P-Technique Factor Analyses of the Multiple Affect Adjective Checklist (MAACL)

The Multiple Affect Adjective Check List (MAACL) has been found to have five first-order factors representing Anxiety, Depression, Hostility, Positive Affect, and Sensation Seeking and two second-order factors representing Positive Affect and Sensation Seeking (PASS) and Dysphoria. The present study examines whether these first- and second-order conceptions of affect (based on R-technique factor analysis) can also account for patterns of intraindividual variability in affect (based on P-technique factor analysis) in eight elderly women. Although the hypothesized five-factor model of affect was not testable in all of the present P-technique datasets, the results were consistent with this interindividual model of affect. Moreover, evidence of second-order (PASS and Dysphoria) and third-order (generalized distress) factors was found in one data set. Sufficient convergence in findings between the present P-technique research and prior R-technique research suggests that the MAACL is robust in describing both inter- and intraindividual components of affect in elderly women.

The Divine Eye in Ancient Egypt and in the Midrash Interpretation of Formative Judaism.

This paper studies the “eye” as a religious phenomenon from the multiple traditions of ancient Egypt compared with rabbinic Judaism in late antiquity using a semiotic approach based upon the theories of Umberto Eco. This method was chosen because the eye is a graphic as well as a linguistic sign which both express religious concepts. Generally, the eye represented an all-seeing and omnipresent divinity. In other words, the god was reduced to an eye, whereby the form of the symbol suggests a meaning to the viewer or religious practitioner. In this manner the eye represented the whole body of a deity in Egyptian and the power of a discerning God in rabbinic texts. By focusing upon the semantic aspect of the eye metaphor in both Egyptian and rabbinic texts two religious traditions of the visually perceivable are analyzed from a semiotic perspective.