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4 Love Introduction I liked Heaven and Earth and Alexander for their tenderness. I dedicated both to my mother for that reason.1 With the exception of U Turn, all of my films have an aura of optimism about them. In World Trade Center it is feelings of family that help pull the people out of the hole. In W. Laura Bush is a binding force. In Wall Street love is also important. U Turn demonstrates the problem of isolation.2 In the opening scenes of Salvador (1986), Richard Boyle (James Woods) is arrested for multiple traffic offences and then bailed by his friend
9 ‘LOVE’: Rhoda Broughton, writing and re-writing romance Shirley Jones It is said that our Rhoda herself was once thought improper. ‘I began my career,’ said she with a joyful snort, ‘as Zola, I finish it as Miss Yonge; it’s not I that have changed, it’s my fellow country-men.’1 Rhoda Broughton here identifies the polarities of her contemporary reputation. She made a dramatic entry onto the literary scene with two immensely popular and critically divisive ‘sensation’ novels and after a long career found herself reviewed as a purveyor of safe pleasurable
With the enormous span of time embedded in the very grain of the celluloid, old films and footage touch, in a sensate way, the strange and familiar longing for the archaic past which lies at the heart of the modern dilemma. Walter Benjamin‘s suggestion - that when delving into the secrets of modernity, including its technology, the archaic is never that far off - grows palpable when watching film from the archives. This project could just be called, ‘Why do we love old movies?’ To begin to grasp how old films touch us, its instructive to look at how technology functions within films. The power of degraded technology to create intimacy does not go unnoticed by filmmakers today where its use extends from the avant-garde to popular cinema. To further understand such effects, this paper focuses on one way technology provokes intimacy: how people fall in love in the movies.
6 Love in idleness The stripping of the altars in A Midsummer Night's Dream me that flower; the herb I show' d thee once. I The juice of it, on sleeping eyelids laid, / Will make or man or woman madly dote / Upon the next live creature that it sees': Oberon's command to Puck to harvest him a sprig of the 'little western flower' that 'maidens call ... "love in idleness"' keys the entire plot of A Midsummer Night's Dream to a version of pastoralism which - as William Empson remarked of the 'Lilies that fester' in Sonnet 94 - is 'profoundly ambivalent' in
Often overlooked by James Baldwin criticism or addressed according to its unique relationship to sex and gender, love plays a central role in the writer’s oeuvre. This article, conceived as a contrapuntal reading between A Dialogue (1972)—the transcript of a four-hour conversation between James Baldwin and poet Nikki Giovanni in November 1971—and If Beale Street Could Talk (1974), Baldwin’s fifth novel, will shed light on Baldwin’s “poethics” of love in the 1970s, after Martin Luther King Jr.’s assassination and the author’s engagement with Black Power and feminism. This revision takes its cues from intersectionality and extends them via Hortense Spillers’s bold critique of Baldwin’s politics of intimacy, his writing style, and the American family grammar. His vision of love as moral “energy” not only anticipates what Denise Ferreira da Silva terms a “Black Feminist Poethics,” but is also a potential “key” to end “the racial nightmare” and “save the children,” thereby becoming a poethics of love for the infancy of the world.
4 Love, marriage and the family This chapter will pick up several of the issues, raised in Chapter 2, which have been contentious in recent scholarship: patriarchal authority in the family, the transacting of daughters between fathers and husbands, romantic love and companionate marriage, sexual propriety and sexual repression. It will look at women in different family and relationship roles: as daughters, as women in love, as wives, mothers, widows and spinsters. Throughout, the chapter will address the question of how women writers of the 1790s perceive
This book explores the work of Luce Irigaray, one of the most influential and controversial figures in feminist thought—although Irigaray herself disclaims the term ‘feminism’. Irigaray's work stands at the intersection of contemporary debates concerned with culture, gender and religion, but her ideas have not yet been presented in a comprehensive way from the perspective of religious studies. The book examines the development of religious themes from Irigaray's initial work, Speculum of the Other Woman, in which she rejects traditional forms of western religions, to her more recent explorations of eastern religions. Irigaray's ideas on love, the divine, an ethics of sexual difference and normative heterosexuality are analysed. These analyses are placed in the context of the reception of Irigaray's work by secular feminists such as Judith Butler, Drucilla Cornell and Elizabeth Grosz, as well as by feminists in religious studies such as Pamela Sue Anderson, Ellen Armour, Amy Hollywood and Grace Jantzen. Most of these thinkers reject Irigaray's proposals for women's adoption of gender-specific qualities as a form of gender essentialism. Finally, Irigaray's own spiritual path, which has been influenced by eastern religions, specifically the disciplines of yoga and tantra in Hinduism and Buddhism, is evaluated in the light of recent theoretical developments in orientalism and postcolonialism.
Ch a pter 2 LOVE’S DIM ENSIONS a tribe in northern Pakistan, it is rumored that the most powerful love potion you can get is water that’s been used to wash the body of a dead leatherworker. In Swedish folklore, to capture your crush’s attention, you should carry an apple in your armpit for a day—and then present it, bathed in your own special scent, at an opportune romantic moment. Since Roman times, at least, a long list of weird tinctures and funny foodstuffs have been thought to stimulate lust, love, and good relationships. Sometimes love doesn’t just happen
C h a p t e r 12 CHOOSIN G LOVE you are probably at least open to the idea of love drugs playing a role in our society. But you might also worry that something special about love would be lost in the process. Part of the magic of love, it seems, is precisely that it is so mysterious—that it can take us over completely, as though by a force outside ourselves. Do we really want to put it under a microscope, much less douse it with a bunch of chemicals from a lab? As Wordsworth wrote in the “The Tables Turned,” “Our meddling intellect / Mis-shapes the beauteous
On 7 September 2014, Rashtriya Swayamsevak Sangh, the right-wing Hindu body, widely regarded as the parent organisation of Bharatiya Janata Party, the ruling party of India, published cover stories on ‘love jihad’ in its weekly mouthpieces Panchjanya , in Hindi, and Organiser , in English. ‘Love jihad’ was alleged to be a conspiracy under which Muslim men were targeting vulnerable Hindu girls and forcefully converting them to Islam by feigning love through trickery and marriage. The publications urged people to raise the slogan ‘Love ever