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Previously, one of the most commonly used scale to evaluate emotional response was the Semantic Differential. However, according to Lang, this method is costly in both time and effort used by researchers and participants to complete the experiment, and requires statistical expertise, such as factor analysis, for resolution, which may not be accessible for all researchers.
The figure rating scale (FRS), also known as the Stunkard scale, is a psychometric measurement originally developed in 1983 to communicate about the unknown weights of a research subject's absent relatives, [1] and since adapted to assess body image. [2] The scale presents nine male and nine female schematic silhouettes, ranging from extreme ...
Scores of "passing"—or of "3" on a 4-point, 6-point, or 9-point scale—provide little concrete guidance for the student, the teacher, or the researcher. In educational barrier exams, holistic scoring may serve administrators in locating which students did not pass but little serve teachers in helping those students pass on a second try.
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Body cathexis is defined as the degree of satisfaction or dissatisfaction one feels towards various parts and aspects of their own body. [1] This evaluative dimension of body image is dependent on a person's investment of mental and emotional energy in body size, parts, shape, processes, and functions, and is integral to one's sense of self-concept. [2]
Kylie’s body image took a hit and that’s unsurprising, according to Tanya Farman, an Indiana-based psychologist who penned her dissertation on the experiences of tall women, herself included ...
The International Affective Picture System (IAPS) is a database of pictures designed to provide a standardized set of pictures for studying emotion and attention [1] that has been widely used in psychological research. [2] The IAPS was developed by the National Institute of Mental Health Center for Emotion and Attention at the University of ...
In 1961, Danish Egyptologist Erik Iverson described a canon of proportions in classical Egyptian painting. [2] This work was based on still-detectable grid lines on tomb paintings: he determined that the grid was 18 cells high, with the base-line at the soles of the feet and the top of the grid aligned with hair line, [3] and the navel at the eleventh line. [4]