Spanish version of the Investment Model Scale

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.     

FORGIVENESS,COMMEMORATION, AND RESTORATIVE JUSTICE: THE ROLE OF MORAL EMOTIONS

Abstract: Forgiveness of wrongdoing in response to public apology and amends making seems, on the face of it, to leave little room for the continued commemoration of wrongdoing. This rests on a misunderstanding of forgiveness, however, and we can explain why there need be no incompatibility between them. To do this, I emphasize the role of what I call nonangry negative moral emotions in constituting memories of wrongdoing. Memories so constituted can persist after forgiveness and have important moral functions, and commemorations can elicit these emotions to preserve memories of this sort. Moreover, commemorations can be a restorative justice practice that promotes reconciliation, but only on condition that the memories they preserve are constituted by nonangry negative, not retributive, emotions.     

Camp Invention®: A Creative,Inquiry‐Based Summer Enrichment Program for Elementary Students

Camp Invention® is a hands‐on creativity and science day camp run in partnership with more than 400 schools nationwide. The curriculum integrates science, history, mathematics, the arts, and fun — promoting creative learning and teamwork through interactive activities. In 2001, the Center for Creative Learning conducted an extensive nationwide evaluation of the camp's effectiveness and impact, surveying 17,526 participants, including campers, parents, and staff. The results strongly supported the positive impact of Camp Invention, for both girls and boys in urban and suburban settings, on attitudes towards creativity, active learning, and exploration. Camp Invention's innovative curriculum blends many important aspects of science and invention with the challenge of stimulating children's creativity and imagination.     

Can Narrative Christology Be Orthodox?

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.     

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.