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41.
Voluminous work has catalogued the utility of Rusbult's (1980) investment model of commitment processes in understanding why some relationships persist whereas others fail. To date this work has been conducted almost exclusively with samples of English‐speaking individuals. To facilitate testing novel hypotheses among Spanish‐speaking populations as well examining various cross‐cultural questions, we present a Spanish version of the Investment Model Scale (Rusbult, Martz, & Agnew, 1998). With a sample of Spanish‐speaking individuals from Chile, we demonstrate that our translation has the same structural properties as the English version (Study 1) and has good predictive validity (Study 2). The Spanish version of the Investment Model Scale will enable researchers to sample a larger subset of the population and allow for the examination of cultural influences on relationship processes. 相似文献
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JONATHAN R. WILSON 《International Journal of Systematic Theology》2006,8(4):371-381
Abstract: Questions raised about the coherence of narrative Christology in the work of James Wm McClendon, Jr, raise questions about the orthodoxy of narrative Christology on the whole. An exploration of these questions identifies at least two possible narrative formulations of the identity of Jesus Christ: in him we acknowledge two agents in one narrative and two narratives in one agent. This bending of concepts for bearing witness to the singularity of Jesus Christ follows the conciliar rules and establishes the orthodoxy of narrative Christology. 相似文献
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DANIEL WILSON 《美学与艺术评论杂志》2018,76(1):33-44
Dominic McIver Lopes and Yuriko Saito claim that the Japanese tea ceremony, or chadō, is a non‐Western art form. Stephen Davies also defends that claim. In this article, I utilize the tea ceremony as a test case for pancultural definitions of art that claim to be inclusive of non‐Western cultures without relying on Western ethnocentrism to justify their status as artworks. I argue that Davies's (2015) hybrid definition is not justified in assuming a homogenous art tradition and/or a unified conception of artistic practices in a non‐Western culture. Moreover, the cladistic structure of his definition fails to accommodate the spontaneous instantiation of new art traditions. Additionally, Jerrold Levinson's Intentional‐Historical definition cannot satisfactorily accommodate chadō. First, the nonart origins that were formative for the regard that is required for appreciation of the tea ceremony mean that the relational interpretation of the definition fails. Second, Rikyū’s tea ceremony does not count as art incidentally, as it is not a form of mimesis nor does the Japanese wabi aesthetic that is central to chadō have a precursor in known Western art. Third, if chadō does satisfy Levinson's extended theory, it comes at the cost of embracing Western ethnocentrism. 相似文献