26:T408,

In story and discourse proper names may be seen as one of five basic choices confronting the text producer: proper name (given name, surname); specific description (the tall one); classifier (the woman); pronoun (they); and zero anaphora. In Grimaud [1, 2], I studied cross-cultural (Hungarian and American) strategies in the use of those categories; in the present article, I look at some of the psychological implications of the various possible category choices by having twenty-five students comment on their preferences for one of the three versions of Sherwood Anderson's short story “The Strength of God” (in Winesburg, Ohio, 1919); a proper name only, a description only, and the mixed original version. Two influences dominated: a “friendliness” factor of proper names or descriptions (depending upon subject) and expectations concerning text coherence. Seven narrative maxims are postulated to account for the socio-cultural influences on preference for names in narrative.

27:T42a,

Nineteen college poets completed a twenty-item check list that asked them how they felt about writing in general as well as before, at a pause, and after seven poetry writing sessions. The intensity with which they experienced positive, negative passive, and negative active emotions was assessed as was the frequency with which those emotions were experienced when writing in general. Results indicated that the positive emotions intensified during writing. Instructor-rated skilled poets experienced more positive emotions than their unskilled counterparts. But poets rating themselves as unskilled felt both more positive and negative active when writing than their skilled counterparts. Student poets unaccustomed to writing on their own experienced more intense emotions across the writing episodes than those with more years. Free writing was associated with more intense anxiety than structured poetry exercises. The rank orders of the emotion items suggested more emotional stability for poetry generated in an academic setting than generated at home.

28:T44a,

The interaction of organizational structure and organizational cognition in a simple professional bureaucracy (a jazz ensemble) is examined using a combination of participant observation and cognitive mapping. The ethnographic results show that the ensemble has distinctive elements of professional bureaucracy and simple structure, but that it is dominated by the simple structure elements of direct supervision (criticism) and leader vision (musical arrangement). The cognitive mapping shows that these last two themes are firmly embedded in the cognitive schema of the ensemble—arrangement is the most potent causal variable in the schema, and criticism is the variable which drives the deviation-counteracting (negative feedback) loops of the schema. But the professional bureaucratic notion of member skills is also potent in the cognitive schema, and there were some unexpected results concerning the potency of satisfaction and performance quality, both of which are leading outcomes in the schema. Some implications for the management and study of such organizations are discussed.