Shared Love Research Articles

A shared love: reciprocity and hopefulness in romantic relationships of young adults with chronic pain.

Chronic pain (≥3 months) creates pain-related challenges that may negatively affect how young adults perceive themselves, and, indeed, they often report feeling different compared to peers and prospective romantic partners. Most studies of romantic relationships in young adults living with a long-term condition (including pain), do not consider the perspective of their partner. We present the findings of a qualitative, exploratory interview study (Phase 2 of a mixed methods study). This qualitative phase aimed to explore how young adults with chronic pain and their partners navigate romantic relationships. We focused on how young adults perceive and experience their romantic relationships and the impact, challenges, and benefits associated with living with chronic pain. This study used remote (videoconferencing) photo-elicitation interviews with a convenience sample of young adults with chronic pain (aged 18-25 years, UK and Canada) and their partners. Recruitment occurred via social media, pain-related websites and organizations, and professional networks. Five young adults with chronic pain from the UK and Canada formed the e-Advisory Group and provided detailed advice throughout the study. Data analysis used the principles of inductive reflexive thematic analysis to explore the dimensions and meaning of romantic relationships from the views of young adults with chronic pain and their romantic partners. Sixteen young adults participated (seven couples plus two young adults with pain who were interviewed without their partner). The young adults with chronic pain were ages 18-24 years (mean 21.88 years, SD 2.23). Four major interpretive themes were generated: Kindred spirits-we just sort of work; Loving in everyday acts-it's not above and beyond, it's concerned supportiveness; It's OK to be vulnerable with each other-we can talk it through; and You can't see over the horizon-hopes and fears for the future. Hopefulness and reciprocity were key to the stories shared by the young adults in the current study. Despite the challenges and limitations imposed by chronic pain, their relationships were characterized by partnership and reciprocity, and they were able to be vulnerable with each other and offer each other support.

Robert Veatch's early career in bioethics, contributions to the field, and career at Georgetown University.

In this essay, I describe Bob Veatch's career from the perspective of a colleague and friend. Bob and I started our professional careers at the same time and quickly came into professional contact. With Bob's move from the Hastings Center to the Kennedy Institute, we became colleagues and worked for almost a decade on our book on death and dying. He was an outstanding co-editor and author. I believe he knew more about the philosophically connected issues in this area of bioethics than anyone publishing in the area, and it was an area of intellectual interest that he pursued throughout his career. Beyond bioethics, Bob and I shared our shared love of contemporary bluegrass music, especially the songs of The Seldom Scene. Bob studied them much as he studied bioethics-with deep knowledge and seriousness. He was just a scholar by nature and with excellent training and experience. If we were to create a Hall of Fame for bioethics, Bob might be the first person elected.

The Doctor, Ghana, and Me

The Doctor, Ghana, and Me

How To Catch Creation by Christina Anderson

Reviewed by: How To Catch Creation by Christina Anderson Isaiah Matthew Wooden HOW TO CATCH CREATION. By Christina Anderson. Directed by Niegel Smith. Goodman Theatre Company, Chicago. Streamed, March 18, 2021. In addition to forcing most performing arts institutions around the globe to go dark for an interval previously unimaginable, the COVID crisis also challenged many of them to think expansively about ways to keep audiences engaged. Chicago’s Goodman Theatre responded to the predicament of mandated social and physical distancing by launching a streaming series called “Encore,” which aimed to grant audiences opportunities to experience several of the company’s recent productions from the comfort of their homes. Free and available on-demand, the series presented a diverse range of projects, including Goodman artistic director Robert Falls’s 2013 staging of Measure for Measure and the company’s 2014 production of Noah Haidle’s Smokefall, directed by Anne Kauffman. Perhaps most excitingly, it also featured the 2019 production of Christina Anderson’s How to Catch Creation, a sweeping contemporary drama that offers rich meditations on the complexities of life, art, creativity, inspiration, and legacy. While such themes would no doubt captivate audiences during ordinary times, they took on even greater urgency during our long season of sequestering, inviting viewers to wrestle and reckon with the conversations the play activates about the inconstancy of the spark of creation. Filmed to approximate the live theatregoing experience as best as possible, the Encore presentation provided a closer look at some of the ways the Goodman’s production brought necessary coherence to the many temporal and tonal shifts that animate Anderson’s dramaturgy. Anderson’s script toggles between the Obama years and the 1960s (with brief stops in the 1980s) to weave together the story-lines of six Black artists and thinkers living in and around a place reminiscent of San Francisco. Griffin and Tami are forty-something urbanites whose friendship has endured his wrongful conviction and twenty-five-year stint in prison, as well as her periodic bouts of insecurity about her artistic and pedagogical work. Their worlds interestingly and unexpectedly collide with a young couple in their late twenties, Stokes and Riley, who count painting, writing, graphic design, and computer programming as passions between them. A shared love for the work of Black feminist, lesbian writer G. K. Marche is what initially connects Griffin and Stokes and, later, Tami and Riley. While the fictional Marche was purportedly prolific and beloved during the height of civil rights and Black Power activism, her work has mostly fallen out of favor by the time Stokes happens upon a collection of it at a street sale. Notably sustaining Marche during her peak in the 1960s was an intense romance with a seam-stress named Natalie who, it turns out, is Griffin’s late mother. Although such confluences might read too dramaturgically convenient, Anderson finds clever and compelling ways to avoid trafficking in clichés. Indeed, when Tami and Riley begin having an affair, their feelings for each other seem as much of a surprise to them as they are to us. Anderson’s poetic dialogue and measured plotting invite her characters and audiences to remain present to all the discoveries she threads throughout her script. Click for larger view View full resolution Maya Vinice Prentiss (Riley) and Karen Aldridge (Tami) in How to Catch Creation. (Photo: Liz Lauren.) Anderson was powerfully aided in this effort at the Goodman by the skillful direction of Niegel Smith and a dynamic cast that included both company veterans—Karen Aldridge (Tami), Jasmine Bracey (Natalie), Bernard Gilbert (Stokes), and Keith Randolph Smith (Griffin)—and newcomers to its stages—Ayanna Bria Bakari (Natalie) and Maya Vinice Prentiss (Riley). Aldridge and Smith’s chemistry was especially palpable onscreen. The tender relationship they crafted for Griffin and Tami provided a vital anchor throughout the show, bringing necessary seriousness and levity to the play’s many twists and turns. An expert interpreter of August Wilson’s plays, Smith proved particularly adept at finding and mining the grace notes in Anderson’s evocative language. He brought a contemplativeness [End Page 555] and optimism to Griffin that belied the bitterness one might expect the character to...

Audrey L & Audrey W: Best Friends-ish by Carter Higgins

Reviewed by: Audrey L & Audrey W: Best Friends-ish by Carter Higgins Kate Quealy-Gainer, Editor Higgins, Carter Audrey L & Audrey W: Best Friends-ish; illus. by Jennifer K. Mann. Chronicle, 2021 [184p] Trade ed. ISBN 9781452183947 $14.99 E-book ed. 9781797200620 $9.99 Reviewed from digital galleys R Gr. 2-3 Second grader Audrey L can’t seem to find her niche; she’s not the best artist, or the best runner, or the best student in Ms. Fincastle’s class, but maybe, just maybe, she can be the best Welcome Ambassador to the new kid Audrey W. The week starts badly with Audrey L dropping the cake she had made for Audrey W, but things take a brighter turn when the two girls discover their shared love of the color purple, fancy stationery, and winged unicorns. Still, making new friends is difficult, especially when Audrey W proves to be quite the go-getter, and eventually a playdate gone wrong threatens to derail the whole relationship. Higgins has a keen ear for both the chaos of elementary school classrooms and the turbulent inner lives of elementary aged kids; noisy music lessons, unexpected fire drills, and tricky spelling tests make up the school milieu, while focalization on Audrey L paints an authentic picture of an insecure kid’s challenges with making friends. The text is simple and direct but often steeped in the sensorial, effectively conveying Audrey L’s emotions: “Bobo’s clatter matched Audrey’s insides, all jangly and rattly and antsy.” Black and white illustrations recall Quentin Blake’s scratchy pencilwork muted with dappling shades of gray. Readers who’ve outgrown the first-grade escapades of Green’s Princess Posey (Princess Posey and the First Grade Parade, BCCB 6/10, etc.) but aren’t quite ready [End Page 59] for English’s Carver Chronicles (Skateboard Party, BCCB 2/15, etc.) will find their sweet spot with this easy reader. Copyright © 2021 The Board of Trustees of the University of Illinois

Juliette ou Les morts ne portent pas de bigoudis par Pénélope Mallard

Reviewed by: Juliette ou Les morts ne portent pas de bigoudis par Pénélope Mallard Kate M. Bonin Mallard, Pénélope. Juliette ou Les morts ne portent pas de bigoudis. Lévesque, 2020. ISBN 978-2-89763-094-2. Pp. 121. This charming first novel invites multiple readings; or one might say it steadily refuses closure. Alternation flows from the title itself: is this the coming-of-age narrative of Juliette, a young Québécoise returning home to the city of Rimouski after completing her studies in France? Or does the narrative more broadly encompass the network of family members, some living but most dead (and straight-haired, as the title suggests), who form Juliette's matrix of memories, teachings, values shared or rejected? At home or abroad, Juliette's family is inescapable, as she goes about her everyday life accompanied by the unruly ghost of Momone, her grandmother, the genie-like inhabitant of a rose-colored teakettle. The marvelous and the mundane go hand in hand here: Momone's haunted teakettle is stowed as a piece of (unruly) carry-on baggage; Tonton Anatole appears to possess the secrets of telekinesis, but he also knows a killer recipe for salad vinaigrette; Juliette loses focus during a medical exam and dialogues with Claude Monet himself by way of a Giverny landscape hanging in the doctor's office. Juliette is comprised of eighteen chapters, each of which may be read [End Page 271] as an independent short story: a "roman par nouvelles," as the title page announces. Aristotelian dramatic structure is utterly rejected in favor of loosely interwoven vignettes that loop back and forth in time and space. Although Juliette's matrilineal ancestors settled in Quebec and (literally) put down deep roots in the New World, she and various family members crisscross the Atlantic as the scene shifts: from World War II-era Paris to farmland in Bretagne to coastal Quebec. Matrilineal heritage both enriches and weighs down Juliette and her extended (mostly female) family circle: gorgeous but sinister heirlooms; genetic predispositions toward twins and toward rheumatoid arthritis; a shared love of gardens and growing things. Where Juliette's dour father believes in stoic acceptance of life's misery—"La vie est une vaste tartine de merde, Juliette. Il faut en manger un peu tous les jours" (37)—Juliette's own philosophy seems more energetic, free-spirited, and inclusive: "Les graines, c'est à tout le monde. Ça doit circuler, ça doit se promener" (109). Such a de-territorialized worldview may strike readers as a bit rosy-colored. When Juliette is welcomed onto a small island in the Saint-Lawrence river by a delegation of gracious, multi-ethnic ghosts, one can't help but wonder what happened to the centuries of strife and territorial aggression among these Iroquois, Micmacs, Scottish, French, Basques, even Vikings who traded violent possession of the territory. Can a ghost story that takes place in a multinational, inter-generational setting not be haunted by a grim colonial past? Evidently, it can. Mallard's delightful, uncanny fable with its unconventional heroine(s) invites readers to suspend some of our beliefs as well as our disbelief, and to refocus our attention on the everyday miracles of forests, fields, and gardens. Kate M. Bonin Arcadia University (PA) Copyright © 2021 American Association of Teachers of French

Remembering Peter Sutherland: A Personal Tribute

Remembering Peter Sutherland: A Personal Tribute Garrett Sheehan Alive, awake, alert, generous, good humoured, warm-hearted, energetic, funny, loyal, reliable, committed and sometimes difficult are all words that come to mind when thinking of Peter Sutherland. I first met him in the autumn of 1954 when we both arrived at Gonzaga College. A shared love of rugby, even at that early stage, was what sparked our friendship. Indeed, this passion of Peter’s was the foundation of many of his life-long friendships, though by no means the only one. His capacity to hold, sustain and develop a wide range of friendships was one of his outstanding qualities. Looking back on those early years, I do not think that even Peter himself could have foreseen the important roles that he would later take on with such distinction. Or then again, perhaps he did.After all, in an interview with UCD Connections in 2010 Peter said that he knew at an early age that he wanted to be a barrister. I do not remember that being discussed by him, but it may help to partly explain why he found it unnecessary to pay too much attention to his school work. It has been suggested that he was a late developer, but this is by no means the full story. It is sometimes forgotten that Peter had a very busy social life to attend to. While he had good friends and rugby in Gonzaga, he also had another life in Monkstown where he grew up. He was a member of the local tennis club, he swam in the baths at Blackrock and at other south-city seaside locations and, during Christmas holidays, he played for the Lansdowne schoolboys team. This last activity helped to cement the very good relationship he had with his father, who was happy as a prominent member of that club to welcome a number of Gonzaga boys, despite our lack of success in schools rugby. Peter was an enthusiastic captain, always ready to encourage the troops and, if he led Gonzaga to many defeats, he did so without ever throwing in the towel. It may be that the constant heartbreak of seemingly endless defeats put a sliver of steel in his backbone, preparing him for the opportunities and tasks that lay ahead. We can understand a little more about the importance of Monkstown Studies • volume 109 • number 434 134 in Peter’s life from a piece he wrote in a booklet marking the 125th year of Monkstown Tennis Club. He began as follows: ‘I do not know what Monkstown LTC is like now, but it cannot possibly hold a candle to the way it was in the late 1950s and early 1960s. Those were the halcyon days. The sun always shone and momentous events occurred only in Monkstown. We had forsaken the Forty-Foot and women had intruded into our lives. Maybe they were related. John Arigho, the Brodericks, Colm Harding, Damien Murphy, and Johnny Kelliher decided somehow on a change of lifestyle’. A feature of our early education was the reading list handed out at the beginning of each term. We were encouraged to read widely. When it came to the Just William and Biggles books, Peter was way ahead of the rest of us. There was not a book in either collection that he had not read. Could it be that Biggles prompted his early interest in European history and politics? By the time we had reached fourth year, Peter had a tremendous grasp of Irish and English politics, which had not been acquired at school. And we also need to remember that when he was in third year his time for study was further limited by the fact that he not only captained the junior rugby team but also played that same year for the senior team in the Leinster Schools Cup. An Comhdháil, the school debating society set up by the late Joe Veale SJ, played an important part in our lives. David Fassbender another friend, class- and team-mate of Peter’s, recently reminded me of the outstanding maiden speech that he gave in fourth year. At the time, the rules dictated...

Technology stands out at SynBioBeta

SynBioBeta is a hodgepodge of a conference. The annual gathering of synthetic biology devotees in San Francisco is filled with start-ups touting wares such as ski jackets made from spider silk and services like customized protein engineering. The speakers hail from industries as diverse as cosmetics and cannabis. What unites the attendees is their shared love of tinkering with biology via genetic engineering. One of the conference’s regular headliners is the Harvard University geneticist and entrepreneur George Church. This year he was joined onstage by the former Google CEO Eric Schmidt, a pairing that highlighted tech leaders’ growing fascination with ways to control biology. Although personalized medicines and engineered superfoods are the kinds of applications that the synthetic biologists at SynBioBeta are after, the tools they need to carefully manipulate cells and their genes are a work in progress. This year the biggest news during SynBioBeta came from start-ups that

Simone Weil and Hannah Arendt on the Beautiful and the Just

ABSTRACTDespite certain similarities in their backgrounds, French philosopher Simone Weil (1909–43) and German-American philosopher Hannah Arendt (1906–75) had dramatically different perspectives on the importance of politics. Yet both thinkers turned to Homer’s Iliad as a way of understanding the atrocities of WWII and the rise of authoritarian regimes. While each author comments on the beauty of the poem, they also argue that the Iliad demonstrates the grave injustices that humans are capable of as well as a remedy for the same. This shared love of aesthetic beauty drew them to a common account of justice, one that insists on recognizing the full autonomy of the other while also insisting on a duty to care for those in need. Finally, both authors prescribe aesthetic beauty as necessary for maintaining the health of democratic regimes.

More than Shared Love: Does Sharing a Passionate Activity with a Romantic Partner Strengthen the Relationship?

The Dualistic Model of Passion (Vallerand et al. Journal of Personality and Social Psychology, 85, 756–767, 2003) suggests the existence of two types of passion: harmonious (HP) and obsessive (OP). Previous research in positive psychology has shown that passion can be oriented toward activities, as well as romantic partners, and that both are important for people’s well-being and relationships. The purpose of the present research was to integrate these two areas of passion by examining how one’s type of passion for a joint activity and for a romantic partner influences the experience of positive and negative emotions during the joint activity, and its impact on the strengthening of the relationship. Results from a path analysis (N = 205) revealed that HP for the joint activity and for the romantic partner both positively predicted the experience of positive emotions during the joint activity that, in turn, positively predicted the strengthening of the relationship. Conversely, OP for the joint activity and for the romantic partner both positively predicted the experience of negative emotions during the joint activity that, in turn, negatively predicted the strengthening of the relationship. These findings suggest that these two domains of passion make an important and unique contribution to romantic relationships.

Far from a Drag: How One Library Embraced Drag Queen Story Hour

Children’s librarians and drag queens have more in common than our shared love of glitter.When Drag Queen Story Hour (DQSH) approached the Early Literacy Department at the New York Public Library (NYPL) to ask us about facilitating their programs in our branches, we were eager to get started. Conceived of by Michelle Tea and Radar Productions in San Francisco, DQSH now operates out of Los Angeles, New York, and New Jersey, inspires events around the world, and can be found at DragQueenStoryHour.org.

Scot Matkovich: Keep on Keeping on.

Scot Matkovich grew up close to the city of Melbourne where, as a university student, he first became fascinated with the heart. This fascination eventually took Matkovich across the globe to New York City, where in 2000, he took up a postdoctoral role at Columbia University. After two further laboratory moves—once to the University of Cincinnati and then to Washington University in St. Louis—and more than a decade of research into cardiac pathologies,1–6 Matkovich became what so many young scientists dream of: a tenure track assistant professor. But in 2016, his funding, his beloved research, and his dreams all came to an end. Scot Matkovich OK, not really. Sure, losing funding was a blow to the ego initially, Matkovich tells Circulation Research , but he was not the type to give up. And Matkovich is continuing to carve out a research career filled with rewarding collaborations, valuable discoveries, and, despite no longer running his own laboratory, considerable autonomy. Through it all, he said, he realized that you do not necessarily need to be running the show in order to make big impacts and enjoy performing on the scientific stage. Indeed, Matkovich argues, young scientists working their way up the ranks should be advised of the difficulties of becoming a group leader but not necessarily driven away from scientific research because of that. Matkovich is currently a research-track faculty member in the laboratory of Douglas Mann at Washington University in St. Louis, where he studies, among other things, heart failure and remodeling7 and the role of the cardiac innate immune system. I was a shy, nerdy sort of kid. I was always strong academically. I was good at math and really enjoyed chemistry. I devoured books of all kinds, but I was also drawn to music from …

In Memoriam: Chauncey Wood, 1935-2020

In MemoriamChauncey Wood, 1935-2020 Sidney Gottlieb I have spent many years with George Herbert, and the better part of that time – truly the better part, qualitatively as well as arithmetically – has been alongside Chauncey Wood, usually at a distance but always feeling that he was close. For me, there is Herbert before Chauncey and Herbert after Chauncey, and the glow of the latter surely has warmed everyone now reading what I am writing. That is why I am so sad to write that he died on March 27, 2020, at the Hospice of the Valley, Phoenix, Arizona, after a long battle with cancer. He is survived by Sarah, his loving, beloved, and inseparable wife of more than fifty-eight years, two daughters, Stephanie and Jennifer, and a granddaughter, Vanessa. Although he lived elsewhere for most of his life, Chauncey was a proud New Jerseyan. He was born in Englewood on June 16, 1935, grew up in Tenafly, and went to Tenafly High School, Union College, where he was elected to Phi Beta Kappa, and then Princeton University, where he received his Ph.D., specializing in medieval literature, attracted to this field particularly after being introduced to it by legendary Princeton professor and scholar D.W. Robertson. Chauncey taught briefly at Hollins College, University of Cincinnati, and the University of Wisconsin before moving to McMaster University in Ontario, Canada, where he was an extraordinarily dedicated, popular, and effective teacher (recognized by a Best Teacher award) and administrator and prolific researcher and scholarly writer until he retired in 1996. But retirement is not a word that can be easily applied to Chauncey, and he went on to be a visiting professor at numerous institutions, including Western Michigan University, College of Charleston, University of New Mexico (Albuquerque), and the Arizona Center for Medieval and Renaissance Studies (the latter as Distinguished Visiting Professor, where the students liked him so much they formally petitioned to have him come back). [End Page 1] Click for larger view View full resolution Figure 1. Click for larger view View full resolution Figure 2. We know him primarily as a Herbertian – and in many ways as the Herbertian. Some years ago I took great pleasure in not entirely jokingly introducing him at a conference as the current Godfather of Herbert Studies, a position of honor that was well earned: as author of numerous finely written and deeply researched articles on Herbert; teacher and mentor to lots of people doing important and often subsequently published work on Herbert; absolutely indefatigable and wise consultant reader of papers submitted to the George Herbert Journal; conference organizer; co-founder and reliable advisor to the George Herbert Society; and on and on. But there's so much more: Chauncey chased birds and butterflies as well as Herbert. He and Sarah were out every weekend, and through the years traveled widely and birded from Manitoba to Key West, the Everglades, and the Rio Grande. And though for many years I have been in constant touch with him, I'm now realizing that I still missed things about him, which Sarah continues to fill me in on: Chauncey and I corresponded constantly about our shared love of the New York Knicks, but I didn't realize that he was "a pretty good basketball player up until his retirement." And though I knew he had a keen ear for Herbert's musicality, I didn't know that he was a talented jazz clarinetist. I did know that he was a photographer, and have copies of some of his stunning and radiant shots of butterflies (two of which are reprinted as figures 1 and 2). But my favorite Chauncey picture is not one he shot but one he is in (figure 3), presenting the first of an award that is so rightly named after him and acknowledges how much he has done for us and how much he is loved, appreciated, and respected. In his last message to me, knowing that the end was near, he wrote honestly and bravely about "inevitable decline," gratefully about the [End Page 2] Click for larger view View full resolution Figure 3. Simon Jackson receives the inaugural Chauncey Wood Dissertation...

My Beloved Man. The Letters of Benjamin Britten and Peter Pears ed. by Vicki P. Stroeher, Nicholas Clark, Jude Brimmer

Reviewed by: My Beloved Man. The Letters of Benjamin Britten and Peter Pears ed. by Vicki P. Stroeher, Nicholas Clark, Jude Brimmer Cameron Pyke My Beloved Man. The Letters of Benjamin Britten and Peter Pears. Edited by Vicki P. Stroeher, Nicholas Clark, and Jude Brimmer. Foreword by Fiona Shaw. (Aldeburgh Studies in Music, vol. 10.) Woodbridge: The Boydell Press, 2016. [452p. ISBN 978-1-78327-108-5 (hardback). ISBN 978-1-78204-629-5 (e-book). £25] This handsomely produced volume contains the complete surviving correspondence between Britten and Pears, from 1937 to 1967. A number of the letters have been previously published in full or in part in the series Benjamin Britten: Letters from A Life, but to present the letters complete (as Pears himself intended) in chronological order and conveniently annotated makes a compelling and readable narrative, shedding light on the development of a relationship which was of the greatest importance in both creative and personal terms. For the most part, these are, inevitably, letters defined by separation and there are some protracted gaps, as between October 1966 and February 1968. In addition, post-1970 letter-writing had clearly become subordinate to the telephone and falls off dramatically. Nevertheless, one is presented with a vivid overall sense of a relationship which was both personally and artistically driven. It develops from the sexual as well as artistic intimacy of the earlier letters, Pears giving Britten ‘a loving critical confidence – in every way’ (Britten to Pears, March ?22–4, 1950), to, one senses, a greater detachment on Pears’s part by the time the relationship settled into a regular domesticity focused on the Red House after his and Britten’s move there in 1957. Finally, during Britten’s final illness, we have the wonderful exchange of letters in November 1974, which eloquently sums up the entire relationship and is, appropriately, reproduced as an illustration. That said, those looking for startling revelations, either personal or musical, will be disappointed; there is likewise little reference to the contemporary political scene. There is also relatively little about Britten’s music beyond the genesis of Peter Grimes and Spring Symphony, although we have some telling glimpses of his working practice (as with ‘a solitary thinking walk’ in Venice in February 1968). What comes across much more strongly is a shared love of Bach, Mozart, and Verdi, the latter evident in Britten’s joy on receiving the score of La Traviata from Pears in 1950 (‘one learns so much from Verdi so B[illy] B[udd] will be a better opera for your present, I’ve no doubt!’], and a very practical (and unsparingly self-critical) focus on musical performance and communication. One is also left with a clear sense that Pears’s own cultural formation (not least at Lancing College, his alma mater) and his musical judgements were both strongly assertive whilst highly complementary to those of Britten: Pears thus wrote in November 1942, ‘I am so ambitious for you, as I am for myself’. Six years later, hearing a recording of Paul Bunyan made him ‘cry & shudder . . . The performance was appalling! and some of it is faintly embarrassing, though I believe by drastic cutting one could make a thing of it still’. Yet this is also elusive: there is very little reference to, for example, Pears’s significant influence on Britten in selecting poetry to set to music, or how Pears really viewed the instrumental works Britten composed for other performers. Indeed, whilst the letters are frequently indicative of a high cultural intelligence, with several notable exceptions they are practical, even prosaic, in tone, and perhaps increasingly so as the decades move on. Their responses to external events can also seem inhibited. If the experience of visiting Belsen in August 1945 undoubtedly had an immense impact on Britten, it is his sense of duty as a composer to perform there which comes across more strongly in his letter to Pears at that time. Yet we know that Britten’s acute appreciation of inhumanity was a potent creative force: in 1959, during the gestation of A Midsummer Night’s Dream, he has a nightmare of ‘moans & shrieks all night, just like animals or...

Meilės miesto chronotopas: Kauno vaizdinys lietuvių kultūroje

This article discusses the image of Kaunas as a city of love, which is noticeable in different narratives: novels The Novel of Kaunas (1973) by Alfonsas Bieliauskas and Tūla (1993) by Jurgis Kunčinas, the social advertisement “Wherever I Am: Kaunas Is My Hometown” by Monika Vilčinskienė (2008) and the representative Kaunas video “Kaunas Is Sharing Love” by the Studio of Kaunas Cinema (2013). The concept of “narrative as a socially symbolic act” (Fredric Jameson) and the concept of “chronotope” (Mikhail Bakhtin) help to analyse emerging images of the city. The investigation reveals that all the narratives represent: 1) love for Kaunas, 2) a city where people are (happily or unhappily) in love, 3) personified city, which is in love. This shows the mark of love which is significant in the whole narrative of Kaunas. However, different modes of art production propose different mirages of this city. The chronotope of unhappy love is noticeable in the novels representing soviet Kaunas, while the chronotope of idyllic city is very bright in non-literary narratives representing current Kaunas.

Starting out - Shared love of music helped me connect with care home resident

Starting out - Shared love of music helped me connect with care home resident

Shared love of music helped me connect with care home resident.

There can be acts of compassion, but compassion is not an act. Compassion has no time frame or limitations. It is a way of being and a state of mind, not simply something we do to others. This is how I came to define compassion through a module I completed as part of my nursing degree at the University of York.

No folds barred: a review of the documentary film, Between the Folds

In this award-winning documentary, Between the Folds, film-maker Vanessa Gould follows various artists and scientists and explores their shared love for paperfolding. Blurring the lines between ‘the science of art, the art of science’, Gould reveals how the creativity and intricacies of origami mimic nature’s own mysteries. This art form, once associated as a simple pastime for children, ranges in its expression. The provocative folds mimic all aspects of life, from human emotion to the detailed structure of a double helix. These artists-scientists appear qualified to solve any mystery, all with paper-folding. Between the Folds is an intriguing film about an art discipline that utilizes creativity and science.

가족자원봉사 프로그램개발과 만족도에 관한 연구: "새싹으로 나누는 사랑, 함께하는 기쁨" 프로그램과 참여자를 중심으로

가족자원봉사 프로그램개발과 만족도에 관한 연구: "새싹으로 나누는 사랑, 함께하는 기쁨" 프로그램과 참여자를 중심으로

The Social Salvation of Rev. Yonggi Cho and the Old Testament : His Sharing Love and Happiness in the Light of Deut. 15:1-11

This article is intended to examine the issue of sharing love and happiness as a part of social salvation. This subject has been expressed in Deut. 15:1-11 and in Youngsan’s sermons and writings. This paper purports to search the grounds of sharing love and happiness in the above biblical text through exegetical study, to examine the relationship between the text and Youngsan’s thought and to confirm the merits of his idea. After studying Deut. 15:1-11 through exegetical method, we can find God is good and He doesn’t want there are the poor in His people. God himself orders the relatively rich to care and support the poor with financial release and loaning. God wants the rich to react against the problem of ‘poverty’ in a faith community with spontaneous acts. God promises many abundant blessings to the obedient of His order. But Deut. 15:1- 11 considers those who not follow His direction as sinners to be cursed. In sum, this text proclaims the rich has the responsibility to give some financial supports to the poor namely to share love and happiness with the poor so that they bring God’s blessing to their community. Proclaiming the ‘Holistic Salvation’ through the ‘Threefold Blessing’, Rev Yonggi Cho’s theology has been done distinguished services to show the multi-dimensioned aspects of salvation. He insists that God is the savior of not only human soul, but also human body and environment. Especially because he found “poverty” doesn’t appear as blessing, he has endeavored to improve the lives of believers. Furthermore, in elucidating the salvation of the environment through Jesus’ redemption, Youngsan didn’t limit his thought to believer’s individual salvation, but has presented sharing love and happiness movement as a solution to many social problems like poverty, homelessness, unemployment etc. Youngsan’s blessing pursues not egoistic, individual and shamanic blessing, but the blessing related to sharing love and happiness which has its root in the Bible. His blessing theory depends upon God’s goodness who gave His only son, Jesus Christ to give love and blessing to believers. For example recently Youngsan founded “The Sharing Love and Happiness Foundation” and has given many supports to the old, the weak, the crippled through that foundation. He has proclaimed the Gospel of Jesus that saves all humankind from sin, poverty, disease, frustration, and has always interested in social problems. Nowadays he does his best to make his opinion be a practical gopsel to the poor and the weak. This is the way Deut. 15:1-11 shows and Youngsan goes.