Love Of Man Research Articles

Cash Is King: Timon, Diogenes, and the Search for Sovereign Freedom

Cash Is King: Timon, Diogenes, and the Search for Sovereign Freedom

The Victorian Geopolitical Aesthetic: Realism, Sovereignty, and Transnational Experience

The Victorian Geopolitical Aesthetic: Realism, Sovereignty, and Transnational Experience

The Humanization of Economic Life: The Legacy of Martin Buber

In this article, I explore how our economic life can be reconciled with Martin Buber’s norm of dialogical life or communion. Known for his lifelong advocacy of dialogue between persons and between nations, Buber has tirelessly emphasized the necessity of restoring immediacy between fellow beings. Every human being is called to communion with his and her fellow beings. Such fellowship is the precondition for a truly human life. Given the technological and bureaucratic organization of our political and economic lives, this fundamental need is not being fulfilled. Instead of communion, it is the will to dominate and objectify that is fostered and normalized. The transcendence of this inhuman condition is what is entailed by the transition to the I-Thou relation. I here explain what it means to approach someone as a Thou, Buber’s reconceptualization of love, and the relationship between unified souls and a wholesome economy.

Motives and examples of human love for God and the neighbour according to Saint Basil the Great

This article addresses the issue of the motivation of the fundamental order of love for God and the neighbour which Saint Basil the Great used in his doctrine.Based on an analysis of the texts of Saint Basil, this article demonstrates the intimate relationship that should exist between the love for God and the love for man. The ideal of this relationship is represented, according to the analysis, by Jesus Christ, the only Saviour of the world.

Young Dads and Old Men.

Young Dads and Old Men.

Unsettling a sacred relationship: The mother–daughter–man romantic love triangle in telenovelas

ABSTRACTTelenovelas are serialized melodramatic love stories whose happy endings are postponed by intrigues and obstacles. The main source of these impediments is also the basic building block of every telenovela: the love triangle. Because they unsettle the mother–daughter relation, mother–daughter–man triangles can be risky. But they can be successful too. This study examines the production, representation, consumption, and social regulation of the mother–daughter–man love triangle in three telenovelas: Ciudad Bendita (2006, Venevisión-Venezuela), Doña Bárbara (2008, Telemundo-USA), and La Mujer Perfecta (2010, Venevisión-Venezuela). Located under the umbrella of cultural studies, the study uses a multimethod approach that includes textual and ethnographic methods. The analysis underscores the writing and production challenges of this particular love triangle, considers the fit, or lack thereof, of the mother–daughter dyad with the virgin/whore dichotomy present in the majority of telenovelas, and fleshes out the nuances of audience reception of this type of triangle.

“Luck, Classic Coke, and the Love of a Good Man”: The Politics of Hope and AIDS in Two Songs by Michael Callen

“Luck, Classic Coke, and the Love of a Good Man”The Politics of Hope and AIDS in Two Songs by Michael Callen Matthew J. Jones (bio) “Feeling and emotion are fundamental to political life,” writes Deborah Gould. “There is an affective dimension to the processes and practices that make up ‘the political.’” A number of scholars, Eve Sedgwick, Ann Cvetkovich, Lee Edelman, and José Muñoz among them, have explored the roles of affect in queer politics by focusing on issues like representation, temporality, and memory.1 In particular, affect saturates the discourses, vocabularies, identities, communities, political responses, and art—the “epidemic of signification”—that parallels the biomedical AIDS crisis.2 In the 1980s the media, activists, and people with AIDS (PWAs) defined the health crisis in affective terms, primarily through negative feelings like fear, anxiety, desperation, frustration, and anger. “United in [End Page 175] Anger,” early HIV/AIDS activists were literally “fighting for their lives” against local, state, and federal governments, homophobia, and widespread panic about this new and deadly disease.3 This essay complicates the affective portrait of HIV/AIDS in the 1980s by considering the role of positive sentiments in the music and activism of gay singer-songwriter and prominent AIDS activist Michael Callen (1955–93). The affective vocabulary in Michael Callen’s work provides a crucial alternative to those that have perdured. What can we learn from his legacy? What is the role of hope in the sustenance of forms of activism? How does Callen’s turn to hope enrich LGBT history and that of AIDS activism? Since his death, Callen’s very queer music and his contributions to the culture of early AIDS activism have been largely forgotten. Although his recordings are available through various digital download and streaming services, neither his essays nor his speeches have been widely anthologized or reprinted.4 A frequent footnote in histories of HIV/AIDS, Callen has only recently been the subject of scholarly and historical works.5 In examining his hopeful sentiment, I contribute to a new curve in the “affective turn” in queer/feminist scholarship, one marked by its emphasis on hope, optimism, self-love, and community care.6 “Small Town Change”7 Born and raised in Hamilton, Ohio, an industrial suburb of Cincinnati, Michael Callen had never traveled beyond a fifty-mile radius of his hometown when he matriculated at Boston University in 1973. Upon completion of his undergraduate degree in English literature in 1977, he followed the Yellow Brick Road of Gay Migration to New York City. There, he thrust himself into the city’s vibrant gay sex culture. After a year of mysterious, debilitating, and increasingly exotic illnesses, Callen was declared immune deficient in 1981, a diagnosis his doctors amended after the Centers for Disease Control and Prevention (CDC) coined the term “Acquired Immune Deficiency Syndrome (AIDS)” the following year. Galvanized by the prognosis of his imminent death, Callen committed himself to the fight for [End Page 176] gay rights and the war against AIDS. His remarkable “rise from complete obscurity to the forefront of national politics” occurred at a time when few PWAs publicly acknowledged their illnesses, fearing prejudice, stigma, and violence.8 Between his diagnosis and his death, Callen combatted the negligence of the Reagan and Bush administrations, the glacial pace of Ed Koch’s mayoral mishandling of the health crisis in New York, and the toxic combination of fear and ignorance characteristic of social, political, and media responses to AIDS. A community organizer, Callen established several important AIDS support service groups, including Gay Men with AIDS, People with AIDS Coalition—New York (PWAC-NY), and the Community Research Initiative (CRI). He worked alongside Mathilde Krim and Joseph Sonnabend, cofounders of what would become the American Foundation for AIDS Research (AmFar), participated in direct action protest with Larry Kramer’s AIDS Coalition to Unleash Power (ACT UP), and was even arrested while protesting in Washington, DC. A prolific author, Callen published three books in addition to hundreds of articles and speeches about AIDS. How to Have Sex in an Epidemic: One Approach (1983), a forty-page booklet coauthored with fellow PWA Richard Berkowitz and their physician, is widely considered the first safe...

A Psychopathology of Everyday Women: Psychoanalytic Aesthetics and Gender Politics in <em>Letting Go</em> and “The Psychoanalytic Special”

FEMINISM AND PSYCHOANALYSISThe fact is that to [him] [. . .] women [are] a strange, inferior, less-than- species. He [sees] as childlike dolls, who existed in terms only of man's love, to love man and serve his needs (Friedan 108). This is not another rebuke of Philip Roth's alleged misogyny, although it may remind us of Hermione Lee's provocative statement that, in Roth's novels, nearly all the women [. . .] are there to obstruct, or to help, or to console the male (Reading 132), or David Gooblar's assessment that feminist critics have usually deemed Roth's female characters as inferior to his male characters, mere types, never rising to the complexity or depth of the fully human (8). The opening allegation is not, in fact, taken from Roth criticism at all, but rather encapsulates Betty Friedan's estimation of Sigmund in her 1963 feminist classic The Feminine Mystique. Decades later, Nancy Chodorow still admits, Freud was indeed sexist. He wrote basically from a male norm and ignored women. [. . .] He talks, for instance, about women's lesser sense of justice, of their jealousy, shame, vanity, and lack of contribution to civilization as if were clinical findings (172). Evidently, charges of sexism and misogyny abound both in and in Roth criticism (Young-Bruehl and Wexler 455; Shostak 112; Gooblar 7). Both have been accused either of neglecting and distorting the female point of view or even of disseminating images of femininity that have proved damaging to the cause of feminism. Roth's allegiance to could thus easily be seen as the bedrock of his own sexist inclinations.However, such an assessment would jump too quickly from superficial readings of and Roth to a questionable conclusion. Instead, I will argue here that Roth's feminism-his critique of rigid gender roles and sexual politics-is particularly acute where he openly engages with Freud. This argument is far less surprising than the statement by Friedan or the opinions summarized by Lee and Gooblar suggest. First of all, Roth's works have already been associated with feminism. Julie Husband, for instance, notes that Roth's early novels offer an intriguing view of Roth's struggle with second-wave feminism, in developing forceful, albeit ambivalent, critiques of patriarchy (25-26). Defending When She Was Good (1967), Sam Girgus claims that the novel suggests that for Roth becoming a man and achieving true sexual and personal liberation require a culture of freedom for women as well (153), thus also aligning Roth with contemporary feminist politics. Furthermore, several critics have demonstrated how Roth uses subtle narrative techniques to deconstruct the sexism flaunted by his characters. A close reading shows that one-dimensional or stereotypical portrayals of women, which appear frequently in Roth's work, can be traced back to a male character's limited or flawed perspective. Debra Shostak has pointed out that, for these very reasons, [. . .] Roth's work can appear as much a prescient critique of misogynist attitudes as a purveyor of them (112). In a mock trial staged between Philip and his mistress in Deception (1990), the writer responds to the charge of sexism and the claim that all his women are vicious stereotypes (110) in the following way: [Y]ou may do your own sex a disservice when you postulate intelligent young women as lacking the courage to be desirable-as having no aggression, no imagination, no daring, no adventurousness, and no perversity (111). In addition, then, Roth's portrayals of desirous and aggressive women, which have often been counted among vicious stereotypes, may add a crucial dimension to a more complex vision of womanhood often occluded by images of female virtue and demureness.Secondly, even the most vehement feminist opponents of Freud, among Betty Friedan and Kate Millett, have appropriated psychoanalysis for analyzing sexism (Young-Bruehl and Wexler 456). …

John Henry Newman: A Portrait in Letters ed. by Roderick Strange

Reviewed by: John Henry Newman: A Portrait in Letters ed. by Roderick Strange Reed Frey CO. (bio) John Henry Newman: A Portrait in Letters. Edited by Roderick Strange. New York: Oxford University Press, 2015. Pages: 601. Hardcover, $49.50. ISBN: 978-0-19-960414-2. For those who have not taken the time to read through the thirty-two-volume collection of Newman's letters, this handsome collection from Roderick Strange and Oxford University Press offers a welcome introduction. Strange attempts a daunting, yet much-needed, task: selecting from Newman's 20,000 extant letters a manageable volume of representative correspondence. The collection is divided into twelves sections, with the first letter in 1807 and the last letter in 1890, the year of Newman's death. Each section includes a two to three-page introduction to that period of Newman's life, followed by forty to fifty pages of letters. Fr. Strange, former rector of the Pontifical Beda College and author of Newman 101: An Introduction to the Life and Work of John Cardinal Newman, is uniquely qualified to produce this volume, being the only doctoral student ever directed by Charles Stephen Dessain. Fr. Strange noted that his mentor, who oversaw the production of twenty-one of the thirty-two volumes of the Letters and Diaries before his death in 1976, would have been dubious about any editorial selection of Newman's letters. Fr. Strange's volume reflects both the promise and the challenge of such a venture. While commending Strange's attempt to select a representative sample of Newman's letters, he was bound to leave the interested reader of Newman in some sense disappointed. In Newman's 1863 letter to his sister Jemima, Newman wrote that "a man's life lies in his letters." Yet a selection of letters inevitably raises as many questions about the priorities of the editor as the author of the letters. Strange's editorial selection seems aimed at showing a humanized Newman—a sensitive, and sometimes hypersensitive, man who cherished close friendships and experienced anguish and disappointment when those friendships faltered. Newman was a tender and loving man, and his affection for his correspondents often shines through in his letters. Through Strange's selection, we come to see Newman as a deeply integrated person: theological controversies were personal, and personal struggles were viewed through the lens of faith and theology. Strange's portrait of Newman, through his careful editorial selection, also presents a literary master. Every letter, ranging in gravity from an 1867 letter asking Henry Wilberforce to send a small cask of cider to Newman's [End Page 89] responses to Kingsley's accusations, is crafted beautifully, and the letters have an ability to hold one's interest, even if the subject matter seems mundane. In Strange's volume, we see the whole gamut of human emotion. Newman wrote amusing and serious letters, bitter and tender letters, controversial and benign letters. Newman's humanity always shines through, even as his faith shapes his response to life circumstances. This reviewer repeatedly returned to the question: Who is the audience for this book? A neophyte to Newman studies is unlikely to begin his or her study with a 600-page collection of letters, and the brief introductions at the beginning of each chapter do not offer enough context for the new reader to feel comfortable with any phase of Newman's life. On the other hand, the introductions and commentary offer little by way of fresh insight that will satisfy a more experienced Newman scholar. If his intent was to serve the uninitiated reader of Newman, Strange might have provided more context for each section of letters, and reduced the number of letters in each section. A chronology of the main events of Newman's life would have also been helpful. Alternatively, if more experienced scholars had been his target audience, he might have provided more analysis in his introductions, and given the reader more penetrating commentary. Perhaps the book will be most useful to the intelligent nonscholar who has already read the Apologia pro vita sua, or a well-regarded biography of Newman, such as Sheridan Gilley's Newman and His Age. It...

Miłość Boga darem i przykazaniem w świetle encykliki Deus caritas est Benedykta XVI

Love, which according to Pope Benedict XVI is the essence of Christianity, must be re–presented (presented anew) today, because God loves everyone without exception. The message of divine love must also be properly explained. Therefore, the purpose of this work is to present theological and moral truth about God who loves and is love in the light of the teaching of Pope Benedict XVI contained in the encyclical Deus caritas est. The work shows reciprocal love of God and man, with particular emphasis on the priority of God’s love. The issue of human response to God’s love, which finds its fulfillment in the commandment of love, is further illustrated. Moreover, the relationship between the love of God and the love of neighbor, which have always been interpreted together, has been presented.

Johann Caspar Lavater in Estland. Über seinen Einfluss, einige Portraits und einige Gedanken über die Portraitkunst

The article focuses on Johann Caspar Lavater (1741–1801), the Enlightenment-era thinker, pastor and writer, art collector and physiognomist, whose work and activities affected thinking from Zurich to America and Russia, including the Baltic countries. Of Lavater’s Estonian acquaintances, Johann Burchard VII, the Tallinn Town Council pharmacist, is the one that primarily emerges from the article. The famous Swiss maintained a correspondence with the latter for over ten years, and in 1792, gifted him a miniature portrait of himself (now in the Estonian History Museum).In addition to the miniature portrait after Johann Heinrich Lips (?), there were two graphic portraits of Lavater in Estonia that were associated with Georg Friedrich Schmoll (Tallinn City Museum, University of Tartu Library) as well as a masterful oil portrait by August Friedrich Olenhainz (Art Museum of Estonia’s Kadriorg Art Museum). The article examines all of these against the background of Lavater’s successful book of the day “Physiognomische Fragmente zur Beförderung der Menschenkenntnis und Menschenliebe” (“Physiognomic Fragments for Furthering the Knowledge and Love of Man”, 1775–1778) and in regard to Lavater’s discussions about people and the art of portraiture.An attempt is made thereby to see Enlightenment-era portrait art through the eyes of Enlightenment-era people – Lavater and his audience. While the author of the article is convinced of the impact of Lavater’s physiognomic research on the portraiture of the day (on the artists, clients, viewers) and also more indirectly on the history of art, she emphasis that, for Lavater, portrait art was primarily a tool for his physiognomic research and even if Lavater’s teachings lost their popularity after his death and were relegated to the periphery of science, Lavater should not be excluded from the history of art and culture in the Baltic countries.

Fri kärlek - för vem?

In this article, respectability and the construction of “free love” is investigated in Swedish feminist debater and playwright Frida Stéenhoff’s (1865–1945) drama Lejonets unge (1896). In 1897 the first production of the drama was set in the small town of Sundsvall in Sweden and caused a public storm because of its plea for free love for both men and women. Through an intersectional perspective, where the axes of class, gender, sexuality, religion, nationality and age are central and with a starting point in Beverly Skegg’s concept “respectability” I investigate how free love is constructed in the drama. I also link the construction of free love to the historical context of the debate concerning sexual morality and marriage, which was intense in society and literature in Scandinavia in the late 19th century.

Amar por arte mayor by Tirso de Molina

Tirso de Molina. Amar por arte mayor. Ed. Enrique Garcia Santo-Tomas. New York-Madrid: Instituto de Estudios Auriseculares (IGAS/IDEA); Madrid-Pamplona: Instituto de Estudios Tirsianos (IET), 2015- 176 pp.In the introduction to his edition of Tirso de Molina's Amar por arte mayor, Enrique Garcia Santo-Tomas sets out to explain why the play has seldom been published, performed, or even noticed by many scholars. He gives their due to the small set of academics who have paid attention to Amar, among them Juan Eugenio Hartzenbusch, Blanca de los Rios, and Premraj Halkhoree. Hartzenbusch, as the first modern editor in 1841, was influential in his distaste for Amur's anachronisms and inverisimilitude, his negative judgment essentially consigning it to obscurity for generations of academics and other aficionados of the Comedia. Garcia Aango-Tomas suspects that Tirso's subordination of nationalistic concerns to language and poetry may also have offended Hartzenbusch's nineteenth-century sensibilities (33). The current editor's compensatory focus on the ingenuity of the expression, along with his respect for cultural and political contexts, are a much-needed corrective to our neglect of the play.Classic in Amar are a protagonist's romantic rivalry with a king, an astute and funny gracioso, and an errant portrait. What is exceptional, even for this genre so attuned to the nuances and play of language, is its wittily self-conscious focus on versification. Amar por arte mayor is a Golden Age poetry-lover's delight. Just as it has been said that the subject of Don Quijote in all its metafiction and self-referentiality is how to write a novel, one could say that a subject of this play is how to versify brilliantly in Spanish. Justifiably, Tirso's characters boast about the virtuoso poetry. Moreover, Tirso employs historical context ingeniously in the sendee of the plot's twists, turns, and linguistic acrobatics. Given the complex language and courtly environment, Halkorhee's suggestion (cited by Garcia 14) makes sense that the piece was probably written for a palace audience.Amar por arte mayor, which takes place in tenth-century Leon, features two jealous kings, one jealous infanta, and one highborn couple secretly in love. We watch as Don Lope and Dona Elvira cleverly pick their way through the minefield that is the passions of royalty. Before the beginning of the play, Don Lope, erstwhile favorite of King Sancho, fled Navarra because of fallout over both men's love for Isabela. She escaped to France and was married to the French king. Now in Leon, Lope and Dona Elvira have fallen in love. King Sancho asks the Asturian-Leonese king, Ordono, to arrest and return Lope to Navarra. Ordono instead appoints the fugitive as his own mayordomo mayor. This king craves Dona Elvira, while his sister, the Infanta Dona Blanca (promised to an Asturian duke), develops a tendre for Lope out of excessive sympathy for his former love Isabela.This work is a hothouse for deceit, rife with ambiguity; metatheater; soliloquies, double- and triple-speak, and sotto-voce plotting. Lope, Elvira, and Blanca all engage in complex deceptions of each other and of King Ordono to further their amorous pursuits. …

Przykazanie ekologiczne

In May 2015 Pope Francis published the encyclical entitled Laudato Si' about the proper understanding of the issue of ecology. The subject is understood by the Holy Father as one that is most natural, usual and simple, but at the same time obliging everybody, rousing and engaging both in the worldly, popular and everyday sense and in the essentially religious one, which means spiritually and morally absorbing. From the whole of Pope Francis's argument presented in the encyclical it undoubtedly follows that care of the world, also the temporal one, that is ecological life and work, is both a natural and at the same time God's commandment for man, and this means: for each man, both for a believer in God as the Creator of the world, and for a non-believer, but one who is sensible at the basic level of natural law. The Pope suggests adding the theological understanding of ecology to the common one. As a result in Pope Francis's encyclical Laudato Si' we have received a realistic, but at the same time mystic, evangelical approach to ecology, one in the light of Christ, with the simplicity of the truth, of love of life, also of the worldly life, and with the light of beauty – the beauty of God, man, the earth and the universe. Hence, integral ecology is – according to Pope Francis – a commandment given by God to believers and to non-believers, both to the impersonal world, and to the human, personal one. True ecology stems from the reality of creation, from the love of God and man, from man's participation in the work of creation, and finally from the sense of self-preservation of the human being.

The Ecological Commandment

In May 2015 Pope Francis published the encyclical entitled Laudato Si’ about the proper understanding of the issue of ecology. The subject is understood by the Holy Father as one that is most natural, usual and simple, but at the same time obliging everybody, rousing and engaging both in the worldly, popular and everyday sense and in the essentially religious one, which means spiritually and morally absorbing. From the whole of Pope Francis's argument presented in the encyclical it undoubtedly follows that care of the world, also the temporal one, that is ecological life and work, is both a natural and at the same time God's commandment for man, and this means: for each man, both for a believer in God as the Creator of the world, and for a non-believer, but one who is sensible at the basic level of natural law. The Pope suggests adding the theological understanding of ecology to the common one. As a result in Pope Francis's encyclical Laudato Si’ we have received a realistic, but at the same time mystic, evangelical approach to ecology, one in the light of Christ, with the simplicity of the truth, of love of life, also of the worldly life, and with the light of beauty – the beauty of God, man, the earth and the universe. Hence, integral ecology is – according to Pope Francis – a commandment given by God to believers and to non-believers, both to the impersonal world, and to the human, personal one. True ecology stems from the reality of creation, from the love of God and man, from man’s participation in the work of creation, and finally from the sense of self-preservation of the human being.

A Reconsideration of Man and Woman's Love in Yee Ok's Literature

A Reconsideration of Man and Woman's Love in Yee Ok's Literature

Blood Feuds and Revenge in Canons and Medieval Statutes and Social Consequences

In this paper as object of this publication is the phenomenon of blood feud murders as a medieval phenomenon, which continues to accompany the life of the Albanian nation in modern times bringing loss of life and other negative consequences in the society. I purposefully chose this topic as a subject of study in this paper, by noticing the serious consequences that brings the blood feud, and I thought as valuable to investigate, draw conclusions, by stating the reasons and consequences of this medieval phenomenon and to submit my opinions related to this phenomenon. Through this study i want to point out the flow of this medieval phenomenon, reflecting its negative side as well as the consequences of this phenomenon, the tendency of this phenomenon nowdays, the work of the state authorities and non-governmental social organizations to mitigate this phenomenon, always in the service of life and freedom of the individual. Murders are the most serious crimes that affect the human right to live, as a fundamental human right protected by a number of international acts such as the Universal Declaration of the General Assembly of the UN (1948), the European Convention (1950), the Constitution of the Republic of Albania etc. Martin Luterking said (4th april 1968) “It may be true that the law cannot make a man love me, but it can keep him from lynching me, and I think that's pretty important” Albanian scholars in Albania starting from the basic thesis that blood feud murders are social historical phenomena that have appeared since ancient times, in pre-state formations and blood feud was the only way of protection of certain social groups, a phenomenon which over time is replaced by the State and its structures. However in the Albanian areas this medieval phenomenon woefully continued to operate until today, that often appeared more terrific taking innocent human lives and beyond every customary rule. DOI: 10.5901/ajis.2015.v4n3p199

Aging, Late Style, and Untimeliness in Recent Literary Fiction by Martin Walser

Many of Martin Walser's early works describe the triumph of conformity over subjectivity. From the early 1990s, however, Walser's characters begin to develop a stubborn insistence on self-expression, and this externalizes their author's “late style.” In a series of extraordinarily diverse novels and collections of aphorisms, Walser elaborates what Edward W. Said calls in On Late Style (2006) an aesthetic of “intransigence, difficulty and unresolved contradiction,” which subordinates history, contemporary realities, and political correctness to the awkwardly otherworldly sensibilities of a set of protagonists who no longer care whether they are in step with their time. In The Moment of Love (Der Augenblick der Liebe, 2004), Final Flowering (Angstblüte, 2006), and A Man in Love (Ein liebender Mann, 2008), in particular, Walser presents characters who are politically incorrect, provocatively immoral, and even deliberately deviant. In this way Walser declares his own untimeliness and his own “late” rejection of what he sees as the normative authority of contemporary social and political discourse.

The Question of Men in Love: A Beauvoirian Response to Jørgen Lorentzen

In this essay, I engage Jørgen Lorentzen in his search for the man in love. Lorentzen argues that, in research on men and masculinity, men's heterosexual love is rarely a site where men may experience positive social change, offering Shakespeare's Romeo as a literary example of a man in love who undermines both power and patriarchy. Reading Simone de Beauvoir's The Ethics of Ambiguity and The Second Sex together, I argue that Beauvoir's theoretical perspective provides masculinity studies with critical insights that may mediate the ways in which scholars theorize and study the question of men and love. Using Weber's ideal types as a heuristic device, I focus on the conceptual differences between the serious man and the passionate man, arguing that men's ability to remain sovereign in love is a mark of their privileged position, their capacity to move and speak with either the power of the masculine ideal or the power of passionate freedom behind them. Either way, men are still struggling to recognize women as a peer and partner within the current structure of heterosexual relationships. However, unlike research on men and masculinity, Beauvoir's work empowers men to see the specific obstacles in their way, giving men a clear sense of hope in their search for authentic love and thus a movement toward positive social change.

Gender, Emotion Work, and Relationship Quality: A Daily Diary Study.

We use the gender relations perspective from feminist theorizing to investigate how gender and daily emotion work predict daily relationship quality in 74 couples (148 individuals in dating, cohabiting, or married relationships) primarily from the southwest U.S. Emotion work is characterized by activities that enhance others' emotional well-being. We examined emotion work two ways: trait (individuals' average levels) and state (individuals' daily fluctuations). We examined actor and partner effects of emotion work and tested for gender differences. As outcome variables, we included six types of daily relationship quality: love, commitment, satisfaction, closeness, ambivalence, and conflict. This approach allowed us to predict three aspects of relationship quality: average levels, daily fluctuations, and volatility (overall daily variability across a week). Three patterns emerged. First, emotion work predicted relationship quality in this diverse set of couples. Second, gender differences were minimal for fixed effects: Trait and state emotion work predicted higher average scores on, and positive daily increases in, individuals' own positive relationship quality and lower average ambivalence. Third, gender differences were more robust for volatility: For partner effects, having a partner who reported higher average emotion work predicted lower volatility in love, satisfaction, and closeness for women versus greater volatility in love and commitment for men. Neither gender nor emotion work predicted average levels, daily fluctuations, or volatility in conflict. We discuss implications and future directions pertaining to the unique role of gender in understanding the associations between daily emotion work and volatility in daily relationship quality for relational partners.