Maternal parenting stress and mothers' reports of their infants' mastery motivation

Mastery motivation is a psychological force that stimulates an individual to attempt to master a task that is challenging to him or her. This prospective longitudinal study examined the relationship between maternal stress, using the Parenting Stress Index-Short Form, and infant mastery motivation, using the Dimensions of Mastery Questionnaire, for 150 mother-infant pairs assessed at both 6- and 18-months of age. Infants of mothers with elevated stress levels at 6 months tended to show lower mastery motivation at 18 months (standardized beta=-.46, p=.001). Conversely, infants with lower general competence (standardized beta=-.24, p=.021) and lower persistence during social interactions with other children (standardized beta=-.18, p=.037) at 6 months of age had mothers with elevated total stress at 18 months of age. Implications for programs which simultaneously intervene with child and mother are discussed.     

Aesthetic Experience in Shaftesbury: Richard Glauser

Shaftesbury's theory of aesthetic experience is based on his conception of a natural disposition to apprehend beauty, a real 'form' of things. I examine the implications of the disposition's naturalness. I argue that the disposition is not an extra faculty or a sixth sense, and attempt to situate Shaftesbury's position on this issue between those of Locke and Hutcheson. I argue that the natural disposition is to be perfected in many different ways in order to be exercised in the perception of the different degrees of beauty within Shaftesbury's hierarchy. This leads to the conclusion that the exercise of the disposition depends, from case to case, on many different cognitive and affective conditions, that are realised by the collaborative functionings of our ordinary faculties. Essential to Shaftesbury's conception of aesthetic experience is a disinterested, contemplative love, that causes (or contains) what we may call a 'disinterested pleasure', but also an interested pleasure. I argue that, within any given aesthetic experience, the role of the disinterested pleasure is secondary to that of the disinterested love. However, an important function of the disinterested pleasure is that, in combination with the interested pleasure, it leads one to aspire to pass from the aesthetic experience of lower degrees of beauty to the experience of higher ones in the hierarchy.