The Engagement With Beauty Scale (EBS), designed from the aesthetics of I. Kant (1790/1987), G. W. F. Hegel (ca. 1835/1993), and T. Aquinas (ca. 1260/1947) and the psychological work of J. Haidt (J. Haidt & D. Keltner, 2004), measures engagement with natural, artistic, and moral beauty. In Studies 1 and 2, the authors describe scale construction, exploratory factor analysis, confirmatory factor analysis, internal consistency, and temporal stability. In Studies 1 and 2, the authors also establish concurrent validity with the Appreciation of Beauty and Excellence subscale of the Values in Action Inventory of Strengths (C. Peterson & M. E. P. Seligman, 2004), the Gratitude, Resentment, and Appreciation Test (P. C. Watkins, K. Woodward, T. Stone, & R. L. Kolts, 2003), and the Spiritual Transcendence Scale (R. L. Piedmont, 2004). In Study 3, the authors used the EBS Artistic Beauty subscale to differentiate students engaged in the arts from those who were not.

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sternberg's Triangular Theory of Love was examined to identify the structure of the psyche implied in that theory. Sternberg's theory posits three components of human functioning to explain the phenomenon of love in close relationships: intimacy, passion, and commitment. Analysis of these three components indicates that they align with a neoclassical model of the human psyche. A neoclassical psyche consists of at least three fundamental, irreducible capacities: cognition, affect, and conation. Sternberg's commitment component relies on the capacity for cognition (and conation), the passion component is derived from conation (and affect), and the intimacy component is derived from emotional investment or the capacity for affect (and cognition). Therefore, Sternberg's overall Triangular Theory of Love ontologically presupposes a neoclassical structure to the psyche.