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

To je jedan od razloga zašto ne voli kupovati u ovo doba godine – previše ljudi. Ruke su joj pune i kad se sjeti kako je bilo teško odabrati, pomisli: tiranija izbora. Ne točno tim riječima, naravno, jer ovih joj je dana teško pronaći potrebne riječi. Sve dolazi iz nutrine. Osjeća što misli iako to ne može artikulirati. Da je barem hobotnica! Dobro bi mi došao još koji par ruku, pomisli, boreći se da jednom zadrži golem trkaći auto dok drugom podiže plastičnu vrećicu s transformerom koja joj je nekako iskliznula iz ruku. Nespretna. To bi Gunter promrmljao. Nespretna si, Oge. Nespretna. Cokćući jezikom i odmahujući glavom poput oca koji kori dijete. Mrzi kad tako razgovara s njom. Kao da mu je dijete, a ne žena. Kad to radi, nju počne žariti u grlu pa kaže neke stvari pa on kaže neke stvari pa oboje utihnu. No žarenje u grlu još dugo ne posustaje. Boli kao da joj netko trlja sol u ranu. Čir na grlu. Zadivljena je čudom riječi koja je iskrsnula. Niotkud. No takva je narav čuda, zar ne? Dođu niotkud, stvore se pred tobom jer vjeruješ. A ona vjeruje. Zaista, kažem vam, ako imate vjere koliko je zrno gorušičino te reknete ovoj gori: ‘Premjesti se odavde onamo!', premjestit će se. Ustat će i potrčati! Koliko je puta to pastor rekao? Stalno joj je iznova držao propovijed. Vjera je slobodna, rekao je. Samo je moraš prihvatiti! I jest. Prihvatila je. O, itekako jest. ...

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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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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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Dead but not Forgotten is a collection of short stories about the characters presented in the thirteen Sookie Stackhouse novels published by Charlaine Harris between 2001 and 2013. The fifteen short stories were not written by Harris herself, but by a series of novelists and best-selling authors. The tales are compelling and their plots are as suspenseful as the original novels by Harris, whose contents they are consistent with. Indeed, the characters are faithful to the spirit of Harris' books and their adventures are a (super)natural and logical continuation or anticipation of what occurs to them in Harris' fictional universe. The stories are indeed set in different time periods: they fill the gaps between the novels or they either precede or follow the facts narrated in Harris' books. Jeffrey J. Mariotte's “Taproot,” for example, focuses on a case assigned to Detective Andy Bellefleur during Sookie's sojourn in Dallas in the second novel. “Nobody's Business,” written by Rachel Caine, narrates instead about two secondary characters of the saga, white agent Kevin Pryor and his colored colleague Kenya Jones, and how they fall in love with one another during a dangerous mission that precedes the events described in the first book of the series (Dead Until Dark). Jeanne C. Stein's “Love Story,” however, is set decades before Sookie's birth and narrates about her grandmother Adele’s extramarital affair with a male fairy. On the other hand, Christopher Golden's “Tyger, Tyger” – which is focused on the kidnapping of mighty weretyger Quinn by a militaristic organization that uses the “two-natured” as mercenary soldiers – is set soon after the end of Harris' last book in the series (Dead Ever After)....

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