The results revealed the significance of both maternal and paternal emotional response towards conception in respect of infant difficult behaviors.
Although, some prenatal and preconception factors, such as a poor relationship between the couple and negative emotional reactions towards conception, are directly associated with the continuity of infant difficult behaviors throughout the infant's first half year of life.
Based on the study data, the quality of a couple's relationship before pregnancy and paternal emotional reactions toward conception could have long-lasting effects on infant behaviors and may be of greater significance than the quality of the couple's relationship later in time.
However, we are considering that factors such as the emotional reactions towards conception and attitudes towards infant rearing are interrelated; perhaps they can be seen as a reflection of the parental acceptance of the child and preparedness to integrate him into the family system.
Epictetus' conception of emotional adjustment is not that one should be "unfeeling like a statue" (3.2.4).
Dealing with the theoretical background, we first depict the conception of emotional states with reference to the German term "Emotionale Befindlichkeit", introduced by Achtenhagen et al. (1988) and Sembill (1992)—and its relevance within vocational learning and teaching processes.
The participants completed the Prenatal environment questionnaire, whose questions covered demographics, pregnancy planning, emotional reactions toward the conception, the relationship with the husband or partner, tobacco use and alcohol consumption, and emotional experiences during pregnancy and postpartum.
Recent research has indicated that language provides an important contribution to adults' conceptions of emotional expressions and their associated categories, but how language influences children's expression category acquisition has yet to be explored.
The crystalline touch that Lugansky brought to the rippling opening bars of Franck's Prélude, Choral and Fugue did not conflict with the spaciousness of the conception or the emotional power of Franck's weighty chromatic writing, in which the cleanness of Lugansky's approach made the harmonic conflicts in the piece particularly involving.
