This paper examines ways in which patriarchal/familistic cultural systems condition responses to the kinds of social and economic changes that challenge family‐owned businesses. Using a case study of an ethnic enclave in the southeastern United States, the paper looks at intergenerational succession, paying particular attention to how small firms manage to transfer control within the family. Key to successful transfer is the presence of trust and the utilization of social capital as well as the ability of successive generations to acquire skills that enable them to identify new market niches. The manuscript also discusses how firms manage conflict between old and new ideas, develop informal mechanisms for incorporating new ideas, and maintain the flexibility necessary for market survival.

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Decades of increases in premarital sexual involvement of college students have been related to numerous variables, one of which is religiosity. This investigation sought to determine any change in the premarital sexual attitudes and behaviors of students enrolled at a private religiously-affiliated university over a two-decade period of time. Using anonymous questionnaires administered in social science classes in 1981, 1991, and 2000, a total sample of 1,545 never-married undergraduates, 791 women and 754 men, was obtained. Significant behavioral differences were found between time intervals for women and men in age at first intercourse, number of sex partners, and demographic and personal characteristics. Among women, significant attitude changes concerned acceptance of sexual intercourse with casual and serious dating partners. Religiosity and participation in sexual intercourse were inversely related for women and men.

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While art is an activity that is socially valued, the image of the artist as perceived by the public and expressed in the literature has rarely been studied empirically. The Adjective Check List is used to test one dimension of this issue-June Wayne's hypothesis that the artist is a stereotypical woman, focusing on the artist's view of himself/herself and artists in general. Data were gathered by means of a questionnaire mailed to 1753 artists who had been nominated for the national Awards in Visual Arts during the first five years of the program (1982-86). It was found that artists tend to have self-images which are androgynous in terms of sex stereotyping, while at the same time, they see artists in general as relatively masculine. It was also found that while artists tend to view their colleagues in favorable terms, they view themselves as individual artists significantly more favorably. The implications of these findings for the profession of art are discussed.