Creating Mr. Right and Ms. Right: Interpersonal ideals and personal change in newlyweds

Based on research on exchanging information during conflict (e.g., Levinger, 1983) and the energizing effects of negative feelings (e.g., Lewin, 1951; Gottman & Krokoff, 1989), this study explores circumstances in which individuals change, over the years, in fulfillment of their spouses’unmet ideals for them. In a longitudinal study of over 200 African American newlywed couples and White newlywed couples, respondents’ratings were combined to form an index of individuals’change in fulfillment of their partners’initially unmet ideals for them. Predictions were that individuals would change more when they listen and try to understand their partners’feelings during conflict or when they have negative feelings about the functioning of the relationship. Results were that high openness to information exchange during conflict predicted high change for White husbands, White wives, and African American wives, and negative feelings about relationship functioning predicted high change for White wives, African American wives, and African American husbands.     

The Japanese Tea Ceremony and Pancultural Definitions of Art

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.