The actor–partner interdependence model for categorical dyadic data: A user‐friendly guide to GEE

The actor–partner interdependence model (APIM) has been widely used for the analysis of pairs of individuals who interact with each other. The goal of this article is to detail in a nontechnical way how the APIM for binary or count outcomes can be implemented and how actor and partner effects can be estimated using generalized estimating equations (GEE) methodology. Both SPSS‐ and SAS‐syntax needed to estimate the model and the interpretation of the output are illustrated using data from a study exploring the effect of satisfaction with the relationship before the breakup on unwanted pursuit behavior after the breakup in formerly married partners. The use of this GEE method will allow researchers to test a wide array of research hypotheses.     

Brain areas involved in synaesthesia: a review

Despite a recent upsurge of research, much remains unknown about the neurobiological mechanisms underlying synaesthesia. By integrating results obtained so far in Magnetic Resonance Imaging (MRI) studies, this contribution sheds light on the role of particular brain regions in synaesthetic experiences. First, in accordance with its sensory nature, it seems that the sensory brain areas corresponding to the type of synaesthetic experience are activated. Synaesthetic colour experiences can activate colour regions in occipito-temporal cortex, but this is not necessarily restricted to V4. Furthermore, sensory and motor brain regions have been obtained that extend beyond the particular type of synaesthesia studied. Second, differences in experimental setup, number and type of synaesthetes tested, and method to delineate regions of interest may help explain inconsistent results obtained in the BOLD-MRI (Blood Oxygen Level Dependent functional MRI) studies. Third, an overview of obtained results shows that a network of brain areas rather than a single brain region underlies synaesthesia. Six brain regions of overlapping results emerge, these regions are in sensory and motor regions as well as 'higher level' regions in parietal and frontal lobe. We propose that these regions are related to three different cognitive processes inherently part of synaesthesia; the sensory processes, the (attentional) 'binding' processes, and cognitive control processes. Finally, we discuss how these functional and structural brain properties might relate to the development of synaesthesia. In particular, we believe this relationship is better understood by separating the question what underlies the presence of synaesthesia ('trait') from what determines particular synaesthetic associations ('type').     

NON-DISCURSIVE EXPRESSIVE ELEMENTS AND THEIR ROLE IN THE CONSTRUCTION OF MEANING IN THE ANALYTICAL SITUATION

The author discusses the role of non‐discursive expressive elements in the construction of the analytical situation, using three examples to illustrate the problems with which he is concerned. His claim is that the issue in question necessarily involves the subject of affects, and he proceeds to discuss the difficulties associated with this subject. In addition, he considers the contributions of Green and Imbasciati, and Kleinian developments of this theme, including also the contributions of Bion—in particular the latter's theories concerning thought, in which emotion comes to assume an essential place in the origin of thinking. The author resumes the discussion by taking up his clinical examples, using them to put forward the view that non‐discursive expressive elements may well play a decisive role in the construction of meaning in the analytical situation. He suggests also that the meaning of an emotional experience may be thought of as a construction contributed to by a number of symbolic forms which both interfere with and interact with the symbolic system of language. Following examination of his third example, the author reflects on ‘musicality’, a notion sometimes referred to informally in clinical data in connection with the ‘emotional climate’ of the session. He proposes that the complex problem of meaning in music be extended to cover the construction of meaning in the psychoanalytic setting, and in so doing returns to ideas put forward by Suzanne Langer. His underlying view here is that essential elements of the musical phenomenon and essential elements of particular forms of emotional life give rise to the same emotional matrices—perhaps to what Meltzer calls ‘musical deep grammar’. Finally, the author considers various symbolic forms that contribute to the particular configuration of analytical situations, suggesting that the mental condition of ‘free‐floating attention’ requires the broad availability to the analyst's mind of a multiplicity of symbolic forms, his conversion of these into new expressions of meaning, and the possibility of their verbal communication by him to the patient.     

Reflections on the setting in the treatment of adolescents1

The author focuses on the signifi cance of the setting for the development of the psychoanalytic process, especially in the case of adolescents who request analytic treatment. Her main goals are to specify: a) how the setting is confi gured with this type of patients; and b) to what extent it contributes to the creation of an inner space that may internalize a fi gure with reverie‐a good object that will metabolize the bad and thus enable identifi cation. The setting, which is considered the necessary context for analytic work, is defi ned as bearing two facets: that of the analyst, which must be constant and stable, and that of the adolescent, which will progressively change provided that the analyst maintains a fi rm context that contributes to make the adolescent feel contained and accepted. It is such a feeling that will enable the unfolding of the analytic process. The author emphasizes the importance of the presence of the analyst (his or her voice, the manner of his or her speech, and so on), and the need for the analyst to comply with the rules he or she has established together with the patient. She presents a clinical case to illustrate this conceptualization.     

Supporters Are Not Necessary for the Home Advantage: Evidence From Same‐Stadium Derbies and Games Without an Audience

The home advantage is the phenomenon in sports whereby the home team wins more often than the visiting team. The current data show that home crowd support is not a necessary precondition for the home advantage. In soccer games where no audience was present, the home team still had a home advantage. Furthermore, in some same‐stadium derbies (games played between 2 teams that share a stadium; e.g., AC Milan vs. Internazionale in soccer), the home team always has more crowd support, but in these games no home advantage existed. Together, these findings suggest that crowd support is not a necessary condition for a home advantage to occur. The phenomenon might thus be much broader than assumed so far.