Which descriptions give off the best vibe of you and those of your type, in your opinion?
Here is one list of descriptions https://translate.google.com/transla...g/&prev=search
I will go, and everyone can follow:
Descriptions I would recommend for my type are, in my opinion, this first, a terrific description of many EIIs by Weisband. While my natural disclaimer is that one should not fundamentally rely on descriptions to grasp the deeper cognitive processes of each type and how to type, as something which manifests in the mind is not deeply understood, and ime many descriptions give off unnecessary and overly-specific stereotypes, even so this, this description demonstrates well the overall vibe of this type. It does not reach all EIIs however. One has to observe the array of manifestations of each IE in real-life appreciative classifications, from personal acquaintances to famous people, for all an individual's complexity, psychological variance and unique personality. Human beings are more complex than the narrow and trivial expectations many of those provide this theory in unfaulted ignorance of psychological depth, and classical descriptions are unfortunately not an end-all be-all to quite coming cognizant of this depth Socionics reaches in relaying and interpreting information that one can do with a well-rounded experience, but do aid to some degree, where I would prefer to show famous and irl examples of these and other cognitive processes of Fi before fully being able to explain Fi in complexity, something that Jung imo has done some noble preliminary job at.
conclusively, I regard descriptions as possible correlations due to their concrete nature, and in those of my type, not every one, but illustrating a clear overall vibe of an individual:
And a much more in-depth and purely Fi description: http://psychclassics.yorku.ca/Jung/types.htm The Introverted Feeling Type.Dostoevsky. Ethical-intuitive introvert, INFJ
1. Bearer of quiet introspection, hidden sea of feelings. The world of his feelings is so fine and rich that he does not need verbal reassurances of someone's love for him. Even without words he observes, who loves whom and how, who needs or doesn't need whom. His most important capability is his ability to adapt to his partner's emotions, to empathize, release emotional tension, to calm down.
2. He is usually a quiet, amicable man. Being in groups, he prefers to keep silence and watch, but among his close friends his behavior switches to the opposite—then one cannot call him too shy, because he remarks perfectly, how other people treat him, and knows how to improve their relation to him. Strives to submit other people to his own understanding of ethical and non-ethical. He never imposes his own emotions on others, but accompanies, empathizes emotions of his partner. He demonstrates specific emotional standstill. He is sure that other people need him to be quiet, calm, tranquil. He strives to be something like a "compress" other people can apply to their wounds.
3. Cannot refuse if asked to do something. This is why people often exploit him. He needs such a partner, submitting to whom, he can shield himself from excessive chores. In relations with people his interests are narrowed to a certain group, but in the objective world he is interested by absolutely everything: his intellect and skills are really omnivorous. He is scarcely capable of evaluating the quality of his work and time spent to accomplish it. Often he cannot distinguish between a triviality and what is really important. He knows what he can do but does not know what he needs to do. He cannot stay aside when other people are working, and keeps on working when other people already finished. He dislikes very much being ordered to do something new while some other things have not been yet done.
4. Critical towards his own beauty (handsomeness), will, energy. He feels much pain when criticized for these aspects. Compliments on these aspects are not accepted as ambiguous only when they are expressed face-to-face, in a mild tone, without emphasis. He needs silent or not emphasized recognition. He cannot afford being untidy.
5. Deed is the best care. His partner can provide pleasant emotions he needs from time to time through intelligence, logic, demands, and ability to protect. One needs to show up for the rendezvous on time, fulfill promises, be polite, thoughtful, and there is no need in more proofs of love or further conversations. If the smartest interlocutor explains his opinion in the form of speculations, instead of short and resolute formulations, then Dostoyevsky feels permanently dissatisfied and unhappy of being together with him. And his main requirement to his partner is: faithfulness. He does not forgive infidelity.
I'd like to hear which descriptions you like for your type. Please post some.Since it is primarily controlled by subjective preconditions, and is only secondarily concerned with the object, this feeling appears much less upon the surface and is, as a rule, misunderstood. It is a feeling which apparently depreciates the object; hence it usually becomes noticeable in its negative manifestations. The existence of a positive feeling can be inferred only indirectly, as it were. Its aim is not so much to accommodate to the objective fact as to stand above it, since its whole unconscious effort is to give reality to the underlying images. It is, as it were, continually seeking an image which has no existence in reality, but of which it has had a sort of previous vision. From objects that can never fit in with its aim it seems to glide unheedingly away. It strives after an inner intensity, to which at the most, objects contribute only an accessory stimulus. The depths of this feeling can only be divined -- they can never be clearly comprehended. It makes men silent and difficult of access; with the sensitiveness of the mimosa, it shrinks from the brutality of the object, in order to expand into the depths of the subject. It puts forward negative feeling-judgments or assumes an air of profound indifference, as a measure of self-defence.
Primordial images are, of course, just as much idea as feeling. Thus, basic ideas such as God, freedom, immortality are just as much feeling-values as they are significant as ideas. Everything, therefore, that has been said of the introverted thinking refers equally to introverted feeling, only here everything is felt while there it was thought. But the fact that thoughts can generally be expressed more intelligibly than feelings demands a more than ordinary descriptive or artistic capacity before the real wealth of this feeling can be even approximately [p. 491] presented or communicated to the outer world. Whereas subjective thinking, on account of its unrelatedness, finds great difficulty in arousing an adequate understanding, the same, though in perhaps even higher degree, holds good for subjective feeling. In order to communicate with others it has to find an external form which is not only fitted to absorb the subjective feeling in a satisfying expression, but which must also convey it to one's fellowman in such a way that a parallel process takes place in him.
The proverb 'Still waters run deep' is very true of such individuals. They are mostly silent, inaccessible, and hard to understand; often they hide behind a childish or banal mask, and not infrequently their temperament is melancholic. They neither shine nor reveal themselves. Since they submit the control of their lives to their subjectively orientated feeling, their true motives generally remain concealed. Their outward demeanour is harmonious and inconspicuous; they reveal a delightful repose, a sympathetic parallelism, which has no desire to affect others, either to impress, influence, or change them in any way. Should this outer side be somewhat emphasized, a suspicion of neglectfulness and coldness may easily obtrude itself, which not seldom increases to a real indifference for the comfort and well-being of others. One distinctly feels the movement of feeling away from the object. With the normal type, however, such an event only occurs when the object has in some way too strong an effect. The harmonious feeling atmosphere rules only so long as the object moves upon its own way with a moderate feeling intensity, and makes no attempt to cross the other's path. There is little effort to accompany the real emotions of the object, which tend to be damped and rebuffed, or to put it more aptly, are 'cooled off' by a negative feeling-judgment. Although one may find a constant readiness for a peaceful and harmonious companionship, the unfamiliar object is shown no touch of amiability, no gleam of responding warmth, but is met by a manner of apparent indifference or repelling coldness. [p. 493]
One may even be made to feel the superfluousness of one's own existence. In the presence of something that might carry one away or arouse enthusiasm, this type observes a benevolent neutrality, tempered with an occasional trace of superiority and criticism that soon takes the wind out of the sails of a sensitive object. But a stormy emotion will be brusquely rejected with murderous coldness, unless it happens to catch the subject from the side of the unconscious, i.e. unless, through the animation of some primordial image, feeling is, as it were, taken captive. In which event such a woman simply feels a momentary laming, invariably producing, in due course, a still more violent resistance, which reaches the object in his most vulnerable spot. The relation to the object is, as far as possible, kept in a secure and tranquil middle state of feeling, where passion and its intemperateness are resolutely proscribed. Expression of feeling, therefore, remains ******dly and, when once aware of it at all, the object has a permanent sense of his undervaluation. Such, however, is not always the case, since very often the deficit remains unconscious; whereupon the unconscious feeling-claims gradually produce symptoms which compel a more serious attention.
A superficial judgment might well be betrayed, by a rather cold and reserved demeanour, into denying all feeling to this type. Such a view, however, would be quite false; the truth is, her feelings are intensive rather than extensive. They develop into the depth. Whereas, for instance, an extensive feeling of sympathy can express itself in both word and deed at the right place, thus quickly ridding itself of its impression, an intensive sympathy, because shut off from every means of expression, gains a passionate depth that embraces the misery of a world and is simply benumbed. It may possibly make an extravagant irruption, leading to some staggering act of an almost heroic character, to which, however, neither the object nor [p. 494] the subject can find a right relation. To the outer world, or to the blind eyes of the extravert, this sympathy looks like coldness, for it does nothing visibly, and an extraverted consciousness is unable to believe in invisible forces.
Such misunderstanding is a characteristic occurrence in the life of this type, and is commonly registered as a most weighty argument against any deeper feeling relation with the object. But the underlying, real object of this feeling is only dimly divined by the normal type. It may possibly express its aim and content in a concealed religiosity anxiously shielded, from profane eyes, or in intimate poetic forms equally safeguarded from surprise; not without a secret ambition to bring about some superiority over the object by such means. Women often express much of it in their children, letting their passionateness flow secretly into them.