the term
personality appeared on the stage, and Camilo Baldi’s definition was modified to that of
handwriting is a movement through which our personality manifests itself (Batchelder 2006).
And this called for thousands of papers to be written, in which certain features of handwriting
were linked to certain features of character (Batchelder 2006). However, many modern
psychologists came to doubt that such thing as personality actually exists at all.
“…Some research psychologists have gone so far as to argue against the very
existence of personality itself, the validity and usefulness of personality tests, and, by
logical extension, the validity and usefulness of graphology. According to this line of
reasoning, since there is no such thing as personality, then it makes no sense to use
personality tests or analyze a person's handwriting to measure something that is non-
existent… (Michaels 1986)”
I shall not go here so much into details and try to explain of why certain authorities in
psychology doubt the fact of personality. Neither do I have to investigate the validity of such
a claim. The only thing, which is important in here, is the doubt itself. If we could doubt that
personality exists, and some psychologists do, then we could reasonably doubt that
handwriting is the expression of our personal traits. Thus, the definition of the handwriting as
a movement, through which our personality expresses itself, is invalid. Yet, graphologists
have been persevering in working exactly in this paradigm (Werner 1983). Since 1895, over
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2,200 researchers have been published on this subject in medical, educational and
psychological journals (Werner 1983) all set in paradigm of handwriting having to do
something with personal traits. Perhaps, most interesting was the study of Crepieu-Jamin
(1982) and Langenbruch (1895) who investigated handwriting to predict predisposition to
criminal behavior, and studies of Georg and Anja Mendelssohn about handwriting and
sexuality. Unfortunately, those studies won a reputation of pseudo science (Brook 2006).
Graphology's credibility took a hit last year through a single incident at the annual
World Economic Forum held in Switzerland. There, reporters presented to several
graphologists a sample they claimed was of British Prime Minister Tony Blair's
handwriting, and asked for expert opinions. After examining the document, one such
expert claimed that "Mr. Blair's" handwriting displayed a "death wish". Another
described a perceived "inability to complete tasks" hidden among the letters. This
prompted a small but noticeable worry among the British; some began to believe that
Blair might not have been worthy of the job. Only after these views were publicized
was it revealed that the handwriting had come not from the politician, but from…Bill
Gates. Bill Gates-worth over $50 billion-a man with a death wish? Unable to complete
tasks? It sounded absolutely ludicrous. Needless to say, the press quite enjoyed it-and
ensured that a lot of readers found out (Brook, 2006)
The next is psychoanalytical paradigm. Klages (Lebovic 2013) offers that handwriting
is a gesture, an expressive movement of our unconscious. Max Pulvor (1994), took over this
paradigm. He developed a theory called symbolism of space. He discovered two types of
symbolism: major and minor. Minor symbolism dealt with where does the point start and
where it proceeds and whether or not it finds restriction on the way. Major symbolism dealt
with structure of strokes reflecting of what they symbolize. Left lines on the signature, for
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instance, were interpreted as the Thanatos energy, the desire to remove oneself from life
(Pulvor 1994).
However, psychoanalysis, and the existence of unconscious is also a subject for doubt.
Well known phenomenon of false memories can jeopardize the validity of the fact that
unconscious actually exists.
… The 'false memory' furore when subjects under analysis accuse their parents
of sexually abusing them during their infancy continues to break up homes
and ruin lives. No conscious memory of it is present; the abuse is alleged to
have been repressed into the unconscious mind from whence it is subsequently
retrieved by the analyst in the process of psychoanalysis. So whether or not
there really is an unconscious mind is a question that has particular relevance
today (Conway 1997). . .
If we can doubt that unconscious exists subsequently we can doubt that handwriting is
expression of our unconscious. Thus, the definition of handwriting as the movement through
which the unconscious manifests itself is invalid for future research.
To summarize, I applied Rene Deckard’s way of thinking to doubt the two most
prevailing paradigms in graphology. We can doubt that handwriting is movement through
which our personality or unconscious manifests itself. Taking away such things as personality
and unconscious the only thing remains unquestionable - handwriting is a movement and it is
hard to doubt that. Other things follow from that. Any movement is produced by our nervous
system. Therefore, handwriting is the act of our nervous system, and should be analyzed
accordingly.
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Alfred Kanfer (1958) in his research titled Early Cancer Detection Through
Handwriting Analysis, announces that handwriting is a brain writing implying that changes in
brain reflect in handwriting. He demonstrates that handwriting can be an external tool in
cancer diagnosis. That with advance of cancer or heart decease certain neuromuscular
disturbances of coordination occur is a well known fact (David, 2013). Kanfer takes this fact
further to investigate if microscopic characteristics of handwriting strokes can reveal such
neuromuscular ataxia. The series of tests designed by Kanfer do not indicate the presence or
absence of cancer as such, but what they do is the detection of cancer associated factors of
neuromuscular disturbances (Kanfer 1958). The core of his methodology is the analysis of the
continuity between upper lines and bottom lines of handwriting. Kanfer (1958) believes that
writing the letters that involve upper lines and down lines drawing are especially difficult to
carry without interruption of lines. Only with best neuromuscular coordination it is possible
to write letters that have upper strokes and down strokes without interruption of lines. It is
equally true with writing loop letters such as smaller a, o, d, p, q bigger D, Q O (Kanfer
1958). Another interesting idea proposed by Kanfer and later other researchers is that there
must be such a thing as standard handwriting. There are the following qualities in
standardized handwriting: 1. Characteristics: down lines are broader and show greater ink
density than upper lines. 2. The width of down lines gradually increases toward the baseline,
where they connect with the upper lines and at the same time the upper lines thin out slightly
along their course. 3. Uninterrupted flow of movement through down lines and upper lines. 4.
Uninterrupted flow of movement through area of transition (Kanfer 1958).
Interestingly enough, Alfred Kanfer went to Strang Clinic because he found signs of
cancer in his own handwriting. Future analyze did not prove a presence of any cancer until
three weeks before his death. Despite the fact that Kanfer was able to predict his own death
judging by own handwriting, there are strong arguments against validity of Kanfer’s method.
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The developed methodology of cancer and hart deceases by handwriting left some doubts in
the case when handwriting misdiagnosed patients who did not, in fact, have the cancer.
Another problem was actually to distinguish the difference in handwriting diagnosis between
cancer and heart deceases. It was defined that handwriting coordination in fact only indicated
generally whether or not human body was in homeostatic condition (Pat 2013), whereas the
word homeostasis itself represents diversity of meanings, and the use of its word deviates us
from initial purpose to analyses handwriting as an act the nervous system.
Additionally, Kanfer implies that handwriting is a process. If writing is a process then
in its analyses we must work with two possible scenarios. First scenario: something that must
not have happened – happened. Second scenario: something that must have happened – did
not (Garbor 2003). The example of something that must not have happened but did is a
perfect example of interruptions in handwriting lines studied by Kenfer. Microscopic
interruption of lines at the places where they must not have happened is an example of
intervention of inhibiting system where interruption must not have occurred but did.
However, this is the only analyzes of handwriting processes that has been done. How about
taking into consideration the second scenario? Something that must have happened – didn’t.
Something that must have happened is the end of line. But what if the lines are not ended
properly? What if instead of sudden interruption we have smooth ending of lines with
ambiguous end. Doesn’t it have to be studied? If we interpret the handwriting in terms of
rhythm, we could analyze both where the lines interrupt and where they end poorly.
There are other reasons to consider rhythm as a valid variable to analyze handwriting.
I would like to argue that rhythm offers as a more holistic definition of handwriting and that
it is at the benefit for future research.
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Thought the history of handwriting research we change our minds about what part of
handwriting we shall study. Do we need to study forms of letters (Ross 1996), or the forms of
particular letters (Begget 2010), do we need to study the spelling mistakes (Scanlon 1992), do
we need to study handwriting derivation from the standard handwriting taught in schools
(Scanlon 1992), do we need to study continuity of lines (Lowe 1997), interruptions of lines
(Steiger 1970), proportions of letters, inclination of lines (Engel 2003), or some microscopic
features or even some other qualities that yet has to be discovered. On the other hand we must
decide what part of human being we attribute certain qualities of handwriting into: gender
(Brook 2006), age (CBS 2011), character, neurophysiology, health conditions (McKnight
2010), emotions (Tooker 1997), inelegance (Kirkpatrick 1996). We constantly change our
definition of what handwriting is. With each new definition, come new technologies for
analyses and attributions of specific handwriting elements to psychological features,
characteristics and emotional conditions of human being. The analytical framework of all
those studies is reductionism. We separate handwriting into different elements and we
separate human being into different elements. We run thousand of unsuccessful attempts to
put different elements of handwriting with different elements of human being only to win
graphology the reputation of pseudoscience. My suggestion is that we could experiment with
a more holistic definition of handwriting, and perhaps, it will bring us to more valid results.
A holistic definition of handwriting assumes that we shall not analyze particular forms
of particular letters nor even separate lines nor other things that handwriting can be divided
into. But rather, we shall analyze those characteristics that are present in every letter written
in every line and curve of our writing throughout the whole process of handwriting. It must
be an indivisible feature of handwriting, which remains even when all other reduced elements
are removed. The only thing that comes into mind is rhythm. Rhythm is a holistic and
promising source for handwriting analysis.
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To sum up, I defined the handwriting as a fine motor skill, a product of our nervous
system. This was a simplified definition of handwriting, which I expect to be less doubtable
and more valid. Also I suggested to analyze handwriting in terms of rhythms because rhythm
allows us to approach handwriting as a process (both things could be analyzed how lines
continue and how they interrupt) and rhythm offers us a more holistic and indivisible
definition of handwriting, which is opposite to prevailing analytical framework in
graphology.
Handwriting is the brain writing (Kenfer 1985). In other words, handwriting is a
product of our nervous system. Perhaps, as a product of our nervous system, handwriting
offers us an excellent opportunity to study the way our nervous system functions. We will
first investigate what is in function of our nervous system and then try to connect it with
research in handwriting. Ultimately, we will design an experiment to see if temporary
changes in the function of our nervous system, which occurs during handwriting could be
seen through handwriting.
Luria (1976) challenges the prevailing paradigm in neurophysiology. Despite common
view on human’s nervous system’s division into exiting and inhibiting parts, Luria claims the
division to be established between acting part and coordinating one. And that makes all the
difference. The more ancient and primitive parts of our nervous system are always to act
impulsively and in disorganized manner, whereas, neocortical levels are to control and
organize our movements. Thus the brain is divided between primitive part that acts and neo
cortex that controls and organizes behavior (Luria 1976).
In the support of such organization of our nervous system, John Hughlings Jackson, as
early as in 1884, in his case study of speech aphasia, hypothesized that speech and other
functions of higher nervous system serve organizing and integrative purposes. Literally, if
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higher functions of our brain are damaged or temporarily knocked out, the impulsive,
disorganized behavior takes place (York 2006).
Years later the same paradigm was confirmed by the experiments with cats, whose
thalamus opticus, the gray matter connecting higher levels of brain with lower ones, was
damaged. After the surgery, the cats demonstrated involuntarily uncontrollable movements
(Bazett 1992).
To sum up, there is a large body of growing evidences to suppose that our nervous
system initially produces arrhythmic uncoordinated impulsive and involuntarily movements,
which only under control of neo-cortex take shapes of well-organized, well-coordinated
rhythmic and well-controlled actions. When the control of neo-cortex is weakened, we
regress to that default manner of clumsy movements (Luria 1976).
Wilson’s (1928) point of view is that sub cortical brain is always ready to take over
neo-cortex control over our movements and does so intensively the very moment when the
vigilance of neo cortex is weakened or lost (Wilson 1928). However, the question is if we can
experimentally observe overtake of movements by sub cortical levels without physically
damaging neo-cortex. In fact, nothing is specifically needed for that. Anyone observing
children, whose age is bellow 7 years, can notice their impulsive fussy behavior present in the
fine motor skills. Luria designed a set of experiments to observe fine motor skills among
children. In the experiment, the children in a response of certain stimuli had to press on
special button as slowly as possible. The same experiment was done with adults, and the
results were compared. It appears that in order to carry a slow movement, a child usually
conducts a few impulsive movements (Luria 1976). Children lack slow smooth fine motor
skills and if compared to adults are incapable to produce them (See figure 1). Luria concludes
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that neo-cortex develops its full capacity to control impulsivity only at the age after 7 years
old and older.
Next experiment conducted by Luria involved creation of rhythms. The subjects of
experiment were asked to rhythmically press the button. Each movement was recorded.
Children younger than 7 years old failed to produce rhythm with equal intervals between
beats (see figure 2). Most interestingly they had problems with inhibiting their momentum of
movements. They couldn’t stop suddenly. The inhibition capacity could be present in a first
few movements, but then degrades, and rhythms disintegrate. The inhibitory capacity was not
stable and is lost through time. Luria concludes that children’s fine motor skills lack the
ability to produce rhythms of equal intervals and equal intensity (Luria 1976). Only later
development can allow us to produce rhythms to work in smooth and organized way. The
conclusion that we can make from those observations is that sub cortically controlled motor
skills are arrhythmic in time and intensity and lack stable inhibitory potential (Luria 1976).
Having observed and defined what the default manner of the fine motor skills is, we
are perplexed with a question of how we can experimentally regress to earlier stage of
development where we could demonstrate uncoordinated and non-rhythmical fine motor
skills. Luria skillfully does so by implying a modified Jungian free association test to
provoke affect. He claims that in the state of affect an adult regresses back and demonstrates
default model of impulsive behavior. In order to demonstrate this process, the subjects of
Luria’s experiment were asked to produce a free association on a word given by
experimenter. In the same moment the subject had to press the key of specially designed
machine that turned rhythmical pressures of human hand into measurable diagrams. The
words presented to the subject of experiment were divided into two groups: neutral and
affect-provocative ones. In his experiment, Luria compared such variables as time, which
subjects used to produce free associations, and the quality of pressure with which the subjects
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pressed the key after pronouncing the association (see figure 3). Luria found positive
correlation between the time needed to produce free association and the number that
indicated the deformation of the pressure. In other words, the stressful word evoked the
bigger fluctuation of the pressure when pressing the key. I hypothesize that fluctuation of
pressure during the handwriting can also be linked to the affective state.
In the state of affect our nervous system commends the blood vessels to increase in
size. Thus there is more inflow of blood into arms and legs. Literally, our hands become
heavier in the state of affect. This might influence on the performance of the fine motor skills
such as handwriting. Bigger weight causes bigger pressure. I hypothesize that the time
needed to produce free association will be positively correlated with intensity of pressure.
Method
The findings of Luria experiment demonstrate that affective state is manifested
through fluctuation of pressure and intensity when conducting the fine motor skill task, such
as pressing the key. I assume that the handwriting and pressing of the key in Luria
experiment both can be described as fine motor skills and are; therefore, the subjects of the
same principle. This means that there must be a positive correlation between two variables
such as the time needed to produce free association and fluctuation of pressure. Such link
must exist because whenever the participant is given a stressful word (which evokes the state
of affect), he or she is supposed to spend more time to produce free association, and the
pressure of his fine motor skills action is supposed to fluctuate more in the state of affect. In
the experiment, the participants will be asked to produce the free association to a given word
and to write it (free association) dawn on the paper. The participant will not discover that
under the paper that he writes on, there is a hidden digitizer. The digitizer will turn the
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handwriting into numbers which indicate the pressure with which the hand operates. The
fluctuation of pressure will be compared with time spend to produce the free association.
Participants
A convenient sample of AUCA students, an academic community which belongs to
relatively same age group (18-25 years old), at which the fine motor skills are already well
developed, and shares relatively same sources of stress and affect such as deadlines, GPA
maintains, essay assignments, probation period etc. will take a part in the experiment.
Apparatus
Samsung Galaxy Note 10.1 KR hidden inside the self-made note book. The participants can’t
discover that they are writing on digitizer.
The stylus of Samsung Galaxy Note hidden inside the pen. The pen is adjusted in the way
that can do both hold stylus inside, and work as a pen.
Photoshop CS6 software.
Spen-test, android software specially designed by AUCA IT department to turn handwriting
into rhythm writing.
Procedure
The list that includes both affect-invoking and neutral words, relevant to AUCA
academic community must be created. I did a list of 60 words that are relevant to academic
community and life style of AUCA students, including the words relevant to post-Soviet
Union generation. I asked 30 participants (15 female and 15 male participants), all of whom
were AUCA students, to do free association test based on those words. During the test, I kept
track of time needed to produce a free association response. The inducing words that
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generally took less time M = 1.2 seconds for a free association response were categorized as
neutral. Those that took more time M = 5.3 second were categorized as affect-inducing ones.
Eventually, I shrunk the list to 29 words, 13 of which were neutral and 16 were affect-
triggering. I later use them as a stimuli-material in conducting the experiment. The whole
procedure was conducted to adjust Luria’s test to cultural differences of post-Soviet
generation and to AUCA academic community specifically.
Next, I ask the participants, who were not involved in the previous experiment, to do
free association test based on material produced on the first setting of the experiment. The
sample included 30 participants (15 females and 15 males). After giving an oral response, this
time, the participant was required to write dawn his or her response on the paper with a pen.
The participant did not suspect that under the sheet of the paper there was a hidden digitizer,
and that the pen they used in fact contained a hidden stylus in it. The digitizer, the Samsung
galaxy note tab, meanwhile was producing darker colors when there was more pressure and
brighter colors when there was less pressure. The file from a digitizer was sent to laptop
computer for further analysis in Photoshop.
Assuming that the more pressure a person introduces during handwriting the darker
color becomes on the digitizer I consider that pressure is the darkness of color. Therefore by
measuring the darkness of the color, I in fact measure the pressure. When the image of
handwriting is transferred to Photoshop, the software measures subtle changes in the color
fluctuation and is able to introduce these changes in numbers. We ask Photoshop to give as
the measure of darkness to check the hypothesis 1 and we also take into consideration the
richness of subtle shadows of ink, which are invisible for human eye but are visible for
Photoshop to test the hypothesis 2.
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An operator selects the word that must be analyzed for both, the darkness and pressure
fluctuation, and then presses the Photoshop command “window”. In the pop-up menu an
operator finds the command “histogram”. The operator must make sure that the “statistical
analysis” option is activated on the histogram. For this, the operator does left click on the
right upper corner of the histogram and in the pop-up menu selects “statistical analysis” if
this option is not activated. Then, the operator checks the left part of histogram to see the
most left level. This level indicates how dark the color was or what the darkest shadow of ink
is. The earlier the histogram starts, the darker the color was applied. Therefore, I expect that
the level at which histogram starts is negatively correlated with time spend for giving an oral
response in accordance to hypothesis 1. Secondly, I measure the richness of shadows
introduced to the ink. To do so I take the level of the brightest color and minus the level of
the darkest. The obtained number might positively correlate with time spend to produce the
oral response in accordance to hypothesis 2. Both hypotheses are checked through Pearson’s
correlation two-tailed test in SPSS.
Results
The presence or absence of a state of affect was found in handwriting samples. The
weak positive correlation (r= 0,202) was found between the fluctuation of pressure and time
spend to produce free association. No significant correlation (r=0,37) was found between
intensity of ink pressures and times spend to produce free association judging by the means
of time, intensity, and fluctuation of pressure.
However, when statistically analyzing word by word a few words were found that
have statistically significant correlation that is time spend to produce a free association as a
response to such a word strongly correlated with intensity, of pressure. Those words are
bedniy (,775**
), len, (r=608**), scholarship (r=467**), sootvetstvovat (r=621**), unijat
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(r=404*) otvergat (r=396*). The fluctuation of preassure and time strongly correlated at such
words as otvergat (r=379*) unijat (r=412*), diplom (r=663**). See table1 and table2.
Discussion
Handwriting remains a mystery. The definition of handwriting is yet to be established.
Perhaps, the definition that I operated with was oversimplified. Handwriting certainly is fine
motor skills task. However, it is somewhat different from Luria’s participants just pressing
the key. It involves meaning, and perhaps, it requires more active involvement of neo-cortex.
Thus it is more efficient exercise in controlling impulsivity. Additional research must be
conducted to find the difference between handwriting and other fine motor skill tasks.
On one hand, the findings suggest that handwriting is not a subject to affect
conditions, yet partially the findings of experiment partially overlap with those of Luria
(1976). Certain words like “diploma” (r=663**) trigger immense reaction: increase in
intensity of pressure and its fluctuation as well as the time needed to produce a response.
Perhaps, it is useful to assume that there are certain thresholds upon which handwriting
reflects the state of affect. Additional research must be done regarding thresholds. Most
certainly we must remember that participants were students at AUCA, thus the word
“diplom” carries shared meaning of induced affect particular to academic community of
AUCA. Therefore, cultural aspects must be taken into an account while studying the
handwriting.
Also there are differences in intensity of pressure and fluctuation of pressure. Certain
words trigger the intense ink pressure while others lead to greater fluctuation of pressure.
Further research might shed light on this difference if there is any.
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The fact that the findings of the experiment partially overlap with Luria’s research can
suggest that Photoshop and Galaxy tab could be reliable tools to investigate handwriting,
which is good news for other researchers, who can adopt this technology. With the
implementation of new technologies that are capable of digitizing handwriting for subsequent
statistical analysis, a better future awaits graphology, which hopefully will become a valid
science.
To sum up, the implementation of new technologies helped us to conclude that
handwriting is different from other fine motor skills. Perhaps, it has certain thresholds upon
which the intensity of pressure increases and so does its fluctuation. Handwriting might also
reveal some cultural aspects particular to participant’s community.
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(2006). . London: Wellcome Trust Centre for the History of Medicine at UCL.
(March 3, 2012). David Hume. In Puzzled Squarrel. Retrieved December 13, 2013, from
http://puzzledsquirrel.com/2012/03/.
Wilson, S. A. K. (1928). Modern Problems in neurology. London: Arnold.
Table1
Pearson correlation of time and pressure
Words Correlation Significance level Number
stol -,077 ,688 30
chai -,182 ,337 30
sneg ,315 ,090 30
karandash -,115 ,547 30
risunok -,152 ,422 30
frukt ,011 ,955 30
ovosh -,141 ,457 30
ochki -,083 ,663 30
23

bensin -,129 ,496 30
bereg ,110 ,562 30
mashinka 0,334 ,017 30
sten ,031 ,872 30
student ,090 ,635 30
bedniy ,775**
,009 30
brak ,094 ,622 30
beremenost ,099 ,602 30
diplom ,125 ,512 30
ekzamen ,092 ,629 30
provalit -,200 ,290 30
ustalost ,145 ,445 30
matematika -,003 ,989 30
odinochestvo ,221 ,241 30
razocherovanie ,089 ,641 30
bespomoshnost ,178 ,347 30
len ,608**
,009 30
scholarship ,467**
,009 30
sootvetstvovat ,621**
,009 30
unijat ,404*
,027 30
otvergat ,396*
,030 30
probation_perio
d
-,335 ,076
30
24

Table2
Pearson correlation and fluctuation of pressure
Word Correlation Significance level Number
stol ,025 ,897 30
chai -,035 ,856 30
sneg ,361*
,050 30
karandash ,214 ,256 30
risunok ,220 ,244 30
frukt -,059 ,757 30
ovosh ,190 ,314 30
ochki ,022 ,909 30
bensin ,207 ,025 30
bereg ,231 ,017 30
mashinka ,318 ,087 30
sten ,331 ,074 30
student ,011 ,954 30
bedniy ,114 ,548 30
brak -,047 ,806 30
beremenost ,038 ,842 30
diplom ,663**
,009 30
ekzamen ,160 ,397 30
provalit ,156 ,411 30
ustalost ,072 ,705 30
matematika ,101 ,594 30
odinochestvo ,668**
,000 30
razocherovanie -,035 ,855 30
bespomoshnost -,073 ,701 30
len -,056 ,770 30
scholarship -,132 ,488 30
25

sootvetstvovat -,043 ,823 30
unijat ,412*
,024 30
otvergat ,379*
,039 30
probation_period -,098 ,605 30
26

Figure 1. Motornie narusheniya v reaksiyah na slova-razdrajiteli. Adapted from “Priroda
Chelovecheskih Konflictov” by A Luria 1976.
27

28

Figure 2. Razvitie reaktivnif proccesof. Adapted from “Priroda Chelovecheskih Konflictov”
by A Luria 1976.
29

30

Figure 2. Razvitie reaktivnif proccesof. Adapted from “Priroda Chelovecheskih Konflictov”
by A Luria 1976.
31

Figure 2. Motornie reaksii soprovojdavshie assosiotivnie reche vie otveti ispituemih. Adapted
from “Priroda Chelovecheskih Konflictov” by A Luria 1976.
32

33

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