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Personal Desires (personal + desire)

Distribution by Scientific Domains

Humanities and Social Sciences	28%

Selected Abstracts

Adolescents' and Parents' Evaluations of Helping Versus Fulfilling Personal Desires in Family Situations

CHILD DEVELOPMENT, Issue 1 2009
Judith G. Smetana
A sample of 118 predominantly European American families with early and middle adolescents (Mages= 12.32 and 15.18 years) and 1 parent evaluated hypothetical conflicts between adolescents' and parents' requests for assistance versus the other's personal desires. Evaluations differed by level of need, but in low-need situations, adolescents viewed teens as more obligated to help parents than did parents, whereas parents rated it as more permissible for teens to satisfy personal desires than did teenagers. Justifications for helping focused on concern for others, role responsibilities, and among parents, psychological reasons. Middle adolescents reasoned about role responsibilities more and viewed satisfying personal desires as less selfish than did early adolescents, but satisfying personal desires was seen as more selfish by parents of middle than early adolescents. Implications for adolescent,parent relationships are discussed. [source]

Personal desires of patients and social obligations of geneticists: applying preimplantation genetic diagnosis for non-medical sex selection

PRENATAL DIAGNOSIS, Issue 12 2002
Guido Pennings
Abstract The arguments against the use of preimplantation genetic diagnosis (PGD) for non-medical sex selection are analysed. It is concluded that the distinction between medical and non-medical reasons is difficult to maintain, that the disproportionality of means and end is not a decisive counterargument and that the fear of damage to the reputation of PGD does not justify the refusal of controversial applications. Moreover, since non-medical sex selection does not belong to basic health care, it should not be equally accessible to all. The position defended in this article is founded on two basic principles: (1) medical reasons have priority on non-medical reasons, and (2) personal reasons do not qualify for public funding. In order to respect both principles, it is proposed that restrictions should be installed to control the number of requests for social sexing and that a tax should be imposed on these elective services. The tax should compensate the society for the investment it made in the training and education of the physician. Copyright © 2002 John Wiley & Sons, Ltd. [source]

The Virtue of a King and the Desire of a Woman?

ART HISTORY, Issue 2 2001
Mythological representations in the collection of Queen Christina
The centre of Queen Christina's Roman collection of paintings was the so-called ,Great Room' or ,Sala dei quadri', as described by the Swedish architect Tessin the Younger. Here the abdicated queen chose to concentrate not only the artistic highlights of her collection , such as the Madonna del Passeggio attributed to Raphael , but also the allegorical and mythological paintings by Titian, Veronese and Correggio, stemming largely from her earlier conquest of Prague. Several questions become pressing in the light of the marked dominance of female nudes among these works, questions which form the focus of this paper. Firstly, how did Christina relate to the pictorial subjects on display here? Secondly, can the paintings of a collection that served a representational function and reflected a pronouncedly personal taste also be interpreted as an expression of personal desire? The broad thematic spectrum present in the paintings in this room , encompassing female lust and chastity as well as male desire and renunciation , and one evidently brought together by Christina for programmatic effect, left little space for anything but a ,male' gaze, a sexually ambivalent notion in the light of Christina's personality. The present analysis of the Great Room and of the objects in it, including Bernini's famous allegorical mirror and an antique bronze head thought by Christina to depict Alexander, shows the room to be the bearer of a programma virtutis, one that is modelled on Christina's image in spite of its ,male' impulse. The virtus described is not that of the woman Christina, however, but of the formerly reigning Queen Christina Alexandra, whose regal self-image combined a female body private with a male body politic. [source]

Divestitures, wealth effects and corporate governance

ACCOUNTING & FINANCE, Issue 2 2010
Sian Owen
G32; G34 Abstract We analyse the market reaction to divestiture decisions and determine the impact of corporate governance practices. We find the market reaction is significant and can be determined using internal governance mechanisms. We evaluate the determinants of the decision to sell using a control sample of firms displaying characteristics often associated with divestitures indicating that these firms may face the same incentives to divest but elect not to restructure in this manner. Our results suggest that a combination of strong internal and external governance may force managers to act in a manner that is incompatible with their personal desires. [source]

Visual imagery and historical invisibility: Antonia Torelli, her husband, and his mistress in fifteenth-century Parma

RENAISSANCE STUDIES, Issue 3 2009
Timothy McCall
Antonia Torelli, married to the signore Pier Maria Rossi, remains historically invisible, generally ignored by scholars and obscured by the frescoed image of Rossi's mistress Bianca Pellegrini decorating Torrechiara castle, south of Parma. In this paper, I investigate the networks and spaces of power, at once personal and multilineal, that Torelli accessed, navigated, and created. Antonia's wealth enabled her to exercise considerable authority and to foster remarkable patronage in and around Parma while living between convent and città. Though her construction of camere at San Paolo, for instance, is significant in the context of interventions by the Rossi and Torelli in Parma's ecclesiastical networks, it is of even greater art historical importance when viewed as originating a series of aristocratic apartments at the convent culminating in Giovanna da Piacenza's camera painted by Correggio. Modern constructions of individual subjectivity, together with bourgeois notions of family and heteronormative love, have defined Antonia and Pier Maria as autonomous subjects acting only according to personal desires (read through an efficacious campaign of chivalric imagery); this study, however, underscores Antonia's agency and power even in the face of her ostensible representational absence and historical invisibility. [source]