Look Of Love Research Articles

‘You don’t look for love on grindr, that’s for sure’: a qualitative investigation into dating app use of Australian same-sex attracted men

ABSTRACT Dating applications (‘apps’) have become a popular means for men who have sex with men (MSM) to seek sex or relationships. Indeed, dating apps have become popular, in part, because they are perceived as providing LGBTQIA+ people with a safe space to explore their sexuality with a reduced risk of discrimination and violence compared to non-virtual dating. The current study aimed to better understand how Australian MSM experience dating apps, specifically how they perceive that dating apps influence their attitudes about relationships and dating behaviours. Thematic analysis from interviews with 11 MSM adult dating app users identified three themes that were centred around exposure to non-traditional relationship models and conformity to gay dating norms, commodification of dating and safety concerns. Dating apps appear to be a conflicted space for young Australian MSM that may offer some safety for relationship development away from threats of homophobia, but which may facilitate online harassment and predatory behaviours. This paper concludes with recommendations for dating apps to increase security and verification to ensure they offer a safe space for LGBTQIA+ users.

What Love Looks Like by Laura Obuobi (review)

What Love Looks Like by Laura Obuobi (review)

‘What? You Don’t Want the Baby Anymore? Well, I’m Not Sure if I Do Either’: A Kind of Decolonial Love in Shaida Kazie Ali’s <i>Not a Fairy Tale</i>

What do fairy tale representations that trouble normative configurations of identities offer feminist imaginings of love <i>about and for people of colour</i>? How does the re-writing of conventional fairy tales, framed within decolonial epistemologies that open up space for marginalised knowledges, allow us to think differently about selfhood and our relations to others? This article considers these questions through paying attention to what love looks like in Shaida Kazie Ali’s reworked fairy tales in <i>Not a Fairy Tale,</i> published in 2010, where the characters are of colour, are Muslim, the women transgressive, and some men questioning of patriarchal masculinities. This article argues that Kazie Ali’s tales take seriously a feminist re-thinking of gender, and is unique in destabilising myths about women and men of colour. This article asks: What does it look like when normative gender binaries written into Islam are unsettled? What does love look like when the desire to possess is absent? In other words, what could a decolonial form of love look like?

Inner Child Influence on Early Childhood Emotions

The background of this research describes that the inner child is not something bad and every individual has an inner child depending on how an individual accepts, controls, and makes peace with the inner child that is within him. The purpose of this study was to see the influence of the inner child on the emotions of early childhood. The research method used is a qualitative research method to describe data based on the results of interviews and observations. The results of the study show that parents who experience the inner child choose to accept, control, and make peace with their inner child so as not to provide care which will create a new inner child for the child. So that this parental pair realizes by providing parenting by educating with love. Then the feeling of love and affection for the child is fulfilled and the child will not look for love and affection out there so that the child's emotional needs are met. However, if emotional needs are not given emotional validation, the inner child will affect uncontrolled emotional control in the child.

‘Skip the warts’: Personal Branding and Pornification inThe Look of Love

As the owner of the Raymond Revuebar in Soho and as publisher of pornographic magazines, British businessman and property magnate Paul Raymond had a lasting impact on British culture. The Look of Love seeks to assess that impact in its dramatisation of his life. The biopic locates Raymond as an early exponent of ‘personal branding’ via scenes which depict his flair for public relations and his crafting of a public image emphasising wealth and luxury. It also critiques this process, suggesting that his commitment to personal branding leads him to commodify those closest to him, among them his former wife, girlfriend and daughter. Where typically the juxtaposition between the public and private self has been utilised in biopics in order to convey a figure’s personality, The Look of Love exploits actor Steve Coogan’s associations with impersonation to rework this convention: the film suggests that even in supposedly private moments, Raymond was always seeking to impress an audience via his recreations of iconic film characters. But just as Raymond is represented as committed to this branding project, exploiting those around him to consolidate it, the film itself commits to this version of his life at the expense of others: namely, how Raymond’s ventures and activities were critical in what has been called the developing ‘pornification’ of British society. It is telling that the film includes a sequence in which Raymond instructs a prospective female model to ‘skip the warts’ when recounting her life story: there are warts which the film itself leaves unexamined.

What Love Looks Like in Public: Mutual Aid Makes for Sustainable Communities

This essay is a thought-piece that attempts to capture the tenor of the pandemic and the necessity to provide mutual aid in times of crisis. It also attests to the fact that mutual aid extends beyond capital, as it also encompasses mutual care in community. As we articulate our mirrored experiences during the pandemic, we trace a common trajectory in the simple thought that everyone deserves to be housed and fed, and that they deserve these two basic needs to be met with their self-determination in mind. This is what sanctuary means to us both.

NICU Collaboration During the COVID-19 Worldwide Pandemic: A Memory of Gratitude.

NICU Collaboration During the COVID-19 Worldwide Pandemic: A Memory of Gratitude.

The Radio

toward their mothers. Still other poems honor the history of suicide among adoptees through elegiac solidarity: “we expect death / for every life taken by suicide / how many more considered / this journey / from this life we cannot escape?” Not My White Savior is an unflinching poetry collection that rages against the injustices suffered in silence by the adoptee community and, for many years to come, will serve as both beacon and megaphone for those two hundred thousand forgotten children scattered across the globe. Marci Calabretta Cancio-Bello Miami, Florida Leontia Flynn The Radio Winston-Salem, North Carolina. Wake Forest University Press. 2018. 96 pages. Our grandparents warned us of the existential dread that the modern world would eventually bring to us, and in her book The Radio, Leontia Flynn gathers those anxieties and weaves them into a tapestry of contemporary lyric drama. The poems are chaotic and finely tuned. They are love in the time of LOL. They swear and pray and grapple with our fear of losing our humanity—or our fear of humanity. Flynn drives us with tech-driven poems that we recognize intimately as features of contemporary Earth. Leontia Flynn’s conversational language in this collection allows for an uncomfortable intimacy through subjects like politics, media, and even responses to modernist and midcentury writers. The speaker of the poem “I Can’t Say I Love You” gives us a glimpse into what contemporary love looks like when she says, “I can’t say I love you more than, like, my kidneys / S –, you old joker. If you weren’t so good / I’d hate you the way I hate – well – everyone.” The casual use of “like” here, used so freely in speech (as if it were a piece of punctuation rather than a simile or verb), signals the angst of Generation X and apathy of ’90s teenage drama. It begs the question, Is it selfish to love one’s self first (or one’s kidney)? Counter to traditional love poems, this professes simply to not hate the addressee. It is brutal and quick and could read as a text message or brief email; even the verbalization of World Literature in Review 84 WLT JULY–AUGUST 2018 the left swipe on Tinder. It is, perhaps, the epitome of twenty-first-century love. The final section of three in the book, “Poems Conceived as Dialogues between Two Antagonistic Voices,” is a fascinating marriage of traditional script used as poem and the existential oddities we face in the twenty-first century, such as the noise of virtual reality. Each subsection here lists the full names of characters with brief descriptions to set each scene. The third lists the characters of “Mother of Older Child, Imploded” and “The Awesome Voice of the Internet,” with direction notes of “The Scene is everywhere/nowhere.” This surreal universe can only rationally exist in the form of a poem after the litany of contemporary absurdity already explored in the collection. We are called to see that we have all plugged into the Matrix—the Internet— a self-proclaimed deity grasping to control humanity that says, “I’m the Bright, White Spirit of the Age, / you, if you will, are just some sagging hausfrau, / your gut a bag of fat, LOL, in your lap – / I’m sorry: redact. Delete. Report Abuse.” Sarah Warren University of North Texas Ahren Warner Hello. Your Promise Has Been Extracted Hexham, Northumberland. Bloodaxe Books / Dufour Editions. 2017. 128 pages. Ahren Warner’s third book is, from the start, clearly about the weight of history. “[E]ach city east of Bremen bears the pockmarks of a bygone pogrom gouged into its brickwork,” he tells us, beginning his travelogue of fragmentary lyric and architectural photography. The best thing about this book is that it feels peripatetic, like the travel diaries of Basho. This is, however, a grim journey. Along the way, Warner drags out all the most tired conventions of postmodern verse: extreme white space, the secondperson pronoun, a lack of titles. None of this adds up to profundity. The photos tend toward the close-up of architectural detail that is the standard trade of undergraduate literary magazines. The poems often rely on either...

Lessons Learned from Latin America

Abstract During the US Cold War boom in area studies, scholars would sometimes innocently support homeland economic and political interests. In Latin America and elsewhere, the fact-finding focus often morphed into the look of love, as objects of investigation turned out to be more charming than alarming. Inevitably, interrogations led to lessons in sociability and wit to derail some missions promoted by private and public Cold Warriors. Ethical quandaries would soon turn new North American lovers of Latin America toward ironies related to the metaphor of cannibalism that Brazil’s Oswald de Andrade formulated in his 1928 “Manifesto antropófago.” “Who eats whom?” they asked. And, “Is it bad?” For humanists, thanks to theoretical contributions in literary studies by Jorge Luis Borges, and for the range of arts by Luis Camnitzer, scholars north and south have been learning that the vital processes of ingestion and appropriation give flesh and blood to art and to life in general. Reformulating ethical questions, scholars now ask about levels of collaboration and mutual admiration. Interest need not disappear when love arrives. That’s why teachers today (through Pre-Texts, for example) can appropriate the art processes they love in the hope of developing student skills and civility.

On being an unofficial ambassador for children’s poetry in New Zealand

On being an unofficial ambassador for children’s poetry in New Zealand Paula Green (bio) Click for larger view View full resolution [End Page 72] Poetry When you unwrap a poem you might find sizzling butter in the pancake pan the flight of a kite in the deep blue sky crackling laughter when you all say cheese the look of love in your grandmother’s eye words that taste sweet and words that hop doorways and windows and rickety gates tickets to space and a wild west wind. Poetry is a vital playground where children can squelch knee deep in the possibilities of words. Here words can tower and tilt and connect. A few years ago, with a number of poetry books for both children and adults out in the world, I invented a role for myself as an unofficial ambassador for children’s poetry in New Zealand. My key aim was to get parents, teachers, and children to fall in love with the delights of poetry. Poems can hook the most reluctant reader and writer and advance the most sophisticated. There are no rules in the poetry playground, unless you choose to make them. Poetry offers the child a most liberating scope for reading and writing. To put my plan into action, I wrote new poetry collections, edited A Treasury of NZ Poetry for Children, undertook a Hot Spot Poetry Tour of the country, visited schools through the NZ Book Council, and kick started a children’s blog called NZ Poetry Box. On writing poems for children a Jack on a camel a Jack and his flannel a Jack climbing rocks a Jack in a box. (From “Which Jack”) Some authors write poems for children with the adult reader in mind as though any other option will compromise the poetic complexity and reduce potential levels of engagement. My primary aim is to catch the attention of the child reader to the point they fall in love with poetry. Poems that hook the child’s ear and eye ignite crucial sparks in their reading life. For me, children’s poetry begins with sound as the poems need to live in the air (ear) as nimbly as they reside on the page. Rhyme may or may not play a part. What matters is the electric charge between one word and the next that may produce a quiet hum or a hubzubadrub and everything in between. When I do use rhyme, I am as fond of the Dr-Seuss-type rhyme (dog, sog, log, frog) [End Page 73] as I am of words that almost rhyme (escape, alligator, skateboard). Tricky rhyme, as I tell children, is an extremely fun thing to hunt for and adds musical zest to their poems. Hiding the rhyme adds another level of excitement for hungry ears. Poems can feed the eye with detail that gleams like little gold nuggets on the line. The detail can have anchors in the real world and help a poem relate little snippets of experience. Conversely, the detail might scoop the child up and carry them through the window into the tunnels and train tracks of the imagination. Good detail can produce laughter (a necessary ingredient in my collections), but it can also provide a landing platform to ponder things that surprise or challenge or move. Children, who have caught the poetry spark, will engage with poems that offer a more thoughtful flipside to zany humor. Poems on the page can catch the eye through form. In my latest collection, The Letterbox Cat, I have played with the tradition of concrete poetry to create poems that produce pictures. Trying to read these sometimes involves a lot of squirming and twisting and getting off the chair to follow the tumble of words (one poem is a rollercoaster; another is a dripping ice cream). When I write a book of poems for children, I want to show that poems can do a thousand things and, while you might experience all kinds of moods as you read, poems make you feel good. Poetry is a way of reading for delight. On performing poems with children The Orange I saw little ships instead of pips on...

Reflections on Autistic Love

This article reflects on the question of what a Christian theology of love looks like when we take seriously the experiences of people on the autistic spectrum. The essay offers a practical exegesis of the nature of Christian love which takes seriously the broad range of possibilities that rotate around the practice of love. The article explores in some detail why it is that Western people (Christians and non-Christians) have come to think about love and relationality in quite particular ways and what it might mean for our theology and practice if we were to begin to look at love differently through the lens of autistic love. It concludes with a practical theology of love which seeks to be inclusive of all of love’s diverse possibilities.

Reading the Look of Love

Gaze cues have powerful effects on person perception, influencing face recognition, sex-categorization, emotion perception, and attraction. We demonstrate that sexually dimorphic shape cues in opposite-sex, but not own-sex, faces influence gaze-categorization. Since exaggerated sex-typical facial cues are associated with indices of long-term health, our findings suggest that gaze processing mechanisms are sensitive to global configural cues to the quality of potential mates.

Look of Love

Look of Love

The Look of Love

Gaze direction is a vital communicative channel through which people transmit information to each other. By signaling the locus of social attention, gaze cues convey information about the relative importance of objects, including other people, in the environment. For the most part, this information is communicated via patterns of gaze direction, with gaze shifts signaling changes in the objects of attention. Noting the relevance of gaze cues in social cognition, we speculated that gaze shifts may modulate people's evaluations of others. We investigated this possibility by asking participants to judge the likability (Experiment 1) and physical attractiveness (Experiment 2) of targets displaying gaze shifts indicative of attentional engagement or disengagement with the participants. As expected, person evaluation was moderated by the direction of gaze shifts, but only when the judgment under consideration was relevant to participants. We consider how and when gaze shifts may modulate person perception and its associated behavioral products.

Mind the (Love) Gap: Love and Negativity in Educational Thought

It will probably surprise no one that many of the theorists writing on the role of love in education today locate the power of love in its “transgressive” or “disruptive” character — that is, in the negative role it may play against or within the bureaucratic, inhuman structures of schools. The rhetorical force generated by arguments based in the negative character of love in education may be related to our inability to positively define what the personal relationships between teachers and students ought to be or to allow, but it would be a mistake to think that theorists of love in education are limited to this sense of indefiniteness. As this essay seeks to set out, love in education is mostly theorized under two categories of negativity that provide a normative conclusion against the limits placed upon both teachers’ and students’ humanity by current policies and practices. In the following pages, I examine these categories, which I refer to as “absence” and “transgressivity,” by focusing on how negativity plays a role in each through their opposition to current norms in schools. Using this analysis as a starting point, I explore the idea that “love in education” might be understood as more than a tool with which we might condemn or attack schools from without. Instead, I question whether the lack or emptiness that theorists find when they look for love in education might be a different sort of negative altogether, namely, the original lack that marks human desire. This constitutive negativity, I argue, stands as distinct from theories based in love’s capacity to transgress or disrupt educational norms, because it serves as the very foundation of educational relationships. By applying Jacques Lacan’s construction of desire, as a slippage between the subject’s primal needs and ability to express them in language, to Jane Roland Martin’s concept of the “love gap in education,” I hope to show that the gap she recognizes as an absence of love in educational practices and theories is one that provides the basis for any educational relationship, and one that may provide us with an explanation of other theorists’ concentration on negativity in speaking of love in education.

FASCINATION AND ITS RELATION TO EGO–SELF STATES

ABSTRACT This paper focuses on experiences of fascination in the transference and countertransference. It suggests that fascination arises through the projection of an internal state where an unconscious content has intruded into the ego. Using clinical examples, it outlines a distinction between fascination as a facilitative process in psychotherapy, and fascination indicative of defence and destructiveness. In the former, fascination is linked to an exploration of symbols and their subsequent release of meaning. In the latter, fascination is considered as an end in itself: a powerfully persuasive fantasy that reality can be dispensed with. The Analytical Psychology concept of the ego‐self relationship is briefly outlined with a view to establishing a theoretical base from which to support this distinction, and to suggest that the ego's fascination is elicited through an unfolding archetypal process. The conclusion summarizes these findings and their implications for clinical work.Love looks not with the eyes, but with the mind; And therefore is wing'd Cupid painted blind. (Shakespeare, A Midsummer Night's Dream)

The Seismic Wavefield, Volume II: Interpretation of Seismograms on Regional and Global Scales

Volume II of Brian Kennett's book, The Seismic Wavefield, is entitled “Interpretation of Seismograms on Regional and Global Scales.” The first volume in this series is entitled “Introduction and Theoretical Development,” and was published in 2001. The current volume is divided into three parts, 17 chapters, and an appendix. By way of numerous observations and illustrations, this volume introduces the reader to the various regional and global seismic phases. Here is where one learns how to distinguish Pn from Pg, how to unravel the PKP traveltime branches, and where to look for Love. The writing is clear and concise, the references are plentiful, and the quality of the figures is excellent.

The Look of Love

The Look of Love

The Look of Love

I begin to suggest an alternative to the notion of vision based in alienation and hostility put forth by Jean-Paul Sartre, Sigmund Freud, and Jacques Lacan. I diagnose this alienating vision as a result of a particular alienating notion of space presupposed by their theories. I develop lrigaray's comments about light and air to suggest an alternative notion of space that opens up the possibility that vision connects us to others rather than alienates us from them.

The Look of Love

I begin to suggest an alternative to the notion of vision based in alienation and hostility put forth by Jean-Paul Sartre, Sigmund Freud, and Jacques Lacan. I diagnose this alienating vision as a result of a particular alienating notion of space presupposed by their theories. I develop lrigaray's comments about light and air to suggest an alternative notion of space that opens up the possibility that vision connects us to others rather than alienates us from them.