The Anatomy of Love

Broj 2 - Godina 7 - 06/2017

Uvodnik

In All About Love: New Visions, bell hooks observes that we are constantly exposed to messages telling us that the workings of love are mysterious and its agency unfathomable; that love is, in other words, only invaluable if it remains unexplained and unknowable. hooks argues that knowledge is a crucial element of love and that understanding its forces does not detract from its importance and value; on the contrary, it enriches the experience of love. More recently, Alain Badiou has in In Praise of Love similarly claimed that love is a ‘truth procedure,’ the kind of experience through which the truth about Two is constructed...

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Izdvojeno

Alciphron's Letters (2nd or 3rd century AD) belong to Greek fictional epistolography, a subgenre whose literary conventions forbid direct portrayals of nudity or physical contacts. However, once the author chose erotica as a prevalent theme for his letters, he found himself entrapped; he had the obligation to obey the “chastity” of the literary subgenre and avoid any drifts into pornography and impropriety, but, at the same time, he was expected to satisfy his readers' curiosity and tantalize their imagination with shy innuendos. Consequently, he had to make sure that his stylistic devices used for erotic allusions (metaphors, metonymies, euphemisms etc.) were as vivid and various in origin as possible. Those erotic expressions are at the focus of this paper. In accordance with the given theme, the ones that contain the idea of violence, conflict, and warfare or its consequences are scrutinized. Once the erotic expressions of this kind are detected, they will be placed into a wider context. Their importance (both quantitative and qualitative) and their meanings achieved in the “domicile” letters will be determined. Furthermore, the examples will be compared with similar ones from Philostratus' and Aristaenetus' letter-collections. The final goal of the paper is to define the comprehensive role of “violent” erotic expressions in the literary subgenre as a whole. ...

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This article aims to give a psychological interpretation to Alain de Botton’s novels On Love and The Course of Love, doubling the philosophical take on love that runs in the background of the novels. Robert Sternberg’s triangular theory of love will be applied to de Botton’s two novels, in an attempt to reach an understanding of love by means of psychological deconstruction, following the dynamic of the three components of the love triangle: passion, intimacy and decision \ commitment. References will also be made to Sternberg’s complementary theories on love, i.e. the theory that conceptualizes love as a story and the theory of love as a socio-cultural artefact.Key words: love, psychology, triangular theory, love story, cultureAlain de Botton’s book On Love, presented to the readers as a novel telling the love story of Chloe and the narrator, is a full-circle account that unfolds between two plane flights: on the first flight, from Paris to London, the two future lovers are seated one next to the other, and they meet and fall in love; the reverse flight, from Paris to London, takes the couple back home from a trip and ends with their break-up. The exact punctuation of the beginning and end of the romantic relationship is symptomatic of the whole structure of the book. The clearly delineated chapters and paragraphs correspond to as many moments in the couple’s relationship, thus allowing us to recreate with accuracy the milestones of their love story. The mere story-telling is doubled by the narrator’s voice that disassembles every event up to its inner detailed parts and deliversthe thoughts and rationale behind his actions. The reader is not left to guess, but discovers actively, together with the narrator, a keenly performed radiography of love. ...

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In Nabokov’s Lolita, Humbert Humbert’s The Enchanted Hunters, as a quest for love, aims to reconstruct a felicitous world or integrate various fragmentary details into an organic unity that revives a lost love, experiencing it on the basis of irony, and revealing a simulation of the desire, violence, and despondency which have been expressed in myths of nymphs and Persephone. The protagonist never reaches this unity, but his narrative of erotic and romantic love reveals him as a pathetic addict engaged in mechanical reproduction related to the phenomena of desire, seduction, violence, and sex. His The Enchanted Hunters does not simulate what he expects of his childhood love with Annabel; rather, it simulates the erotic imagination suggested in Mary D. Sheriff’s term “nymphomania,” in which artists fall degenerately to a model of tragedy. Keywords: simulation, nymph, nymphomania, The Enchanted Hunters The Enchanted Hunters in Nabokov’s Lolita refers to the name of a hotel and the title of a play. This seeming coincidence is actually not coincidental: Nabokov weaves a story concerning a pedophile’s seduction of a prepubescent child into a “story within a story,” in which the girl is imagined as a seducer who bewitches a number of hunters. Just as the girl in the play is a figment of a poet’s imagination, so Lolita in the novel Lolita is an imaginary production of a middle-aged pedophile. Yet Lolita is not so much a novel revealing guilt and mental disorder, but a mélange of art and reality, or more specifically, it is about a coinage in which the author fabricates art and myth in real life. Parallel to the protagonist who simulates what he expects of his childhood love, Annabel, in the form of the nymphet, Lolita, Nabokov replicates the beauty of butterflies in the pursuit of beauty and immortality, and develops the world of art with a pathetic tone whereby we gradually perceive a simulation of the desire, violence, and despondency which have been expressed in the myths of nymphs and Persephone. As Mary D. Sheriff’s term “nymphomania” suggests, Nabokov’s artist falls degenerately to a model of tragedy in the pursuit of butterflies (i.e., love and beauty)....

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Francuski medievalist i jedan od najznačajnijih povjesničara Europe, sad već pokojni Jacques Le Goff, napisao je knjižicu pod naslovom Treba li povijest zaista dijeliti na razdoblja? Većina ljudi ne promišlja o ovom pitanju, a da nije samo riječ o problemu koji ostaje na margini svakodnevnog života svjedoče i podatci da mnogi povjesničari nisu svjesni ovog pitanja što je utjelovljeno u studijskim programima koji su podijeljeni kronološki po razdobljima i oformljeni po vremenskom slijedu, posebno u Hrvatskoj. Le Goff ide korak naprijed pokazujući zašto je promišljanje o vremenu jedno od temeljnih pitanja povijesne znanosti.Knjižica od 124 stranice sastavljena je od sljedećih osam ključnih poglavlja: Stare periodizacije, Kasna pojava srednjeg vijeka, Povijest, obrazovanje, periodi, Rođenje renesanse, Renesansa danas, Srednji vijek postaje mračno doba, Dugi srednji vijek, Periodizacija i globalizacija. Knjiga započinje Predgovorom i Uvodom, a nakon ovih osam poglavlja slijedi Izabrana bibliografija, Zahvale i O autoru....

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