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

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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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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Taj mi je tip htio pokazati nešto tajno. Nešto zapanjujuće. Prema onome što mi je rekao, bio je to još neotkriven temelj kršćanstva. Tisućljećima najstrože čuvana tajna Crkve, as iz rukava koji još nije odigrala. Zaintrigiralo me. Odveo me u svojevrstan sanktuarij, koji je smrdio po vlazi, pa iz ormara s velikim ladicama stao vaditi relikvije u obliku čvrsto smotanih, požutjelih svežnjeva. Zatim ih je poslagao jedan pokraj drugog, kad gle – iz njih iziđe Djevica Marija. Moram priznati da me zapanjilo. Dogovorili smo spoj, našli se i prošetali po suncu i hladovini. Bila je ljubazna, nismo baš ćaskali, nego se više povezivali pomoću nasumičnih riječi koje su nas tjerale da se smješkamo i pogledavamo jedno drugo. Ali ono što me se najviše dojmilo: ona uopće nije bila povijesna ličnost, nije bila sveta, ni pobožna, ni odjevena u halju! Bila je obična djevojka. Nije se bojala i rado se smijala. Razumjeli smo se. Dok je hodala, donji dio leđa blago bi joj se izvio u nježan luk, i bila je lijepa i prilično moderna. Zbog zaigranog koraka stopala u sandalama bila su joj prašnjava, pomalo je i vukla noge, a kad bi zastala, nožnim bi prstima čeprkala po zemlji. Dok smo šetali, bio sam zadivljen: bila je to Djevica Marija, Kristova majka, glavom i bradom, premda, naravno, iz mlađih dana. Pa ipak, kakav uspjeh za Crkvu! Kad sam čitao rimsku književnost iz doba prije Krista, sjećam se, učinila mi se zabavnom i modernom – i znao sam da bi takva mogla biti i ona. Moderna. I zabavna. ...

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The paper analyses film adaptations of the play Der Besuch der alten Dame written by the Swiss author Friedrich Dürrenmatt with special focus on how they thematise love. Dürrenmatt’s play is in its essence a tragic comedy that deals with the issue of greed and the distortion of basic moral values such as honesty and sincerity that are then also turned into greed, culminating in the justification of violence and murder for profit. The film adaptations that are analysed in the paper are the German version from 1959, the American version from 1964, and the newest German version from 2008. The analysis shows that the American and the newest German version do not adhere to the original pattern in terms of representing the love and relationship between the two main characters, Claire and Alfred. It is important to stress that love is the trigger that directs the plot to its end. The role that love plays in the film adaptations is the key factor that influences whether the end is tragic or not, which depends also on the historic, social, and cultural context in which the adaptations were filmed. Furthermore, the paper includes an analysis of the metamorphosis of a love that cannot die into a love that cannot be sustained: Eros, powered by the libido of the main characters Claire and Alfred in the past, slowly progresses until it turns into the destructive death drive of Thanatos. The analysis simultaneously explores to what extent each film adaptation imitates the original destructive discourse of love present in Dürrenmatt’s play. ...

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