Dissertationen: „Love literature“

1

Montagne, Twyla Dawn. „Paradox of Love“. Wright State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=wright1212514785.

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2

Copas, Leigh. „Courtship, Loe, and Marriage in Othello: Shakespeare's Mockery of Courtly Love“. TopSCHOLAR®, 2006. http://digitalcommons.wku.edu/theses/449.

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Othello is the forgery of a comedic play turned tragedy, for the play begins where the ordinary comedy would end. While many critics prefer to discuss the racial and exotic aspects of William Shakespeare's tragedy, there are several critics who focus on the role of love and the marital relationships that are also important in terms of interpreting the actions of key characters. Carol Thomas Neely, Maurice Charney, and several other literary critics have focused primarily on the role of marriage and love in Othello. The topic of marriage is generally discussed in terms of the wooing scene (Act 1, scene 3) and the perverted consummation of the marriage rights (Act 5, scene 1), but there is little reflection on the courtly love rules and conventions from most critical approaches. Courtly lovers were a dying breed in Shakespeare's time, yet he employs the use of basic courtly love principles not only in Othello, but in many of his works, particularly comedies like the Merry Wives of Windsor and As You Like Lt. The use of such principles allows ridicule and scorn to take place in the plays, but in Othello, courtly love introduces the themes of cuckoldry and, most importantly, women's loss of power. Women's loss of power is another issue that critics often deconstruct, yet this concept is also linked to the principles of courtly love. Within the courtly love tradition men were often submissive to women—in Chretien de Troyes' Lancelot and Geoffrey Chaucer's "The Wife of Bath's Tale," men tended to bend to the will of women, often finding happiness and true love by doing so. The Moor General Othello is first presented as a submissive husband, but as the play progresses, the embarrassment of Desdemona's presumed infidelity begins to unravel his ideas of love. Instead of following the courtly conventions of dealing with adultery, Othello transforms into the Renaissance ideal Petrarchan lover, one who seeks spiritual love over physical love and views sexuality as sinful. The ideas and rules of courtly love contradicted the principles of the Renaissance Petrarchan lover. However, Shakespeare employed the tradition of courtly love to emphasize mockery and satire as overall themes of the play. For example, Othello and Desdemona are presented first and foremost as lovers that uphold the conventions of courtly love—they try to keep their relationship as secretive as possible and Othello appears subject to the will of his beloved. However, later in the play, instead of listening to the guidance and innocent speeches of his beloved, Othello returns to the love philosophies of antiquity. To the philosophers of classic love philosophy, love, and therefore passion, was considered sinful and untrustworthy, especially as a firm foundation for progress. Ultimately, it is Othello's devotion to his militaristic and social images that outweighs his love for Desdemona. Yet, instead of separating from his wife, the Moor feels that the only way to win control over the lord-vassal relationship is to murder her, or as he claims in Act 5, scene 1, to "sacrifice her." Othello depicts the ideas and rules of courtly love outlined and recorded by Andres Capellanus in The Art of Courtly Love. Whilst his contemporaries still dreamed of fair maidens with sparkling eyes, Shakespeare explored other methods and conventions from the Middle Ages and combined, as well as contrasted, them with the newer conventions of the Renaissance. His story is one of anti-courtly love—a story focusing on the death of chivalry, romantic courting, and Othello's inability to love. The play detests, destroys, and mocks the ideas of courtly wooing, marriage, and fidelity. A play of power, Othello reflects such characteristics through a verisimilitude of circumstances, specifically seen in the wooing of Desdemona, the marriage bed of Othello and Desdemona, and the loss of women's power in the play. Tainted with "honorable" murder, jealousy, and the fabliau tradition of cuckoldry, Othello has been preserved as Shakespeare's great tale of love gone awry.

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3

Parrish, Leslie. „Love and Low Serotonin“. TopSCHOLAR®, 2008. http://digitalcommons.wku.edu/theses/371.

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The following is a novella that depicts a young man and woman in search of differing goals, but the essence of their goals does have something in common: each of their pursuits, if obtained, allows for self-control and recovered lifestyle. However, their lives are far from average throughout the story. Themes such as bulimia, drug use, loveless sex, voyeurism, lucid dreaming and emergency room healthcare are explored in the form of fiction. Both of the main characters in this story explore their world with a measure of obsession, and like any worthy character, their obsessions transform into decisions and actions that highlight aspects of society and psychology; in this case it is American college culture and youthful minds. It is up to the reader to become an explorer also. S/he may turn the pages with an objective mind, or with a sympathetic one. Either will be presented with the same questions: questions concerning self-image, companionship, healthcare socioeconomics, and deviant behavior.

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4

Al-Sawda, Mahel. „The rise and transformation of courtly love : a study in European thought of love“. Thesis, University of Essex, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.332903.

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5

Kelly, Michael. „Jealousy in love relations in Greek and Roman literature /“. [St. Lucia, Qld.], 2005. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe18555.pdf.

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6

Klassen, Norman John. „Chaucer on love, knowledge, and sight“. Thesis, University of Oxford, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.356989.

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7

Johnson, Kristin J. „Love, lust and literature in the late sixteenth century“. Click here to access thesis, 2009. http://www.georgiasouthern.edu/etd/archive/spring2009/kristin_johnson/johnson_kristin_j_200901_ma.pdf.

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Thesis (M.A.)--Georgia Southern University, 2009.
"A thesis submitted to the Graduate Faculty of Georgia Southern University in partial fulfillment of the requirements for the degree Master of Science." Directed by Julia Griffin. ETD. Includes bibliographical references (p. 95-98)

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8

Mathisen, Tracy. „Birth parent love portrayed in domestic adoption children's literature“. Click here for online access in Bluebrary, 2008. http://hdl.handle.net/10504/105.

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9

Lorsung, Éireann. „Love : an approach to texts“. Thesis, University of Nottingham, 2013. http://eprints.nottingham.ac.uk/27889/.

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This dissertation responds to the question, "What would it be like, what would it mean, to approach texts lovingly?" in terms of the work of 20th-century theorists, writers, and thinkers such as Jacques Derrida, Roland Barthes, Luce Irigaray, Helene Cixous, Gilles Deleuze and Felix Guattari, Brian Massumi, Jean-Luc Marion, E. E. Cummings, Rainer Maria Rilke, Teresa Brennan, and W. J. T. Mitchell. In order to demonstrate the appropriateness and place of love in the philosophical canon, the dissertation combines a consideration of affect with these writers' work. Beginning with an exemplary reading of Cy Twombly's painting The Ceiling, the then dissertation adapts Mitchell's question "What do pictures want" to an approach to texts, as defined with reference to Barthes. An introduction and literature review trace the places love in texts by Plato, Freud, Lacan, Cixous, and a host of writers who fall under the rubric of 'affect theorists'. Because an approach to texts is the dissertation's focus, a chapter is spent discussing the possibilities for deconstruction to be part of such an approach. Derrida's work is constellated with that of Cixous, Irigaray, Marion, and Brennan in order to emphasise the integrity of sensory and affective information to such an approach. The writing of Rilke and Cummings provides examples of an authorial approach to texts that can inform a readerly one, and serves to further expand the canon of texts that suggest the possibility of this approach. The final chapter is a second exemplary reading of the story of Moses and the burning bush. Deliberately aiming to stretch the expectations of scholarly work, I combine the anecdotal, the affective, and the textual as modes of engaging with and ways of knowing about love.

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10

Vong, Mony S. „Ordinary love| A collection of short stories“. Thesis, California State University, Long Beach, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1523256.

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Women these days play many different roles. One could say that it is the sign of the time but despite the advances that our foremothers had made, the women of this decade are working harder than ever. In this collection of stories, the protagonist is one of these modern women, and she goes through many stages of her life. In her quest for a peaceful place in an often violent, unpredictable, and sadistic world, she faces many challenges; and she finds that love, sex, betrayal, fear, and desire are inevitably the basis for any friendship, whether platonic or romantic. Two of the stories, "The Neighbor-woman on the Balcony" and "The Love of Men and Women" are part of a cycle. The rest of the collection, are stand-alone pieces, but they are intrinsically connected by mature, ordinary love.

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11

Al-Shalabi, Marwa. „Caroline love poetry and the Renaissance tradition“. Thesis, Bangor University, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.331953.

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12

Lee, Sun-Hee. „Love, Marriage, and Irony in Barbara Pym's Novels“. Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332613/.

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In my study on Barbara Pym's novels, the focus is first on the two basic ironies in love-marriage relations: irony of dilemma in which marriage is seen as the end of romantic love; and irony of situation in which excellent but plain-looking women are deprived of the chance to express their basic need for love. Chapter I of this study introduces the major themes and ironies in Pym's novels and the nature and functions of her irony. The following six chapters examine the two major ironies in six of Pym's twelve novels: Some Tame Gazelle, Excellent Women, Jane and Prudence, Less Than Angels, A Glass of Blessings, and A Few Green Leaves. While discussing the uniqueness of each of Pym's heroines, I also explore how Pym underwent changes in her views of love and marriage and how she attempted to keep a balance between her romanticism and her sense of irony. Pym's other six novels are discussed in Chapter VIII, the concluding chapter.

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13

Quintanilla, Octavio. „Love Poem with Exiles“. Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28465/.

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Love Poem with Exiles is a collection of poems with a critical preface. The poems are varied in terms of subject matter and form. In the critical preface, I discuss my relationship with poetry as well as the idea that we inherit poems, and that if we are inspired by them, we can transform them into something new.

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14

Spicer, Alyssa. „How Love is Like Drowning“. VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/179.

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This thesis contains the first two acts of a novel about a young girl named Isabeau Jones. After the mysterious drowning death of her mother, Isabeau attempts to find her place as a girl, as a student, as a preternaturally gifted baseball player and as an outsider in a rural East Texas community that does not look kindly on difference. Throughout the novel, Isabeau attempts to negotiate what it means to be female, academically ambitious, physically active and independent in a rural life that does not encourage such qualities in girls. While she navigates her tumultuous relationships with the men in her life, Isabeau also learns more and more about her mother and, eventually, she discovers for herself the kind of woman she can and wants to become.

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15

Papanghelis, T. D. „Propertius : A Hellenistic poet on love and death“. Thesis, University of Cambridge, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.372281.

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16

Fuller, Robert Allen. „State of Love and Love of State in Chaucer's Epic, Troilus and Criseyde“. BYU ScholarsArchive, 2015. https://scholarsarchive.byu.edu/etd/5506.

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Chaucer scholars have long recognized the generic complexity of Troilus and Criseyde, but they have tended to read it primarily as a tragedy or romance or as a text whose genre is sui generis. The following essay attempts to read Troilus and Criseyde as an epic and to articulate how such a generic lens would reorient readings of the text. To do so, fresh definition is given to the term “epic,” and insights from genre theory are drawn upon. Ultimately, Troilus and Criseyde is an epic poem because it invests within the composite hero of two lovers the fact that societal stability depends in part on romantic involvement.

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17

Stovell, Beth Marie. „A love-informed fiction Charles Williams's romantic theology in his novels /“. Theological Research Exchange Network (TREN), 2006. http://www.tren.com/search.cfm?p048-0313.

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18

Li, Li. „The Pursuit and Dispelling of Holy Heterosexual Love: from "Love Must Not Be Forgotten" to Wu Zi“. Amherst, Mass. : University of Massachusetts Amherst, 2009. http://scholarworks.umass.edu/theses/219/.

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19

Martin, R. W. F. „Edmond Ironside and Anthony Brewer's The Love-sick King“. Thesis, University of Oxford, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.375894.

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20

Deters, Joseph Michael 1967. „Love and the postmodern: The poetry of Angel Gonzalez“. Diss., The University of Arizona, 1997. http://hdl.handle.net/10150/289422.

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This dissertation considers the discourse of love in Angel Gonzalez's poetry and the affinity that the poet's amorous verse has with a postmodern aesthetic. Beginning with his first collection and continuing through his last, the study focuses on how the amorous sentiments of the poet are manifested in his work. The evocation of love is quite varied throughout Gonzalez's poetic trajectory. In chapter one, the foundation of the study is set as the poetry of Aspero mundo (1956) is revealed to exhibit some early signs of a postmodern bent. The theoretical works of Julia Kristeva, Roland Barthes and Catherine Belsey are used in order to illustrate and support the relationship of the poetry with postmodernism. Chapter two examines Sin esperanza con convencimiento (1962) and Palabra sobre palabra (1965). Here, the manifestation of a markedly postmodern irony and the apparent fusion of love, language and poetic creation is studied. Among the critical references employed in this chapter are the ideas of Ihab Hassan, Jean Francois Lyotard, and others. Tratado de urbanismo (1967) is the focus of chapter three. Specifically, this chapter considers the use of intertextual elements and their manifestation in the love poetry of this work. The critical ideas of Kristeva, Barthes, Jonathan Culler and Mikhail Baktin form the theoretical underpinnings of this chapter. In addition, the revelation of the manner in which Gonzalez uses love poetry as a tool for social commentary is also explored as the poet assumes a more public voice within the discourse of love. Chapter four studies the next three books of the poet, Breves acotaciones (1967), Procedimientos narrativos (1972) and Muestra (1977). Here, the poet examines his ability to control the linguistic medium, parodies traditional love poetry and many times employs what Michael Riffaterre has termed "ungrammaticalities." In the fifth and final chapter of this dissertation, Prosemas o menos (1985) and Deixis en fantasma (1992) are studied. The importance of poetic ordering as well as the poet's retrospective views on his own mortality and the immortality of his amorous verse are investigated in these final works.

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21

Rogers, Janine. „The woman's voice in Middle English love lyrics /“. Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=69671.

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Courtly love lyrics, like other courtly genres, are dominated by male-voiced texts that privilege male perspectives. In conventional courtly love lyrics, women are silenced and objectified by the male speaker. Still, a handful of women-voiced lyrics--"women's songs"--exist in the courtly love lyrical tradition. This thesis studies women's songs in Middle English and their role in the androcentric courtly love tradition.
In the first chapter, I discuss critical perspectives on conventional courtly representations of women. In the second chapter, I locate Middle English women's songs in literary contexts other than courtly love: the Middle English lyrical tradition, the cross-cultural phenomenon of medieval women's songs, and the manuscript contexts of Middle English women's songs. In Chapter Three, I discuss the individual songs themselves and examine the range of perspectives found in woman-voiced lyrics.
My discussion of Middle English women's songs includes texts not previously admitted to the genre. This expanded collection of women's songs creates an alternative courtly discourse privileging female perspectives. Middle English women's songs create a space for women's voices in courtly love.

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22

Seog, Youngjoong. „The concept of love in the poetry of Anna Axmatova“. The Ohio State University, 1987. http://rave.ohiolink.edu/etdc/view?acc_num=osu1342112162.

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23

Galin, Müge. „The path of love : Sufism in the novels of Doris Lessing /“. The Ohio State University, 1992. http://rave.ohiolink.edu/etdc/view?acc_num=osu1343749371.

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24

Zimmerman, Aine K. „Estranged Bedfellows: German-Jewish Love Stories in Contemporary German Literature and Film“. Cincinnati, Ohio : University of Cincinnati, 2008. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1218765995.

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Thesis (Ph. D. )--University of Cincinnati, 2008.
Advisors: Dr. Katharina Gerstenberger (Committee Chair), Dr. Todd Herzog (Committee Member), Dr. Sara Friedrichsmeyer (Committee Member) Title from electronic thesis title page (viewed Oct. 4, 2008). Includes abstract. Keywords: German-Jewish relations; German-Jewish love stories; intercultural relationships; Holocaust studies; Holocaust legacy; normalization; contemporary German literature; contemporary German film; negative symbiosis Includes bibliographical references.

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25

Eckstein, Lars. „A love supreme : Jazzthetic strategies in Toni Morrison's Beloved“. Universität Potsdam, 2006. http://opus.kobv.de/ubp/volltexte/2012/6044/.

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26

Ladd, Kristin Yoshiko. „Jack London: Landscape, Love, and Place“. DigitalCommons@USU, 2013. https://digitalcommons.usu.edu/etd/1747.

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In Jack London: Landscape, Love, and Place, American Studies theories and methods formed the prime basis for analysis of London's biography, historical context, and literary significance. Particularly, the ideas of agrarianism, the Turner Thesis moment, Western literature, American masculinity, Victorian ideals, and sustainable farm practices in America were used to understand London's motivations for writing and creating his farm, his influence on American literature, and his texts' abilities to open avenues between literature and place-based education. Key concepts that influenced how London's works could be incorporated into and applied to didactic theory included David Sobel's seminal works in place-based education. The principle idea behind this thesis was to analyze one author and two of his works in a wider theoretical context, and then, to use that analysis to apply the theories to practical methods of educating future students in sustainable practices, place-based learning, and future work in understanding their impact on the ecosystems of their local communities and landscapes.

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27

Tallon, Laura. „Silencing sirens : love, sexuality, marriage and women's voices in Shakespeare /“. Connect to online version, 2009. http://ada.mtholyoke.edu/setr/websrc/pdfs/www/2009/374.pdf.

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28

Downes, Stephen Clive. „Szymanowski as post-Wagnerian : The Love songs of Hafiz, Op. 24“. Thesis, Goldsmiths College (University of London), 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.389617.

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29

Parnell, Jessica L. „Medieval authors shaping their world through the literature of courtesy and courtly love /“. Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 2000. http://www.kutztown.edu/library/services/remote_access.asp.

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Thesis (M.A.)--Kutztown University of Pennsylvania, 2000.
Source: Masters Abstracts International, Volume: 45-06, page: 2824. Typescript. Abstract precedes thesis title page as [2] preliminary leaves. Copy 2 in Main Collection. Includes bibliographical references (leaves 93-96).

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30

Murphy, Mary C. „Love, marriage, and happiness : changing systems of desire in fourteenth-century England /“. Connect to online version, 2005. http://ada.mtholyoke.edu/setr/websrc/pdfs/www/2005/109.pdf.

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31

Fadley, Ann Miller. „"In loues and gentle iollities" : a study of exemplar-lovers and heroism in The Faerie Queene /“. The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487322984313411.

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32

Lopez, Noelle Regina. „The art of Platonic love“. Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:5e9b2d70-49d9-4e75-b445-fcb0bfecdcef.

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This is a study of love (erōs) in Plato’s Symposium. It’s a study undertaken over three chapters, each of which serves as a stepping stone for the following and addresses one of three primary aims. First: to provide an interpretation of Plato’s favored theory of erōs in the Symposium, or as it’s referred to here, a theory of Platonic love. This theory is understood to be ultimately concerned with a practice of living which, if developed correctly, may come to constitute the life most worth living for a human being. On this interpretation, Platonic love is the desire for Beauty, ultimately for the sake of eudaimonic immortality, manifested through productive activity. Second: to offer a reading of the Symposium which attends to the work’s literary elements, especially characterization and narrative structure, as partially constitutive of Plato’s philosophical thought on erōs. Here it’s suggested that Platonic love is concerned with seeking and producing truly virtuous action and true poetry. This reading positions us to see that a correctly progressing and well-practiced Platonic love is illustrated in the character of the philosopher Socrates, who is known and followed for his bizarre displays of virtue and whom Alcibiades crowns over either Aristophanes or Agathon as the wisest and most beautiful poet at the Symposium. Third: to account for how to love a person Platonically. Contra Gregory Vlastos’ influential critical interpretation, it’s here argued that the Platonic lover is able to really love a person: to really love a person Platonically is to seek jointly for Beauty; it is to work together as co-practitioners in the art of love. The art of Platonic love is set up in this way to be explored as a practice potentially constitutive of the life most worth living for a human being.

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Whitely, Sullivan Jane. „Love Languages and Other Stories“. Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1304.

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Love Languages and Other Stories is a collection of three short stories all pertaining, in someway, to love (or lack thereof). "This is What a Feminist Look Like," "Sink," and "Love Languages" are the three stories that make up this Scripps senior thesis.

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Walby, Celestin J. „Answering looks of sympathy and love : subjectivity and the narcissus myth in Renaissance English literature /“. free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p3144464.

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35

Malone, Kathleen S. „Byron's use of narration, aristocracy, love and war in Don Juan“. Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 2004. http://www.kutztown.edu/library/services/remote_access.asp.

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Thesis ( M.A. )-- Kutztown University of Pennsylvania, 2004.
Source: Masters Abstracts International, Volume: 45-06, page: 2845. Typescript. Abstract precedes thesis as 1 preliminary leaf (iii ). Includes bibliographical references ( leaves [ 90-93] ).

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36

Wlodarski, Jonathan. „Love Letters to a Future Ice Age: Stories“. Youngstown State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1522669533708643.

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37

Haarlander, Lisa Marie. „"Such Closets to Search": Andrew Motion's "Love in a Life"“. W&M ScholarWorks, 1993. https://scholarworks.wm.edu/etd/1539625825.

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38

Warden, Tonya. „Medieval Courtly Love: The Links between Courtly Love, Christianity, and the Roles of Women in Tennyson and Morris“. Digital Commons @ East Tennessee State University, 2001. https://dc.etsu.edu/etd/96.

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The art of courtly love is difficult to pinpoint because there are many facets that extend into different areas. In the Pre-Raphaelite and Medieval periods, love was more formulated with rules, moral standards, and codes. Courtly love is often seen as the "love" practiced by kings, queens, and other nobility because of the mystique that surrounds legendary stories like Lancelot and Guinevere. Courtly love encompasses spiritual awakening, lust, passion, adultery, and religion; therefore, the art of courtly love intrigues as well as interests its readers. Many critics have studied the effects of courtly love in literature and have come to the conclusion that courtly love was not only linked to Christianity, but that courtly love was also linked with other religions and philosophies. The link between Christianity and courtly love is the largest debate between critics and scholars within this particular genre. Women have also played a part in understanding courtly love because of their complex role within the storylines of the literary poems. Women were often seen as the stronger of the sexes; however, they were viewed as objects instead of people. In courtly love, women were often the downfall of men because of their idle ways and abilities to deceive men. Women are important for the understanding of the rules and courtships between men and women during this period. Tennyson and Morris had the most influential courtly love literature during the Pre-Raphaelite period. Their contributions to the tale of the Arthurian Legend are inherent to the understanding of this genre of courtly love. With Idylls of the King, Tennyson brought a resurgence of interest in the Arthurian Legend. His Idylls are various stories about the trials and tribulations of Arthur's life and others in Camelot. Morris followed the brilliance of Tennyson's Idylls with The Defense of Guinevere, which is a poem solely based on Guinevere's perspective and point of view. These two authors sought to create a myth around the Arthurian Legend with great vigor and their own poetic style. There has been a plethora of discussion on the topic of courtly love; however, there has not a been a common agreement on its origins. This study shows how courtly love relates to literature during the Pre-Raphaelite period, most especially in the Arthurian Legend.

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Cubie, Genevieve McMackin. „The meaning of caritas in John Gower's Confessio Amantis /“. The Ohio State University, 1987. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487331541708176.

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40

Kuchta, Carolye. „Dousing the flame : an ecocritical examination of English-Canadian love stories“. Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/4169.

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This thesis is written in three segments: a novel excerpt, an introduction to the genre of English- Canadian love stories; and a critical reflection on the creative process. The introduction to the genre is written in the style of a book introduction and is intended for a general audience. My ecocritical examination of love stories in English-Canadian fiction concludes that these stories tend to be banal subplots that are nonetheless deeply engaged with nature. In this thesis, “love” always refers to the intimate love shared between two lovers or would-be lovers, be they married or unmarried, gay or straight, very young or elderly. Western culture often posits marriage as the pinnacle of accomplished intimate love, though the books researched for this project profoundly object to this viewpoint. Furthermore, the tendency toward scant, emotionally-impotent, and distinctly un-sexy depictions of love doesn’t register indifference; it registers disillusionment. I assert that a meaningful, distinct, and supportive correlation exists between love stories and nature-human stories in these texts. Where more nature is present, more love is present and vice versa. Where nature is less visible, love is less visible and vice versa. I use the term “ecology of love” to address these instrinsic links—the in between—between humans and nature. The first section of the thesis explores this phenomenon through the story and characters of an original novel excerpt. The second section discusses the reasons for banality, which involve social ennui and disillusionment, geographic obstacles, moral propriety, and the unique conditions that arise in a nation of immigrants.

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Tramutoli, Rosanna. „`Love`encoding in Swahili: a semantic description through a corpus-based analysis“. Universitätsbibliothek Leipzig, 2016. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-199690.

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Several studies have described emotional expressions used by speakers from different linguistic and cultural areas all around the world. It has been demonstrated that there are universal cognitive bases for the metaphorical expressions that speakers use to describe their emotional status. There are indeed significant differences concerning the use of emotional expressions, not only across languages but also language-internally. Quite a number of studies focus on the language of emotions in several European languages and languages of West Africa, whereas not enough research has been done on this regard on Eastern African languages

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Lake, Anthony. „Patriotic and domestic love : nationhood and national identity in British literature 1789-1848“. Thesis, University of Sussex, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.360531.

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This study argues that nationalism is concerned not only with relations and differences between rival nations, but is also related to questions of class, power, and representation within nations. It explores the development of a conservative form of nationalism in England which, following Edmund Burke's Reflections on the Late Revolution in France (1790), elaborates a defence of the hegemony of the aristocracy, in response to the increasing economic and cultural power of the middle class, born of the rapid growth of commercial and industrial economy. Literature is central in the development of this nationalism, and writings by Coleridge, Wordsworth, Scott, Disraeli, and more briefly, Dickens are considered. There are two distinct images of nationhood in England in the period. These are on the one hand a vision of nationhood which links the nation to the existence of a public, a residual aristocratic ideal of the nation which is defined within the terms of the discourse of civic humanism, and on the other hand a vision of England which identifies English nationhood with rural society, village community, and the private and domestic space of the home; an ideal of the nation which emerges in relation to commercial and industrial culture, and which becomes identified with the middle class. These two ideals of nationhood become the focus of a struggle of representations between aristocracy and middle class. The tensions which this struggle between these conflicting images of the English nation creates are explored, considering their implications for the politics and representation of national, class, and gender identities. This study demonstrates that debates about the movement from a landbased pre-industrial to an industrial society are framed within a broader debate about the nature and meanings of Englishness and English nationhood. The relationship of this nationalism to developing discourses of imperialism is also explored.

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Woolf, Paul Jonathan. „Special relationships : Anglo-American love affairs, courtships and marriages in fiction, 1821-1914“. Thesis, University of Birmingham, 2007. http://etheses.bham.ac.uk//id/eprint/73/.

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Special Relationships examines depictions of love affairs, courtships and marriages between British and American characters in nineteenth-century and early twentieth-century American short stories and novels. I argue that these transatlantic love stories respond to shifting Anglo-American cultural, political, and economic exchanges during the period. In some cases, texts under consideration actually helped shape those interactions. I also suggest that many authors found such transnational encounters a useful way to define ideal versions of American national identity, and to endorse or challenge prevalent attitudes regarding class, race, and gender. Special Relationships begins with Cooper’s The Spy (1821), which I discuss in the Introduction. Part One examines works published by Cooper, Irving, Frances Trollope, Lippard, Warner, and Melville during the 1820s, 30s and 40s, and traces the emergence of the “fairytale” of the American woman who marries into English aristocracy. Part Two places works by Henry James, Burnett, and several other writers in the context of a real-life phenomenon: the plethora of American women who between 1870 and 1914 married into European nobility. I conclude by discussing the Anglo-American political rapprochement of the 1890s and the use by Jack London and Edgar Rice Burroughs of Anglo-American love stories to promote racial ‘Anglo-Saxonism.’

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Norris, Laura Sharon. „Love of God and Love of Neighbor: Thomistic Virtue of Charity in Catherine of Siena's Dialogue“. University of Dayton / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1413228274.

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Gruber, John Charles. „The relationship of love and death : metaphor as a unifying device in the Elegies of Propertius /“. The Ohio State University, 1987. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487331541710396.

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Peters, Julie Claire. „"No one's free who isn't free to love": love and history across Canadian boundaries in George Elliot Clarke's «Beatrice Chancy» and «Québécité: A Jazz Fantasia in Three Cantos»“. Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21924.

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Abstract George Elliott Clarke's 1999 opera Beatrice Chancy is the story of the daughter of a slave owner and a slave in Nova Scotia in 1801. It addresses Canada's ignorance about its history of slavery from 1689-1834. The play shows how love becomes perverted in a society in which bodies can be owned, to the point that the landscape becomes "transfigured by unfulfilled love" (143). Québécité, on the other hand, is an opera about two interracial couples getting married in contemporary Quebec City. It is Clarke's utopia and Beatrice's dream: a world where love is possible across any historical or cultural boundaries. This utopia, informed by Canada's policy of multiculturalism, is problematic, especially in terms of its engagement with Québec's own cultural and historical issues. As performances, however, both plays invite an inclusive community of Canadians to discuss the issues raised, even if they cannot yet be solved.
Précis Beatrice Chancy (1999), l'opéra par George Elliott Clarke, est l'histoire de la fille d'une esclave Noire et de son maître Blanc dans la Nouvelle Ecosse de 1801. Adressant l'ignorance qu'ont plusieurs Canadiens de l'esclavage pratiquée au Canada entre 1689 et 1834, la pièce démontre comment se pervertit l'amour dans une société où un corps peut être une commodité. Québécité (2003), d'autre part, met en scène deux couples de races mixtes qui se marient dans la Ville de Québec contemporaine. L'histoire est également l'utopie de Clarke et le rêve de Beatrice: une monde où l'amour est possible à travers toutes frontières historiques et culturelles. Cette utopie tant informée par l'éthique multi-culturelle Canadienne est très problématique, spécialement mise en vue de son engagement avec la dynamique culturelle et historique du Québec au sein du Canada. À travers leurs manifestations dramatiques, les deux pièces invitent une communauté inclusive de Canadiens à discuter les problèmes abordés, sans exiger leur résolution.

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Gubbels, Katherine Gertrude. „"An uncouth love": queering processes in medieval and early modern romances“. Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/509.

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Most scholars of the romance genre can think of any number of examples in which the tale's hero or heroine finds him- or herself caught up in a rather comic episode resulting from either mistaken identity, cross-dressing, or the "mis-directed" sexual liaisons resulting there-from. At times it seems as if everyone is doomed to stumble across at least a brief period of gendered or sexual confusion as a result of these tropes, a momentary digression into the realm of queer transgression. My project builds off the work of medieval scholar, Tison Pugh, and contends that the protagonist must undergo this brief, contained period of sexual and/or gendered transgression as a kind of requirement or steppingstone necessary in order to eventually achieve his or her goal, most often in these cases, acceptance within the chivalric court and/or heteronormative coupling. In this way, these texts demarcate sexual and gender transgression as not only essential to, but also a very part of, a larger heteronormative paradigm. The presence of these queer transgressions, is not separate, nor oppositional to the overarching heteronormative, chivalric plot, but rather an indispensable part of it. In this way, the tales seem to allow for a temporary suspension of prototypical norms as a means to ultimately reinforce and re-inscribe these exact hierarchies. My project thus not only illustrates another way of reading the genre of romance, but also examines the notion of a medieval or early modern "queer" subjectivity. I use the work of a number of medieval- and early modern- sexuality scholars (Carolyn Dinshaw, Karma Lochrie, and Valerie Traub, to name a few) to examine four canonical texts (Sir Gawain and the Green Knight, Malory's "The Tale of Sir Gareth," Spenser's The Faerie Queene, and Sidney's The Old Arcadia), and consider to what extent the queer episodes presented therein actually subvert or conform to the larger heteronormative paradigms of that particular culture. There are many examples of medieval and early modern texts in which temporary, controlled transgression is not only endorsed, but encouraged as a means of diffusing rebellious desire, a "getting it out of the system," if you will. The extent to which such controlled transgressions remain contained, however, is debatable. In allowing a period of controlled transgression, one admits that the very act of deviancy and its containment are intrinsically important to the larger power structure. Although these tales present queer transgressions as demons to be exorcised, this exorcism, this period of release, is ultimately part of the larger quest goal; rather than oppositional to the heteronormative ideal, these queer transgressions are an important component of such a model, interwoven and essential to the overall quest. This topic also engages with a number of issues related to queer and feminist theories, most specifically those posited by Eve Sedgwick and Judith Butler. For example, when a character switches from his previous normative role to the period of controlled transgression described here, he surely does not abandon his position within the normative sphere entirely, nor does he adopt his new deviant role completely. Rather, his state is that of in-betweeness. During this period he is both Self and Other, pursuing quests in an attempt to be assimilated into heteronormative structures of the chivalric ideal, but also temporarily assuming the "queer," marginalized subject position. Such characters do not move from heteronormative to queer and back again, but rather occupy a space in which they are both heteronormative and queer. Therefore, their time of "controlled transgression" essentially shakes the foundation of binary-based identification as a whole. That is, since such characters occupy a kind of hybrid space between heteronormative and queer roles, they serve as proof that the binaries of Self and Other are not binaries at all, but rather points on a continuum. I argue that even if the "transgression" embraced by these characters is temporary and within a "controlled" environment, it is nonetheless subversive as the mere presence of a character who is both Self and Other threatens to break down this system of hierarchies as a whole.

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Colette, Gordon. „Moving passions: theories of affect in Renaissance love discourse and Shakespeare's Elizabethan plays“. Master's thesis, University of Cape Town, 2004. http://hdl.handle.net/11427/28268.

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The 1998 film, Shakespeare in Love, sets Will Shakespeare (and itself) the challenge to "show the nature and truth of love ... to make it [love] true" - with an ideal presentation of Romeo and Juliet. The film finally achieves this by ensuring that Will and Viola end on stage as Romeo and Juliet, playing the parts they respectively inspire. The film, and the play within the film, can achieve the satisfactory embodiment of true love only, it seems, through the replacement of stage lover/player with 'real' lovers. The film attempts to unite love and art, but finds stage representation naturally adverse to its idea of true (authentic) love. Persuasion is similarly suppressed as inimical to the film's notion of art as expressive (of authentic emotion). But, where love is conceived as spectacularly mobile, mimetic and transformative - as I show it was, in the early modem period - to effectively communicate and to affectively produce love are, of necessity, linked. Joseph Roach has pointed persuasively to rhetoric's strong connection with humoral theory. Using texts from Wilson, Wright and Bulwer, I pursue and extend his focus on the early modem passionate, rhetorical actor; the interface between body and mind; and the possibility of powerful rhetorical passions, generated in performance. The film assumes (true) love as an emotion that is rare, elusive and, crucially, authentic. But as a renaissance 'passion', love would have very different qualities. Such passions would be vital, dynamic forces, directly communicable and contagious, commonly available and commonly shared. I argue that love, more properly "affect" or "passion", was frequently valued in the Renaissance, not as a stable locus of inner truth and authenticity (the thinking that necessitates the suppression of the actor in Shakespeare in Love), but for its very ability to 'move' where, in Rosemond Tove's words, "the unity of the process moving: persuading is not disturbed." I look for this movement in a number of Shakespeare's Elizabethan plays, particularly The Two Gentlemen of Verona, Love's Labours Lost, A Midsummer Night's Dream, Romeo and Juliet, As You Like It, and Twelfth Night and examine the forms of passion in compelling topoi that attend love in the plays - Petrarchan tropes powerfully linked to early modem ideas of representation (especially dramatic) and the interaction, in imitation, between bodies and minds. Early modem passions threaten clear distinctions between desires and emotions, body and mind and, importantly, self and other. I argue that, when passions are communicable and shared, the passionating actor participates in ideal forms beyond realistic imitation or personal, interior emotional experience - a process to which the real, ideal love of Shakespeare in Love is superfluous.

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Andersson, Jenny. „Text i tolkning : Berättarteknisk analys av Carl Jonas Love Almqvists Drottningens juvelsmycke“. Thesis, Karlstad University, Faculty of Arts and Education, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-2253.

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Syftet med den här uppsatsen var att göra en berättarteknisk analys av Almqvists roman Drottningens juvelsmycke. Jag har i denna analys utgått från de begrepp som Gérard Genette presenterar i sin bok Narrative discourse och provat om de kan beskriva berättartekniken i Drottningens juvelsmycke. Jag har i uppsatsen också, ganska kortfattat, tagit upp en del andra aspekter av boken. Bland annat har jag berört romanens huvudkaraktär Tintomara, bokens genre och bokens grundläggande tema.

Det jag har kommit fram till är att Drottningens juvelsmycke uppvisar en mycket komplex berättarteknik. Ett av de mest uppenbara och intressanta greppen i boken är blandningen av episk och dramatisk framställningsform. Även om det dramatiska berättandet innebär en del problem när det gäller en berättarteknisk analys så går flera av Genettes begrepp att applicera även på dessa avsnitt. Min slutsats blir att Genettes begrepp går mycket bra att använda för en berättarteknisk analys av Drottningens juvelsmycke. Trots att jag i uppsatsen har kunnat identifiera ett antal berättartekniska grepp i romanen så är den dock alltför komplex för att kunna beskrivas enbart med dessa begrepp. Jag skulle faktiskt vilja säga att den är för komplex och har en alltför tät handling för att, tillfredsställande, kunnas beskrivas med några begrepp. Drottningens juvelsmycke måste istället upplevas.

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Mercado, Narváez Gabriela. „Demythification of Romantic Love in the West: An Analysis of Little Narratives in José Luis Sampedro’s El Amante Lesbiano“. Thesis, Linköpings universitet, Institutionen för kultur och kommunikation, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-57997.

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The present thesis deals with the intended abandonment of traditional notions of Romantic love in some manifestations of Western literature. The novel analyzed is José Luis Sampedro’s El Amante Lesbiano, where concepts such as gender roles, marriage, and sexuality have been removed from their conventionalities in favour of love. The thesis provides two points of analysis concerning El Amante Lesbiano. One, the use of little narratives that deconstruct gender and the Romantic notions of love; the second, an analysis on Sampedro’s strategies to demythify Romantic love, namely the modulation of typical mythical images depicting romance. Such analysis answers to the raised research questions by this thesis: why are little narratives used by Sampedro to deconstruct gender and Romantic Love? And what results from the demythification of such notion in El Amante Lesbiano?

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Dissertationen zum Thema „Love literature“

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