Examination of the factor structure of the Schizotypal Personality Questionnaire (SPQ) among British and Trinidadian adults

Much debate in schizotypal research has centred on the factor structure of the Schizotypal Personality Questionnaire (SPQ), with research variously showing higher-order dimensionality consisting of two to seven dimensions. In addition, cross-cultural support for the stability of those factors remains limited. Here, we examined the factor structure of the SPQ among British and Trinidadian adults. Participants from a White British sub-sample (n = 351) resident in the UK and from an African Caribbean sub-sample (n = 284) resident in Trinidad completed the SPQ. The higher-order factor structure of the SPQ was analysed through confirmatory factor analysis, followed by multiple-group analysis for the model of best-fit. Between-group differences for sex and ethnicity were investigated using multivariate analysis of variance in relation to the higher-order domains. The model of best-fit was the four-factor structure, which demonstrated measurement invariance across groups. Additionally, these data had an adequate fit for two alternative models: a) 3 factors and b) a modified 4-factor. The British sub-sample had significantly higher scores across all domains than the Trinidadian group, and men scored significantly higher on the disorganised domain than women. The four-factor structure received confirmatory support and, importantly, support for use with populations varying in ethnicity and culture.

Rebranding Al-Jazeera Children's Channel: The Qatarization Factor

Qatar's rulers established Al-Jazeera Children's Channel in 2005 to nurture Arab and Islamic traditions and values; the channel sought to differentiate itself by ensuring that material would conform to what its management considered to be culturally appropriate guidelines for content. However, having been set up as a child-centred, non-commercial, fully-funded enterprise that aspired to source most of its content within the Arabic-speaking region, its priorities shifted in 2011-13 towards maximizing commercial revenues through foreign imports. In light of the shift, this chapter explores the complex interweaving of commercial and political considerations behind production and commissioning processes. The channel's branding and re-branding shows how a children’s television project can be adopted to reinforce a country’s claim to regional cultural leadership, while being packaged in such a way as to depoliticize that country’s institutions and composition by rooting national identity in a combination of commercial interests and notions of traditional culture.