Relationship Between Secondary And Secondary Psychopathy

Psyc121: Introduction to Psychology Is the Relationship Between Primary and Secondary Psychopathy Related to Cognitive Empathy Rebecca Donald 300339504 Tutors name: Tim Granley Wednesday 11-12.50, EA404B Is the Relationship Between Primary and Secondary Psychopathy Related to Cognitive Empathy Throughout our study we investigated the relationship between secondary and primary psychopathy and cognitive empathy. Psychopathy is a mental disorder which can cause an individual to have behavior seen not normal to society. It causes the individual to be antisocial towards others, and they can become egocentric (Richell, Mitchell, Newman, Leonard, Baron-Cohen, Blair, 2003). Primary psychopathy and secondary psychopathy both show the traits of being impulsive, angry and very antagonistic however secondary psychopathy also shows the individual to have social anxiety, doubt themselves and to have swings in their emotions often which is unseen in primary psychopaths (Ali Chamorro-Premuzic, 2010). Cognitive empathy is someone’s ability to be able to relate to another individuals emotions and their mental state (Ali Chamorro-Premuzic, 2010). Cognitive empathy and psychopathy are related as someone who is a psychopath has few emotions and therefore will not show empathy, we are investigating to what extent psychopaths show a lack of cognitive empathy. We are conducting this experiment to see if our results are similar or different to previous studies. PreviousShow MoreRelatedThe Relationship Between Cognitive Empathy And Primary And Secondary Psychopathy1583 Words   |  7 Pages PSYC 121: Introduction Psychology 1 Assessing the Relationship between Cognitive Empathy and both Primary and Secondary Psychopathy A. Craig 300353012 Amanda Richardson Monday, 5:10-7:00pm, EA404A Abstract This investigation is aimed to find whether there is a relationship between cognitive empathy and primary and secondary psychopathy. A correlational design was used, in which the Levenson self-report scale’ Levenson (1995) and the Reading Eyes Mind Test (Baron-Cohen et al., 2001) wereRead MoreRelationship Between Cognitive Empathy And Primary And Secondary Psychopathy1432 Words   |  6 PagesThis study looks at the relationship between Cognitive Empathy in Primary and Secondary Psychopathy, using the Levenson Psychopathy Scale and the Reading the Mind in the Eyes Test to ascertain lack of understanding in emotional expressions in psychopaths. There were 452 undergraduate students who participated in this study and it was found that Primary Psychopaths lack understanding in Cognitive Empathy, Secondary Psychopaths do not. Assessing the Relationship between Cognitive Empathy inRead MoreThe Relationship Between Primary And Secondary Psychopathy And Cognitive Empathy1500 Words   |  6 PagesThe Relationship Between Primary Secondary Psychopathy and Cognitive Empathy Rinette van Kradenburg 300334373 Tutor’s Name: Johanna Herrmann Wednesday, 1:10 – 3:00pm, EA404B Abstract When asked what to define a Psychopath people will often respond with descriptions such as â€Å"remorseless†or â€Å"lacking in empathy†. However due to the results of studies from the past 20 years there may now be reason to believe that this is not always true. This study investigates the relationship betweenRead MoreAn Investigation Of The Correlation Between Psychopathy Subtypes And Cognitive Empathy1469 Words   |  6 PagesPSYC121: Introduction to Psychology 1 An Investigation of the Correlation Between Psychopathy Subtypes and Cognitive Empathy Name: Caitlin Sinclair ID: 300306538 Tutor: Lynley McLay Lab Time: Tuesday 3.10-5pm, 404A Abstract This investigation aimed to determine whether or not primary psychopathy and diminished cognitive empathy, and secondary psychopathy and diminished cognitive empathy are correlated. A correlational design, in which 452 participants from the PSYC121 classRead MoreA Correlation Between Primary Psychopathy And Cognitive Empathy1685 Words   |  7 PagesPsychology 1 Is There a Correlation Between Primary Psychopathy, Secondary Psychopathy and Cognitive Empathy? Aisha Atherton 300335111 Tutor’s Name: Nick Allan Tuesday, 5.10-7pm, EA404A Abstract The point of this investigation was to determine if there is a relationship between the two subtypes of psychopathy and cognitive empathy. A correlation design was employed, in which Levenson, Kiehl and Fitzpatrick’s (1994) Levenson Self-Report Psychopathy Scale and Baron-Cohel, et al’s (2002)Read MorePrimary And Secondary Psychopathy Associated With Cognitive Empathy1438 Words   |  6 PagesIntroduction to Psychology 1 Are Primary and Secondary Psychopathy Associated with Cognitive Empathy? Name: Sylvia Thomas-Edmond ID: 300316531 Tutor: Amanda Richardson Lab Time: Friday 11am-12:50pm, 404B Abstract The current study examined the relationship between Primary psychopathy, secondary psychopathy and cognitive empathy in 452 undergraduate students at Victoria University of Wellington. The Levenson Self-report Psychopathy Scale (LSRP; Levenson, Kiehl, FitzpatrickRead MoreCorrelation Between First And Secondary Psychopathy And Cognitive Empathy Essay1284 Words   |  6 Pagesdetermine the correlations between First and Secondary Psychopathy and Cognitive Empathy. We developed two hypotheses, (the first based off our intel from Chamorro-Premuzic, 2010) that Primary Psychopathy and Empathy will be negatively correlated whereas Secondary Psychopathy and Empathy will be positively correlated . Our subject pool consisted of 452 participants, 113 male and 339 female, where they completed a questionnaire of 2-parts; each part determinant of either Psychopathy or Empathy. The scoresRead MoreThe Association Between Primary And Secondary Psychopathy And Cognitive Empathy1554 Words   |  7 Pagesdesign to investigate the association between primary and secondary psychopathy and cognitive empathy. 452 first year psychology students completed Levenson, Kiehl and Fitzpatrick’s (1995) Levenson self-report Psychopathy scale (LSRP) and Baron-Cohen, Wheelwright, Hill, Raste and Plumb’s (2001) Reading the Mind in the Eyes Test (RMET). A significant negative correlation was found between primary psychopathy and empathy while the correlation for secondary psychopathy and empathy was insignificant. FromRead MoreCorrelation Between Secondary And Secondary Students On Empathy, And Was Conducted By Applying Levenson s Srps And Tom1437 Words   |  6 Pagesstudy was to determine whether primary and secondary psychopaths had deficiencies in empathy, and was conducted by applying Levenson’s SRPS and ToM test to a non-institutionalized group. Studies show that psychopathic individuals have no deficiency with empathy, and support the first hypothesis of a negative c orrelation between primary psychopathy and empathy. The study doesn’t support the second hypothesis of a negative correlation between secondary psychopathy and empathy, with no evidence to supportRead MoreSocial Learning And Environmental Determinants Of Psychopathy1585 Words   |  7 PagesDeterminants of Psychopathy Psychopathy is a disorder caused by biological, environmental, and psychological factors that result in both interpersonal/affective deficits and social deviance/antisocial behaviors. It can be broken down into primary psychopathy and secondary psychopathy. Primary psychopathy mainly encompasses the interpersonal/affective components of psychopathy, such as superficial charm, lack of empathy, remorse or guilt, and manipulative tactics. These aspects of psychopathy are typically

The Effect Of Second Layer Matrix On Target Spots...

The Influence of Second Layer Matrix on Target Spots Unclassified by MALDI-TOF Although MALDI-TOF MS has been widely used in routine clinical microbiology laboratories, it is generally acknowledged that the appropriate sample-matrix preparation, a homogenous deposition on the target plate, is not very simple for successful MALDI-TOF measurement as well as microbial identification. (1) MALDI-TOF MS manufacturers introduced manually direct smear preparation protocols (2) in a convenient way for analysis of the large amounts microorganism colonies in microbiology laboratories, but they are called â€Å"black art† because of the unpredictability to find the dispersed â€Å"sweet-spots† due to the heterogeneous co-crystallization.(3) Regarding to those unclassified â€Å"no peaks found† samples, further purity cultures have to be inoculated for the second day remeasurement, which are costly in terms of labor, material and turnaround time. To date, many preparation methods, such as dried-droplet, thin layered, etc., have been developed to overco me the challenges.(4) However, all of them are â€Å"wet† preparation, in which sample solutions are used in analysis and thus they are impractical in â€Å"real† clinical microbiology scenario where semi-solid colonies are smeared on target directly. Based on an interesting MALDI-TOF phenomena, i.e., a significant improved mass spectrum can be obtained when analytes are mixed with matrix in a relative high mole ratio,(5) the influence of an second layer matrix

Art and Knowledge Essay Example For Students

Art and Knowledge Essay An area of knowledge that is usually regarded as less certain than mathematics or the sciences is the arts. When one watches an episode of American Idol (a singing competition), one may wonder if claims related to a contestants singing can be criticized with appropriate grounds. Given the condition that participants on the show are required to create personal renditions of various songs; logically speaking then, the judges shouldnt be able to justify their criticism as they themselves may not entirely understand the singers interpretation. From my experience in the arts, particularly in music, I have received numerous feedbacks about my piano performances from various adjudicators. From reading these comments, I found out that the main focus of their criticisms was based on my technical mastery, not improvisation. This suggests that before personal interpretation, one must consider the mechanics of art; in my case, the judges made knowledge claims about the fluency of my playing and the appropriateness of the tempo which are essential components to the practice of piano. These fundamental rules exist to provide artists with a foundation that allows them to develop original ideas. Therefore, knowledge claims in the arts arguably, can be rationally criticized on the basis of technicality. Although these fundamentals are not required to produce art, one can still be judged as though one possessed them. Going back to the American Idol example, knowledge claims that concern a contestants singing, regardless of whether he had any training, can be justified through reasoning based on technical abilities such as the execution of various pitches. The issue of subjectivity in the arts, however, becomes very problematic when we stray away from technical components and move towards personal interpretation. This is because grounds used as the basis of rational criticism may differ from person to person. Similar to mathematics, the other ways of knowing: perception, language, and emotion play a major role in the reasoning process. James O. Young, author of Art and Knowledge, claims that: Frequently, audiences do not need to acquire new experience before they can recognise that the perspective presented by an artwork is right. A good work of art can be convincing just because it enables audiences to reinterpret their past experience. (111) When we deduce that a piece of artwork has met the necessary requirements, we can determine using perception and our past experiences, as Young suggests, the features that are most appealing to us. The judges of American Idol use a similar process: when a number of contestants possess similar abilities, they employ emotions such as amazement or curiosity, to decide which singer has the personality of a superstar. One interesting point about art is that it can describe the world in a plethora of ways, from experiences in the physical world to the supernatural. Due to this abstract nature, many people have claimed that art can provide important insight into the way we understand the world through interpretation. This indicates that knowledge gained through subjectivity is not always unreliable, and perhaps there is an element of certainty gained instead. Although we can evaluate knowledge claims in the arts, other ways of knowing should be considered during processes of reasoning. Pythagoreans thought that only rational numbers existed in mathematics. After taking the square root of two, they realized that there were also irrational numbers and as a result, one of their fundamental truths was broken. As can be seen, when emotion, language, and perception are combined with the reasoning process, we can acquire truths through not only objectivity but also subjectivity. Knowledge claims in mathematics and the arts can be open to rational criticism, but reason alone may actually prevent the progress of both areas. By referring to this information, it is likely that these trends will occur in the other areas of knowledge.

Vested Interests Cross

Vested Interests: Cross-Dressing Cultural Anxiety Essay Marjorie Garbers thesis in Vested Interests is challenging and simple: Cross-dressing isnt an aberrant, eccentric or minority art form; it is a mainstream cultural activity which makes evident the deepest ways in which our ideas of who we are and who we arent are structured. So is she right? I recently had good cause to put some of her arguments to the test. Invited by the Goodman Theatre in Chicago to create a new production of Shakespeares Twelfth Night, I decided not to conform to the post-Restoration tradition of performing the play in (heterosexuall) drag, i.e., with men playing parts originally written for women. I had considered doing the text with an all-male company, but this immediately seemed like a very bad idea, not only because it would entirely exclude my preferred female colleagues from the stage, but also because I feared it would reduce a complex and delightful set of theatrical games about sexual confusion and possibility to an ordinary game of hunt the queer subtext. This fear was confirmed when I arrived in Chicago to cast the production, only to be confronted will a full-fledged rumor that because I was a gay director I was therefore going to do the show in all-male dragthat it was going to be a queer Shakespeare. We will write a custom essay on Vested Interests: Cross-Dressing Cultural Anxiety specifically for you for only $16.38 $13.9/page Order now In the end, a consideration of the inappropriate costumes, doubles, twins and mirrors at the heart of Twelfth Night led me to cast the play around a series of oppositions, not just that between men and women. Women dressed up as men played against and with women dressed up as women; but black also played against white, adolescent performers against mature performers, improvising comedians and singers against actors. When our Viola (a young black boy dressed as a heterosexual girl actor dressed as a bisexual boy) crossed swords with our Antonio (an experienced heterosexual actress dressed as a homosexual man), or when our Malvolio (an uninhibited female cabaret singer dressed as a sexually repressed man) thrust his frantically erect greatness upon our Olivia (a consummate comedianne giddily changing her costume every scene in a hysterically insecure attempt to ensure that she looked like a woman), then the number of bounaries being crossed by cross-dressing were multiple. All of this made Garbers book excellent bedtime reading during the rehearsal period. As she demonstrates, drag isnt just about men wearing frocks. It is about a whole range of interconnecting transgresions of many polarities: male/female, gay/straight, black/white, Orient/Occident, boy/girl, adult/child, high status/low status, layperson/cleric, and on and on. What she demonstrates in fact is that any boundary created by the way people dress is ripe for crossing. Stolen costumes, borrowed ideas The demonstration is brilliantly entertaining. Garber is refreshingly and self-confessedly a real show-off. This quality is entirely appropriateafter all, Vested Interests is about showing off. She has all the true drag queens addictions to the misused and rephrased quotation; in her eclecticism, she works to theatrical death a well-known theme (Slome, Peter Pan, Miss Saigon) and then immediately dives into the historical dressing-up box with barely diguised glee and pulls out the next glittering new anecdote, photograph or illustration, stringing together her wardrobe of stolen costumes and appropriated ideas through sheer panache of argument. Finally she pulls out her big argument: that cross-dressing isnt just a particularly vivid or entertaining demonstration of how the base rules of social identity are laid down, theatricalized and broken, but is in fact the way in which meaning is constituted, is the primal scene of meaning. The effect mimics exactly the traditional ending of a drag act: The wig comes off and the performer reveals the truth, the real thing, the bald fact (or head) that sustains the whole act. .ub28527672228010070c5c80f86852c36 , .ub28527672228010070c5c80f86852c36 .postImageUrl , .ub28527672228010070c5c80f86852c36 .centered-text-area { min-height: 80px; position: relative; } .ub28527672228010070c5c80f86852c36 , .ub28527672228010070c5c80f86852c36:hover , .ub28527672228010070c5c80f86852c36:visited , .ub28527672228010070c5c80f86852c36:active { border:0!important; } .ub28527672228010070c5c80f86852c36 .clearfix:after { content: ""; display: table; clear: both; } .ub28527672228010070c5c80f86852c36 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .ub28527672228010070c5c80f86852c36:active , .ub28527672228010070c5c80f86852c36:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .ub28527672228010070c5c80f86852c36 .centered-text-area { width: 100%; position: relative ; } .ub28527672228010070c5c80f86852c36 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .ub28527672228010070c5c80f86852c36 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .ub28527672228010070c5c80f86852c36 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .ub28527672228010070c5c80f86852c36:hover .ctaButton { background-color: #34495E!important; } .ub28527672228010070c5c80f86852c36 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .ub28527672228010070c5c80f86852c36 .ub28527672228010070c5c80f86852c36-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .ub28527672228010070c5c80f86852c36:after { content: ""; display: block; clear: both; } READ: Jane Lind EssayA chief virtue of Garbers book is its gorgeously wide frame of reference, which strays across periods, cultures and media with real authority. The expected materialShakespeares transvestite heroinesis dispened with early, and then its down to the real crazies: Nancy Reagan, Rambova, Elvis, Liberace. This breadth of reference becomes also a problem. If cross-dressing is everywhere, if all instances of such acts are equal parts of one massive, central cultural conundrum, then differences get dissolved. In particular, we lose sight of the issue of who loses and who gains in the battle of dressing and cross-dressing; reading the book, we can easily forget the cross-dressing is often a desperate, dangerous, preposterous undertaking. When it results in a victory, that victory may be hard won and costly. Ask Ma donna, ask Peter Pan, ask Elvis, and any gay drag queen, ask Michael Jackson, ask Navratilova, ask Marcel Duchamp, ask Mapplethorpe. Ask Charles Ludlam. Ask Ethyl Eichelberger. When Garber insists that playing with dress is part of a large and endlessly reflective cultural system, she is of course right. But she doesnt really engage with the fact that this cultural system is also a war, with winners and losers. Her book is oddly lacking in pictures or accounts of cross-dressers who havent escaped into history, where their images remain to be played with, admired and learned from, but who have been caught and punished for their transgressions. Her triumphal tone is a pleasure, but it is also a partial lie. Watching reactions to the final celebratory lineup of married couples in my Twelfth Night woman in moustache married to boy in bra and Ronette wig, bare-chested boy married to woman in wedding dressI was always aware of two things: the cross-dressed clowns, puritans and homosexuals who are excluded from the double wedding, and the fact that some people dont love watching people cross-dress and transgress; they hate it, and they hate it for deeply held reas ons.