Time Of Love Research Articles

Conceptosphere of the basic concept “winter” in Yu. Shestalov’s lyrical poetry

The article presents a description of the conceptual sphere with the basic concept of “winter”, based on the lyrical poetry of the famous Mansi poet Yuvan Shestalov. The article develops philological regionalism as a current trend in literary criticism. Based on a conceptual analysis of two volumes of the poet’s poems from his complete works, the article suggests this conceptual sphere, proving the objective choice of the nearest periphery concepts by providing examples from the texts. The immediate periphery includes such concepts and their variants as “snow” (ice, blizzard, snowstorm, snow squall); “sleep”; “night” (stars, moon); “road” (skis, sleds, deer, movement, path); “fire” (bonfire, flame, hearth heat, hot tea, ray of sunshine, northern lights). The key conclusion is that winter for the lyrical hero is a time of discovery, a time of learning new things, moving forward, a time of love and creativity. This perception of winter and Ugra as a whole is at odds with the generally accepted perception of the northern region. We believe the presented analysis will help visualize the mental space of the peoples from the North and the “winter” concept functions in the poet’s lyrical poetry to better understand his individual works, at the same time evaluating his work as an integral, mobile and developing system.

"Time of Theatre or How We Made a Fairy Tale with Auntie Ilonka, the Wild Woman"

"There is human time and there is wild time. But there is also the time of love and peace and care. And there is the time when stories are born. The text describes the puppet performance for adults called Ilonka. Ileana Lăcătuș, Ilona Lakatos was a Gypsy woman who lived with her daughters and their families in a small basement flat in a small street near the Slaughterhouse in Cluj Napoca. We had known each other for more than twenty years. For me she was the archetype of the Wild Woman, the timeless, who stands on the borderline between myth and reality like La Loba. This realization led me when I decided to bring her life stories to life in a puppet show, because who could convey this story, in which life can turn into death and death into life at any moment, more aptly and authentically than a puppet? Where can you step out of time (and space too) better than in a puppet theater? Aunt Ilonka’s life stories are minority stories and universal, because they are based on the same general female roles and situations, regardless of time and geographical coordinates, culture, social background, and skin color. These are built on four major Motifs: 1. “I was afraid” 2. “I say, it’s good” 3. Moving on, progress 4. Fairy godmothers The puppet show for adults entitled Ilonka 96 was co-created by Kata Palocsay, who selected the text from Csilla Könczei and Ilonka Lăcătuș’s book entitled Aunt Ilonka and directed the performance. András Hatházi, who dramatized the selection. Emese Erdei, who performed in the play. The scenery was designed and created by Kata Palocsay, Emese Erdei and Rebeka Hatházi. The stage movement was set by Enikő Györgyjakab. Dorottya Balog assisted in moving the marionette. The technical assistant of the performance was Júlia Sipos. The video projections include animated images of Gypsy artists’ works and an excerpt from the film by Csilla Könczei and Tibor Schneider, starring Ilonka Lăcătuș. Because time passes in vain. We in the theater are always in the present tense."

War in the Time of Love: Reflection on the Paper by Svyatoslav Kaspe in the Light of the Distinction between Private and Public Enmity in the Teachings of Carl Schmitt

The article develops the discussion initiated by professor S. I. Kaspe in his 2023 paper Love in the Time of War. Contra autonomy of the Political. The text formulates Carl Schmitt’s supposed response to S. I. Kaspe’s proposal to de-autonomize the political by creating an opportunity for the partial subordination of political relations to the Christian commandment, indicating the necessity of love for one’s enemies (Mt 5:44). It is noted that, according to Schmitt, the considered prescription is valid only for private enmity, representing a different continuum in relation to the public enmity that realizes political antagonism. Love directed towards a private enemy is entirely acceptable to Schmitt. In the conditions of external tension, it can contribute to the temporary oblivion of interpersonal conflicts, thus strengthening political unity, and is fully consistent with the logic of Schmitt’s teaching. Carl Schmitt’s reference to Plato’s description of stasis (civil war, sedition) as an illustration of the private enmity is analyzed in the text in the light of its possible contradictions. It is argued that none of the forms of stasis reveals confrontation with inimicus, the private enemy. It is questioned whether love is admissible under the conditions of a full-fledged foreign war (in Schmitt’s understanding) as the apogee of political enmity. The answer takes the characteristics of various forms of war into account. A number of contemporary military trends is considered as significantly narrowing the space for love.

No Time for Love? The Impact of ICTs on Time Allocation and Relationships in Japan

No Time for Love? The Impact of ICTs on Time Allocation and Relationships in Japan

Science in the time of love

Stargazers and environmentalists say Valentine's Day is an ideal prop for heartfelt messages. Stargazers and environmentalists say Valentine's Day is an ideal prop for heartfelt messages.

(No) time for love: Reflecting on relationships in psychotherapy

ABSTRACTThis paper presents a response to the six papers comprising this special issue on Love, Sex and Psychotherapy in a Postromantic Era. The theme of temporality is explored in reading the papers: specifically, time in terms of self-other development and the capacity to relate to others as a separate subjectivity, the social and cultural context in which we are situated, and temporality in psychotherapy. In responding to the papers, it is argued that psychoanalysis perhaps never was a ‘romantic’ endeavour, recognising as it does the fantasies and fictions involved in the idea of unconditional, and everlasting love. Rather, it recognises the role of being able to tolerate love and hatred in the experience of intimate relationships, whatever its forms.

Embryo Implantation: War in Times of Love.

Contrary to widespread belief, the implantation of an embryo for the initiation of pregnancy is like a battle, in that the embryo uses a variety of coercive tactics to force its acceptance by the endometrium. We propose that embryo implantation involves a three-step process: (1) identification of a receptive endometrium; (2) superimposition of a blastocyst-derived signature onto the receptive endometrium before implantation; and finally (3) breaching by the embryo and trophoblast invasion, culminating in decidualization and placentation. We review here the story that is beginning to emerge, focusing primarily on the cells that are in "combat" during this process.

Time for love: Partners’ time perspectives predict relationship satisfaction in romantic heterosexual couples

The aim of the present research was to explore the role of individual differences in time perspective (TP) in predicting two relationship quality indicators: general relationship satisfaction and sexual satisfaction, in romantic heterosexual couples. A total amount of 100 dyads took part in the study. Our study revealed that relationship satisfaction indices are predicted by partners’ time perspectives; both actor and partner effects proved significant. For instance, past-negative was related to lower general relationship satisfaction, whereas past-positive proved detrimental to sexual satisfaction. Higher relationship (but not sexual) satisfaction was related to a more balanced time perspective. Moreover, we demonstrated that the role of some time perspective dimensions may change with relationship length, e.g., a relationship between future-positive (FP) time perspective and females’ relationship satisfaction proved to change across relationship course from significantly negative to strongly positive. Contrary to our hypotheses, we found no evidence for assortative mating effects for time perspective dimensions. The present results provide evidence for the role of psychological temporality in relationship functioning and suggests potential utility of time perspective theories in practical interventions aimed to improve romantic relationships’ quality.

Introduction

Introduction

Marriage Consent vis-à-vis St. Thomas Aquinas’ notion on Internal Freedom

No abstract

TIME FOR LOVE: The Place of Marriage and Children in the Thought of Stanley Hauerwas

ABSTRACTIn essays written throughout his career, Stanley Hauerwas has unfolded a Christian vision of the marriage bond and the presence of children that seeks insistently to place these seemingly natural bonds within the new family of God that is the church. I examine his understanding, aiming to appreciate the Christian vision displayed while also suggesting that his emphasis on the new thing God does in the church is sometimes allowed to absorb and thereby lose the distinctive significance of the created bonds of marriage and family.

Bishop in Love

Bishop in Love David Wyatt (bio) “Read ALL of somebody,” Elizabeth Bishop wrote in a letter of 1948. The eighty-five poems published during her lifetime fill fewer than 130 pages in the 2008 Library of America volume, Elizabeth Bishop: Poems, Prose, and Letters. But the “ALL” of the experience cannot be measured, since each of the poems offers itself up as a sensuous world of unique depth and proportion. Fit though few, we might say: when it comes to poetic influence, Eliot’s on his half of the twentieth century was to derive from six or seven poems published between 1915 and 1925. While Williams spoke of Eliot’s impact as that of a bomb going off, Bishop’s might best be likened to a slow burn. Overshadowed during her life by the histrionic Lowell, she had become, by the century’s end, the more dominant figure, earning for herself a place as one of “the two towering presences”—the second is Charles Olson—with whom Jahan Ramazani chooses to open Volume 2 of his 2003 edition of The Norton Anthology of Modern and Contemporary Poetry. Like Yeats, Bishop grew stronger and deeper as she grew older, a development culminating in Geography III (1976). Along the way she gave us such masterpieces as “The Map,” “The Fish,” “At the Fishhouses,” and “Arrival at Santos,” all of which prepare the way for the ultimate dramatic monologue on exile, solitude, loss, and survival, “Crusoe in England,” a poem to set alongside “The Waste Land,” “Home Burial,” and “Sunday Morning.” Bishop’s longest poem is also a love poem. “Shampoo” and “One Art” each invoke a present or a lost lover, but “Crusoe” is the only Bishop poem that enacts the story of a relationship. I follow most [End Page 25] readers in taking the poem as an elegy for an actual life companion, found and lost. On a trip to Brazil in 1952, while staying with a friend named Lota de Macedo Soares, Bishop fell ill after eating a cashew nut. Lota cared for her, and then asked Bishop to stay. “I’ve never in my life had anyone make that kind of gesture toward me,” Bishop was to say, “and it just meant everything.” The warrant for reading their story back into the poem comes not only from the many likenesses between the Crusoe-Friday relation and the Bishop-Lota connection, but also from the notoriously discreet poet allowing Lota to enter the order of the published poems themselves, when she names her in the dedication to Questions of Travel (1965), her third book: FOR LOTA DE MACEDO SOARES … O dar-vos quanto tenho e quanto posso,Que quanto mais vos pago, mais vos devo. Camões Finished in 1970 and first published in 1972, “Crusoe in England” is a poem of 182 lines and three distinct parts: the Before, the During, and the After. Everything is measured from the moment when “Friday came.” The interval that follows, the time of love on the island, is very brief, consisting of only eleven lines. The After, Crusoe’s posthumous survival in England, the place from which he speaks the poem, takes up a page. The Before receives the most space, almost four full pages of poetry. As in “The Moose,” Bishop takes her time in arriving. The poem enjoins a patience and so enforces the Emersonian recognition that “Everything good is on the highway.” Or, perhaps, what poetry wants to say cannot be said. Bishop once told Frank Bidart she “believed in closets, closets, and more closets.” In her longest poem, she fills the lines with a sweet reluctant amorous delay: Crusoe in England A new volcano has erupted, the papers say, and last week I was reading where some ship saw an island being born: [End Page 26] at first a breath of steam, ten miles away; and then a black fleck—basalt, probably— rose in the mate’s binoculars and caught on the horizon like a fly. They named it. But my poor old island’s still un-rediscovered, un-renamable. None of the books has ever got it right. “Crusoe” begins with a “fiery event,” a phrase from...

Quando um gigante cai, os anões ficam sem sombra

Quando um gigante cai, os anões ficam sem sombra

Was bedeuten exegetische Erkenntnisse über den Begriff der Diakonie für die Diakonie heute? Eine historische und hermeneutische Skizze

Abstract The author discusses, whether the 19th century modern diakonia actually was based on a false interpretation of the Bible. Which traditions other than the biblical ones seem to be at work in the modern understanding of diakonia, and in which sense are the biblical texts relevant? What was historically false from an exegetical standpoint can nevertheless be valued as a creative misunderstanding and a worthy adaption to modern times of love for one's neighbour.

Love 's Time and the Reader: Ethical Effects of Nachtr�glichkeit in Toni Morrison's Love

Love's Time and the Reader:Ethical Effects of Nachträglichkeit in Toni Morrison's Love Jean Wyatt (bio) "The structure is the argument." Toni Morrison Temporal discontinuities and nonlinear narrative structures characterize many of Toni Morrison's novels. Morrison's fictions, taken as a whole, rewrite African American history—a history of disruption, dispossession, and displacement; in her later novels especially, formal breaks in chronological sequence reflect these upheavals and the psychic dislocations that accompany them. In Beloved, for example, disturbances of temporal sequence reflect, among other things, the traumatic displacements of the Middle Passage, which severed the enslaved Africans from their land, their culture, their ancestors, and their past.1 In Love the characters' severance from their past is a personal, not a world-historical event, an individual rather than a collective trauma. Yet in one respect at least, Heed's and Christine's experience parallels the experience of the captive Africans on the slave-ships: as a result of an early traumatic separation from the love that had been the ground of their childhood development, Heed and Christine lose connection with their past and its rich field of potentials and are consequently disoriented with regard to their present and future. The events that disrupt their temporal order are themselves a violation of chronology: Heed's marriage at eleven to her twelve-year-old playmate Christine's grandfather, the successful black entrepreneur Bill Cosey—and, hidden behind that marriage, the earlier intrusion of adult sexuality into the childhood world through Cosey's molestation [End Page 193] of Heed. From the moment Heed is catapulted untimely into the world of adult sexuality and marriage, Heed and Christine lose the ability to order their lives fruitfully in relation to time's passage. Narrative displacements reflect the protagonists' temporal disorientation, so that the time of the reading is itself discontinuous: we witness the effects—the long wasting of Heed's and Christine's lives—before we uncover its cause, the premature marriage, nearly two-thirds through the novel; and we are privy to the beginning of things—to the deep love between Christine and Heed when they were young girls—only at the end of the novel, after 183 pages of witnessing the two women's bitter enmity. The ending not only overthrows our expectations of narrative sequence, but reveals that the text has misled the reader about the most basic question one can ask about a novel: What is this story about? At the end, the new information about the characters' past—about the events that caused the whole sequence the reader has just processed—makes the reader reconstruct everything that has come before: the story centers not on the wanderings of male desire, as we had been led to believe, but on the mutual love of little girls. The structuring of Love around a time lag in the reader's relation to systems of meaning suggests a new perspective on Freud's model of Nachträglichkeit (variously translated as deferred action, après-coup, and afterwardsness)2—and new ways of using that temporal paradigm to illuminate reader response to the asymmetries of nonlinear narrative structures like Morrison's. This complex temporal structure, which Freud recognized in many of his hysterical patients, is composed of (at least) two scenes widely separated in time: in the first scene a child is exposed to some action on the part of an adult, usually a sexual act of some kind, that the child does not have the requisite knowledge or psychosexual development to understand. Years later, after the child has passed puberty and entered the world of adult sexuality, a second incident occurs that through some superficial resemblance reminds her of the first scene, and she reacts with the emotional and cognitive responses that would have been appropriate to the first scene. Jean Laplanche, the contemporary theorist responsible for elaborating Freud's nachträglich model, often cites the example of "Emma" from Freud's Project for a Scientific Psychology (Freud 411–16; Laplanche 38–43). At the age of eight, Emma goes into a shop to buy candy, and the shopkeeper gropes her through her clothes while grinning; Emma, not yet inducted...

Becoming Who You Are

Desirous time is not conducive to learning because its fantasies are distractions from the present moment, the time when genuine creative possibilities emerge. In contrast, the time of love, of an I–Thou relation, is the time of potential and infinitude. This is when engaged learning occurs, and when students develop the practices that open them to a creative way of being. In contrast to the future-oriented linearity of desirous time, the time of creative learning is the time of presence. This argument is developed using interview material from well-known Australians and well-regarded Australian teachers.

An Interview with David Franzoni

THE ROUND TABLE115 making an entertainment rather than a documentary. The story also ends before the whole tale is told, so I hope for a sequel to round out the whole. However, one thing above all others I believe to be true: this version of the Arthurian story will make everyone who sees it think. It will, I hope, encourage people to reconsider the Sarmatian theory, as it certainly has in my case. Whatever we may think in the end, the film cannot fail to excite and impress us with the energy with which the actors and the director were driven to produce such a powerful statement. By no means everything of the original Arthurian stories has gone. No story of Arthur would be complete without Excalibur, and having long since decided that there would be a Round Table at which the knights would meet, we were delighted to find that the Sarmatians liked to eat—and dance upon—circular tables. The great love story ofLancelot, Arthur, and Guinevere is also present, though in more low-key form than in the later medieval versions. There is little time for love in the harsh and uncompromising times in which these people lived. Yet even here, in the midst ofbattle and warfare, respect gives way to tenderer feelings, and one can see clearly enough how the story might have begun. Everywhere in the movie there are echoes of the original Arthurian legends, and it is certainly not hard to see how Dark Age reality became medieval fantasy. It is this reality, dark and brutal, that makes this new account of the legend so powerful. I remain convinced that Arthur and his knights were real people, and that something not unlike the struggle portrayed in the film really took place. Working on it, seeing it brought to birth, was an extraordinary experience. It hass changed me, and every word I write about the Arthurian story from now on will be touched by memories of my involvement in the making ofthis remarkable movie. OXFORD An Interview with David Franzoni JOHN MATTHEWS David Franzoni, a successful screenwriter, is responsible for the films Ghdiatorand Amista among others. KingArthur is his latest project and while filming he and I spent time talking about myth and the Arthurian stories. He has much to say on the subject, and his approach to the myth ofArthur is refreshingly original. When the opportunity arose recently for us to sit down and have a conversation about the background to the writing of the screenplay, 1 jumped at the chance. Here was an opportunity for the writer ofthe film to put his own case directly to the Arthurian community and to explain the thinking behind some of the decisions that went into the finished work. The following is a lightly edited transcript of that conversation. JM: Where did your association with the Arthurian legends begin? DF: When I first came to Los Angeles as a struggling screenwriter, I was living in North Ridge and used to go to the California State Library there because I couldn't Il6ARTHURIANA buy many books at the time. I came across a student's dissertation, which proposed— not necessarily for the first time—that Lucius Artorius Castus might have been the seed for the Arthurian myth. At the time I just filed this away. Then when I was in Rome working on Ghdiator, I began to do some research. Not so much going back to the original sources or reading Lucius Artorius Castus's diary [laughter] but following up on that one little hint. Ofcourse I came across From Scythia to Camelot by C. Scott Littleton and Linda Malcor, and that was the first time that I realized it wasn't just about Lucius Artorius Castus but the whole Sarmatian thing as well. That's what was most compelling to me, that this might be the foundation for the whole Arthurian legend. Ofcourse I learned that other scholars, having gotten up before I did, realized this a long time ago, but until fairly recently they hadn't been able to figure out just how they were connected. Now of course we know about Marcus Aurelius defeating the...

History Means Often Having to Say You're Sorry

MY DOG DIED THIS MORNING. Tazzy had not been ill. In fact, she had been playful and happy on her morning walk, not an hour before she followed me upstairs, found a sun patch to lie in, and died. Playful and happy had been normal for her recently, but certainly not always. Just six months ago, almost to the day, I snatched her from Highway 101, onto which she, in her near starvation, had apparently wandered in search of food. She was skinny, very skinny. Dehydrated. Dirty. Wormy. And sweet. As eager to get into the backseat of my car as I was to get her home and start getting her healthy, start the process of historic reconciliation for whatever those injustices and neglect had been that she, clearly, had suffered through the hands of other members of this human species. I was sorry then for the state she was in, although I had not caused it. And I am sorry now that her time of love and plenty was so short, although I am sure that it would not have been even six months had I not come along. As I mourn the passing of this innocent life that possessed all of the loyal, funny, and dear attributes that we associate with a true dog friend, I find myself repeating, “I am sorry. I am sorry.” But, for what should I be sorry? I am the heroine here, am I not? The kind rescuer. The rectifier. For what should I feel responsible, other than helping this creature have some pleasure in life? But symbolism, responsibility, and regret are deeply rooted, nonrational phenomena, not easily subject to the empiricism that would allow me to take comfort in, say, comparing the dog’s weight today with her weight six months ago. Surely I was motivated to create a relationship with this forlorn dog—not even just to be a Good Samaritan by taking her to the pound—through some sense of moral

Christmas Verse and a Christmas Poem

Christmas Verse and a Christmas Poem Myra Cohn Livingston In The Name and Nature of Poetry A.E. Housman speaks of the folly inherent in supposing that one person, more than another, is capable of recognizing what poetry is—or is not! Many people, self-admittedly, feel uneasy when it comes to distinguishing the difference between commonplace verse and poetry. Basic to this ability, I believe, is some knowledge of the craft of writing poetry, but beyond this it seems possible for everyone to appreciate that both form and content must mesh, in a special way, if poetry is to be achieved, and to understand that the voice of the poet is different from that of the versifier. Here are three "poems" about Christmas, a day which we would all acknowledge—with its associations of religious observance, emotional impact, spirit of giving and dream of peace and goodwill—to be unique. Those who work with children may wish to share a poem that would stretch their understanding beyond toys and commercial aspects of the day. To do this, we might well seize on the metaphorical formula: Chirstmas is—(an exercise overworked by creative writing gimmicks, but if well-done, successful in poetry.) "What is Christmas?" "Christmas is so many thingsIt's hard to count them all:Shining star above a mangerWhere three wise men come to call,Happy voices caroling,Visiting with friends,Shopping in the bustling stores,And the greeting cards one sends. Christmas means vacation time,Gay packages and bows,Turkey on the tableWhere a candle softly glows,Jolly, rounded snowmen,A laughing snowball fight,Listening for Old Santa ClausAnd his reindeer in the night. Christmas is a glistening treeWith ornaments and lights.It's standing in a toyshopQuite breathless at the sights.It's a time of love,A time of giving too,When there is peace and happinessAnd our best dreams come true!"1 To the author of this verse Christmas is filled with so many happy things that "It's hard to count them all." But count she does, finding joy at every turn, and if the images tend toward sentimentality—a candle glowing on the same table with the turkey; "A laughing snowball fight,"; ". . peace and happiness/ And our best dreams come true!"—we do know that nothing can daunt her spirit! Never mind the broken metaphor at the beginning of the second stanza, the inconsistency of metrical structure, the wise men who "come"—her rhyming, at least, is accurate. To the second author "Christmas Symbols" reside more in the realm of the religious, but are consistently metaphorical: "Christmas is a candle,Christmas is a star,Christmas is the Wise MenTraveling from afar. Christmas is a story,Christmas is a tree,Christmas is a carolSung by you and me."2 This piece is more rhythmically satisfying than "What is Christmas?" with its fairly regular trochaic beat. Its rhymes are accurate albeit predictable. It gives us six symbols which we instantly recognize. We might indulge in a little nit-picking and question the broad use of "story" as an image, but the verse is certainly succinct and non-threatening. The third poem is "The Children's Carol." "Here we come again, again, and here we come again!Christmas is a single pearl swinging on a chain,Christmas is a single flower in a barren wood,Christmas is a single sail on the salty flood,Christmas is a single star in the empty sky,Christmas is a single song sung for charity,Here we come again, again, to sing to you again,Give a single penny that we may not sing in vain." Even the singing rhythm of this poem separates it at once from the other two verses. The poet's judicious use of meter, of repetition and alliteration add to the effect, as well as does slant rhyme in wood/flood, sky/charity. What is especially important is its element of surprise with imagery. The first [End Page 33] two verses told us of symbols we recognize—the tree, the star, Wise Men, et al. But in this poem the images are fresh and startling...

Blimpery

There is little ease in a world so rich in forms and still in process, the end of which for every part is waste and death. Buds must break, maggots must breed, and man may not curse though his heart must break, and even at last his reason. This is not evil, for why should it be otherwise? The heart of the wise is where there is mourning: and the heart of fools where there is mirth.Still the death of one is the birth of another; what is lost on the roundabouts is gained on the swings. The wiser heart will withdraw from mourning as well as from mirth, and without personal ache will consider the balance of loss and gain in the general scheme. Wherefore I left off and my heart renounced labouring any more under the sun.Vain hope, for we are in the world and labour we must if we are to live, making and destroying, pleasing and hurting ourselves and others. So many things, and all so different: all can be at peace only when all are still. But all are moving, and better so. They cannot be still. A time of love, and a time of hatred. A time of war, and a time of peace.Violence is inevitable. We are part of the world and needs must join in the making and the breaking: cut down our trees, kill our cattle, deny our friends. Be not over just.Why, then, should we not fight and hasten the death of others to postpone our own?