Unrequited Love Research Articles

MAGDALENE, A POEM BY INNOKENTY ANNENSKY: GOSPEL TEXT AT THE CROSSROADS OF LITERARY TRADITIONS

The article offers an interpretation of Innokenty Annensky's poem Magdalene written in 1885, but published only in 1997. This early work of the poet differs significantly from his poetry, known from published collections (Quiet Songs and Cypress Box), which are not characterized by an appeal to biblical images and motifs. In the poem Magdalene Annensky offers his interpretation of the Gospel story, depicting the conflict and struggle between human feelings (Mary Magdalene) and divine vocation (Jesus) in the dialogues between Magdalene and Jesus. Analysis of the structure of the poem allows us to determine the presence of three literary traditions in it: 1) ancient Greek tragedy and the chorus as one of its main actors; 2) a romantic poem about unrequited love (first of all, The Demon by Mikhail Lermontov) and the concept of romantic duality; 3) Faust by Johann Wolfgang Goethe. The combination of antique concepts (fate, destiny, metamorphosis) with the ideas of Christianity, as well as allusions to the works of Russian romantics, allowed the author to combine three aspects in the image of Mary Magdalene: ancient fate (destiny), Christian (Orthodox) holiness and romantic alienation from the world. The combination of these three aspects in the poem by I. Annensky forms a new quality: the romantic poem did not provide for the chorus as a character, and the ancient Greek tragedy did not allow for such lyrical digressions typical for a romantic poem. The Gospel text in the poem by I. Annensky is transformed in line with the three mentioned traditions, and thus the theme “grows” into a dramatic poem.

"No shadow of another parting": Unrequited Love, Stalking, and Dickens's Rejected Men

Throughout his fiction, Dickens's work depicts predatory behavior that could be defined as stalking or obsessional following. Recurrent in the plots and subplots are disturbing instances of unwanted intrusion that interrogate the act of stalking by various individuals. Many such encounters focus on intimacy-seeking male suitors who not only pursue love interests but become fixated to an irreversible degree, even after being rejected. Dickens positions such men throughout his novels, initially caricaturing them as fools or hopeless romantics before developing their characters with greater complexity and critical emphasis. Ultimately such rejected men are foregrounded to the point that their passion, pathology, and violence play a central role in the author's narratives.

Debating and Extending “Covert Progression” and Dual Dynamics: Rejoinders to Scholars

Debating and Extending “Covert Progression” and Dual Dynamics: Rejoinders to Scholars

Introduction

Introduction David Russell, Karin Westman, and Naomi Wood In this issue of The Lion and Unicorn, we consider space, time, and place, with particular attention to the affective experiences of characters, their texts, and their readers. Derritt Mason asks us to consider “The Virtual Child, or Six Provocations on Children’s Literature and (Pre-) Digital Culture,” so we can better understand our ideological assumptions about the past, present, and future of the child, the virtual, and children’s literature in the twenty-first century. “Anxieties about children and the virtual might feel unique to the digital age,” but, as Mason explains, there is “a longer, pre-digital history of ‘the virtual child’” as “a virtual being that is, simultaneously and paradoxically, both promising and threatening,” both “virtuous” and dangerously full of “Virtù, or power, creativity.” In its genealogical approach, Mason’s purposefully “unformed, unfinished, playful provocations,” six in number, “span genre and form—fairy tales, digital apps, young adult literature, film, and poetry—to consider various iterations of the virtual child over the years, culminating in a brief examination of discourse about young activists.” Mason’s provisional conclusion: we should look to “‘the activist child’ as a noteworthy contemporary version of the virtual child.” Keeping our attention on the possibilities and limitations of the virtual, Wouter Haverals and Vanessa Joosen’s “Constructing Age in Children’s Literature: A Digital Approach to Guus Kuijer’s Oeuvre” brings together children’s literature and the computational and quantitative methodologies of Digital Humanities (DH). Their focus: “the ideological construction of age in the oeuvre of a single author,” the award-wining and popular Dutch author Guus Kuijer, who writes for both younger and older audiences. As Haverals and Joosen demonstrate, “by using word calculations and counting combinations of words” associated with the practices of macroanalysis and distant reading, it is possible “to trace implicit patterns that are impossible to perceive by the human mind, even in a corpus that is relatively small according to DH standards” and discover “trends in the [End Page v] explicit ideology in the oeuvre of a single author.” Haverals and Joosen’s essay will be of interest to those already versed in the methodologies of DH as well as readers who are just discovering their potential–and all will learn more about the representations of age and childism in contemporary works for children and adults. The relationship between child and adult also finds a place in Tison Pugh’s essay “Sobbing over Severus Snape? Sentimentalism and Emotional Ethics in J. K. Rowling’s Harry Potter Novels.” Pugh reminds us that Rowling’s wide-ranging interest in genre includes the sentimental novel, best represented through the work of Harriet Beecher Stowe’s Uncle Tom’s Cabin, “a justly famous representative of the sentimental tradition” which “exemplifies such candid engagement with pressing social issues of the day.” As Pugh argues, “by deploying tropes of the sentimental novel tradition, Rowling deepens the emotional stakes of her series and asks readers to broaden their ethical investment in her characters’ journeys”: “In particular, the novels urge readers to surpass the simplistic ethical choice of good versus evil to consider the ways in which morally dubious characters, particularly Severus Snape, solicit their sympathy.” While “it is easy to begrudgingly respect Snape but difficult to weep for him,” Pugh shows how, “in Rowling’s call for readers to pity the lonely, she raises the pathos of his unrequited love to sentimental heights, thus seeking to link readers affectively to a character for whom many cannot readily express sympathy or sorrow.” In doing so, Rowling also bestows a “deeper emotional and ethical register” on her fantasy series “than genre-bound fantasy” typically provides. Laura Hakala’s “Tidying Up: Space, Place, and Abolitionism in Step by Step; or Tidy’s Way to Freedom” explores the presentation of race in children’s books of the mid-nineteenth century. Hakala examines a little-known, anonymous novel from the mid-nineteenth century—Step by Step was first published in 1862—showing how it advocates for emancipation and how its heroine serves as a role model for young readers of the time. The novel was published by a splinter group of the...

When Movies Get Sick

Stevens offers insights about the impact of COVID-19 on film industry It has suddenly unfastened the values that traditionally attach to proximity, particularly regarding human bodies, as vocabulary focusing on the distance between them- social distancing, self-isolation, quarantine- become part of our quotidian language Distance has become the sign of intimacy- of respect, care, concern, shared understanding of a shared world, a sense of belonging to a form of life Within discussions of film aesthetics, cinephiles tout the value of cinema for inviting audiences to attend to bodies in space, referring to the composition recorded by the camera and whose projection is offered up for our pleasure

Antiochus I Soter may have suffered from takotsubo cardiomyopathy due to unrequited love of Strotonikea in the perspective of modern medicine.

Antiochus I Soter may have suffered from takotsubo cardiomyopathy due to unrequited love of Strotonikea in the perspective of modern medicine.

Research on Symbolic Color System in the Movie Curse of the Golden Flower

In Chinese history, yellow has not been an ordinary color. The movie Curse of the Golden Flower uses yellow a lot, making yellow a complex symbol. The article combines color psychology and archetypal research to analyze yellow in the film, and believes that yellow has four symbolic meanings: one symbolizes the kingship: the highest wealth and power; the second is the symbolic contradiction: the complexity and entanglement of human nature; the third is the symbolic love: the blazing and sin of unrequited love; the fourth is symbolic of gender confrontation.

Pleasure, power, and pathology—between two worlds: Killing Eve’s queer/feminist post-Cold War appraisal

ABSTRACT Since a resurgence on the world stage by a post-Soviet capitalist Russian state, fictional media representations of Russians in the U.S. and Britain have become increasingly commonplace. In order to examine both U.S.–Russia relations and the crime genre in television through a queer and feminist lens, I engage with the BBC America series Killing Eve (2018-), which presents viewers with a powerful and confusing narrative of antiquated clashing ideals, unrequited eternal love, and palpable antipathy to hetero-patriarchal values. Methods join textual analysis of the show with discourse analysis of its themes at their intersection with the current political moment. As a critical voice, Killing Eve sets out to deconstruct the spy thriller subgenre from within, consistently presenting strong and complicated female characters who are not only uniquely entertaining, but catalyze timely conversations around difficult topics tied to gender, sexuality, and geopolitics. The work I present here expands on those conversations in light of conservative backlash against queer and feminist political progress, and at a time—three decades after the end of the Cold War—when the relationship between the U.S. and Russia seems no longer to have any discernible set of rules.

MODERN KAZAKH POETRY AND LYRICS F.UNGARSYNOVA

The article presents a detailed analysis of the multifaceted poetic work of the famous poetess F. Ungarsynova. This is the indissoluble unity of the lyrical hero and author, and the poet's finest poetic speech, and the variety of the genre of her works, and the complex world of the image of the lyrical hero. The article attempts to describe the aesthetic worldview and work of F. Ungarsynova in a comparative manner. Particular attention is paid to the artistic world and the linguistic means of F. Ungarsynova, who have her own poetic style. Also considered is the enormous influence of the poet's work on modern Kazakh poetry. The article draws attention to the fact that the poetess managed to combine such principles as open citizenship and piercing lyricism, purity and nobility of human relations and the tragedy of unrequited love, lines about sacred friendship and wise thoughts about the poet’s craft. Her poems are an impressive picture of modern reality.

“An American bitch”: Beckett’s Love’s Labor’s Lost

Samuel Beckett is not often thought of as a love poet, but much of his early poetry explores such personal relationships in intimate terms. In Shakespeare’s most poignant plays, love is almost always lost (except for his most formulaic comedies), as it is in Beckett’s poetry, despite one’s labors. This essay explores that thread of love in Beckett’s poetry, and, more importantly, its return in his late media experiments as a series of hauntings, a preoccupation that Derrida would call hauntology. The principal fi gures of Krapp’s Last Tape, “Ohio Impromptu”, “...but the clouds...”, “Ghost Trio”, and “Eh, Joe” remain haunted by failed love as they replay, time and again, the separation and its ghostly aftermath after one of the partners either dies or leaves to pursue what at the time was deemed a higher goal, art, of one form or another. This treatment of Beckett’s writings on love was originally delivered as a keynote address, “Beckett’s Love’s Labor’s Lost”, for the University of Gdańsk Samuel Beckett Seminar, “Beckett’s Faces”, and for the BETWEEN.POMIĘDZY 2018 Festival and Literary Conference as something of a backstory to the laboratory fi lm made during and sponsored by that conference and called Beckett on the Baltic: Love’s Labor’s Lost. Its world premiere was held at the BETWEEN.POMIĘDZY 2019 Festival and Literary Conference.

Unrequited Love in the Selected Novels of Orhan Pamuk

Certainly, Love is one of the most unmistakable natural sentiments of the individual, so the psychologists have attempted to characterize the word 'love' in various manners, for instance,Freud, in his book, (Civilization and Contents)illuminates the sentiment of love according to mental perspective. As he would like to think, a limit between the 'object' and'ego' is degraded, so he stated that "Against to all proof of his feelings, a person, who is in love utters that 'you' and 'I' are one and begins carrying on as if it was a reality" (Freud, 13). 'Self' of the individual, who falls in love is totally degraded into 'oneself' of the other, so Love assumes an important role in bliss or despondency in human life, in which, the fruitful love makes life upbeat and on the contrary, its disappointment changes life into a hopeless wreck, so unfortunately, Unrequited Love is a one imbalance in which you may love someone with all your heart, but you don’t receive these feelings in return. In other words, it is love that isn’t reciprocated. For example, you may love someone deeply, but this person simply doesn’t love you back.
 This paper will discuss the characters’ suffering as a result of the one-sided love and explain how they behaved during the events of the love stories, as well as delineate the tragic ending of their unrequited love, furthermore, it will give some examples from some of Pamuk’s novels.

The Cartography of Love in Doris Lessing’s “love, again”

In her late novel, love, again (1996), Doris Lessing represents a penetrative insight of love, providing the widest perspective of love than in any of her previous work. The abundance and variety of plausible les affaires d’amour, which transgress the boundaries of gender, age, geography, and social status, make love, again Lessing’s most “loveful” novel. The narrative responds to this multiplicity accordingly. The essay explores the theme of romantic love of the central female character, Sarah Durham, who is at the centre of the narrative and whose emotional landscape is meticulously mapped. It also aims to unveil the ways Doris Lessing exploits a longstanding tradition of interpreting love in Western philosophy and culture – from Plato to contemporary theorists, including Alain Badiou. Special attention is paid to the interweaving of love and friendship in the relationship of woman and man as well as friendship’s “healing” power for unrequited love encapsulated in the character of Stephen Ellington-Smith. Also, by tracing the transformative impulse of love, the essay tries to bring light on the constructive (in the case of Sarah) and problematic (Stephen) consequences of love.

The Attitude of Ukraine’s Population to Russia and Russia’s Population to Ukraine (2008–2020)

The paper accumulates the results of the joint project of Kyiv International Institute of Sociology (KIIS) and the Russian center for the study of public opinion “Yuri Levada Analytical Center” (Levada-Center). The project started in 2008. Every three months, KIIS inserts in its omnibus survey the questions about the attitude of Ukrainians towards Russia, and Levada-Center on the attitude of Russians towards Ukraine. In total, 34 surveys were conducted in each country, with samples of about 2,000 Ukrainians and about 1,600 Russians (about 68,000 of Ukrainians and 54,000 of Russians were surveyed during the entire period of the project). The data are representative of the population in each of the countries aged 18 years and above. In Ukraine, after 2014, surveys were conducted only in the territory controlled by the government of Ukraine. The attitude of Ukrainians towards Russia from 2008 to May 2014 can be called unrequited love. During this period, in different years, from 80 % to 90 % of Ukrainians treated Russia positively, and the proportion of Russians who favored Ukraine ranged from 30 % to 70 %. The collapse of the positive attitude of Ukrainians towards Russia began after the annexation of the Crimea and continued after the beginning of the war in the Donbass; by March 2015, only 30 % of Ukrainians had a positive attitude to Russia. However, after the end of the active hostilities, a positive attitude towards Russia was gradually restored, and by February 2020, more than 50 % of Ukrainians had a positive attitude towards Russia. At the same time, the attitude of Russians towards Ukraine after the annexation of the Crimea also worsened. During all the period of observation, Ukrainians treated Russia better than Russians treated Ukraine. Besides the question about the attitude towards Russia as a whole, we also asked separate questions about the attitude to the government of Russia and to the population of Russia. Manuscript received 26.04.2020

Images of loneliness in Tuareg narratives of travel, dispersion, and return.

This article examines how social, economic, and political upheavals in the Sahara have stimulated re-thinking about loneliness in relation to trauma from mobility, dispersion, and return home in communities of Tamajaq-speaking, Muslim, and semi-nomadic Tuareg in northern Niger and Mali. How do Tuareg, sometimes called Kel Tamajaq after their language, draw on and re-formulate longstanding and new ways of coping with loneliness in regional droughts and wars, which have driven many to alternately disperse from their communities and return to homes that are no longer the same? What is the connection between changing modes of travel, concepts of loneliness, and ways of coping with this experience? In these communities, loneliness is a recurrent theme in personal life histories-in particular, in narratives of both geographic travel and spiritual travel in medico-ritual healing-and is alluded to in poetry, song, and everyday conversation. This article explores the meanings of loneliness and ways of coping with it in this society through analysis of this emotion in symbol, subjective perception, and social experience. The focus is upon representations of loneliness in narratives by travelers who have confronted this emotion, and upon relevant Tamajaq terms often used to express loneliness: namely, essuf (the wild, solitude, and nostalgia); tamazai (approximately, a depression); and tarama (unrequited love), illustrating with cases and examples. More broadly, the article is guided by and builds on insights in psychological anthropology into emotion and affect as well as suffering and subjectivity.

Staging the Unnatural: Zacky Pastrana and the Animal–Human Divide in the Victorian Melodrama For Ever

The melodrama For Ever, by Paul Meritt and George Conquest, first performed at the Surrey Theatre on 2 October 1882, was a controversial late-Victorian stage production that fed the period’s appetite for dramatic histrionics, exotic displays, and monstrosity. An ephemeral piece that enjoyed no literary archetypes and few revivals, the play’s raison d’être was Conquest’s portrayal of Zacky Pastrana, a ‘man-monkey’, and his unrequited love for the murderous Ruth – a theme unique in the context of simian-based drama. Central to the play’s infamy was the covert allusion to the age-old myth of unnatural unions between simians and humans, and, although condemned as absurd and revolting by some critics, and laughable by others, its notoriety ensured popular success. Drawing on the original script submitted to the Lord Chamberlain for licensing and censoring, and situating Pastrana among famous fictional monstrosities adapted from literature for the British stage, most significantly Caliban, this article is a thematic analysis of Conquest’s unique role. It highlights through a series of interrelated readings how Pastrana’s multidimensional otherness and hybrid fluidity serves as a site of conceptual contention located at the animal–human boundary, exposing the cultural tensions in late-Victorian Britain. Bernard Ince is an independent theatre historian who has contributed earlier studies of the Victorian and Edwardian theatre to NTQ.

A Himalayan Love Story by Namita Gokhale as a Novel of Resistance by the Protagonist in Pursuit of Emancipation

Love, especially unrequited love, has been the backdrop of numerous novels. A Himalayan Love Story by Namita Gokhale also has unrequited love as its central theme. This theme further helps to deconstruct the sexual confines of a woman, which helps her in her quest for identity. Namita Gokhale in the novel, A Himalayan Love Story, deals with the aforementioned theme presented in such a way that the familiar seems unfamiliar and we see it through a different lens, with a new perspective. She manoeuvers the classic theme of unrequited love into pursuit of emancipation for Parvati, the protagonist of the novel. Suppression of sexual desire often leads to mental illness. In this novel, not only Parvati suffers from mental but also a whole generation of females before her, for instance her mother died of mental illness. This mental illness is symbolic of subjection of women. Insanity in Parvati is suggestive of atrocities done to her by her homosexual husband and the society as well. The novel is an account of women’s tenacity, endurance and unwavering spirit against all odds. The beauty of the novel lies in the celebration of sexuality on one hand and rebellion against it on the other. The paper critically examines the subjugation of Parvati leading to her mental illness and her resistance against suppression in pursuit of emancipation and identity. The paper also tries to explore the psychological workings of the female psyche, which shapes their attitude and demeanor.

유대계 영문학의 분기점: 에이미 레비의 『루벤 삭스』를 중심으로

Amy Levy’s Reuben Sachs, among her three novels published in her very short literary career, is the only one which intendedly tackles the “Anglo-Jewish question” set in a upper-middle class Jewish community in West London. As the first Jewish female student at Cambridge, Levy has an ambition for placing her poems and fictions in the great tradition of women’s literature, also in the tradition of Anglo-Jewish writing.BR As Britain had been regarded as a “sweet exile” for the wandering Jews of Europe since the re-establishment of Anglo-Jewish communities in the 17th century, Levy’s contemporary Jews were enjoying the status of ‘successful minority’ in Britain, especially after the Jewish Emancipation in 1858. However, there remained all the stereotypes of the Jewish, both anti- and pro-Semite, which polarized the Jewish characters in fiction into the innocent and the pious on the one hand, and the shrewd and the greedy, as the ones in George Eliot’s Daniel Deronda.BR Levy tries to portray Jewish people as they really are, with all their complexities and self-contradictions, without those apologetic or self-congratulatory attitudes of Jewish writers before her. In Reuben Sachs, Levy sneers at the snobbery and materialist culture among the Jewish middle class, through the unrequited love and inter-racial marriage of Judith Quixano. Levy switches focus from the successful career and the sudden death of a promising Reuben, to the frustration of Judith, a Jewish woman of intellect and dignity whom she sympathizes with.BR Reuben Sachs is not only a creative reworking of marriage plot which has been popularized since the rise of the novel itself, but also a very unique feminist fiction where all the problems of race, gender and class are entangled around the suffering of an attractive, but all too modest Jewish woman.

Three musical love letters

Music, Shakespeare suggested, can be the “food of love”. For a composer, however, it can be the vehicle for so much more. This article discusses, from a psychoanalytic perspective, how three pieces of music variously convey a declaration of triumphant adoration (Richard Wagner’s Siegfried Idyll); an exploration of the pain of betrayal and reconciliation (Arnold Schoenberg’s Verklärte Nacht); and a confession of the joy and sorrow of unrequited love (Leoš Janáček’s String Quartet No 2, Intimate Letters). The role of muse for a composer and the power of music for the listener as aspects of projective identification are also considered.

Writing the Silenced Body

Writing the Silenced Body

Литературные аллюзии и языковые параллели у Николоза Бараташвили и Адама Мицкевича (стихотворение Мерани и поэма Фарис)

“Of the Georgian romantics, the greatest poet and the greatest philosopher is Nikoloz Baratashvili” – these words of Professor Giorgi Dzhibladze best express the genius of Nikoloz Baratashvili, who at the age of 26 ended his turbulent and tragic life, having failed to fulfill his dreams because of the physical trauma, unable to embody her great love in reality, although Ekaterina Chavchavadze-Dadiani (the object of his unrequited love) saved his poetry from oblivion: it was she who gave the great Georgian writer Ilya Chavchavadze Baratashvili’s manuscript, thanks to which she actually returned the great poet’s Georgian literature to this time, unfortunately, is almost forgotten. In our opinion, Nikoloz Baratashvili could get acquainted with Faris by Adam Mitskevich through Russian translation. This circumstance led some scholars (Iona Meunargia, Kit Abashidze) to believe that the Georgian Merani was allegedly created under a certain influence of the poem of the Polish poet. Such a view of this issue, in our opinion, is devoid of a real foundation, primarily due to the fact that these two works in their artistic form show a very distant, almost insignificant similarity, while the ideological relationship is indisputable. The poetic spirit of Mitskevich was undoubtedly close to Nikoloz Baratashvili. A. Mitskevich dedicated his poem to the Polish scientist Vaclav Razhevsky, who suffered the same fate as the hero of the poem. V. Razhevsky conducted scientific research in Arabia, where he died. Mickiewicz paints a heroic image of a rider who is not afraid of anything; Baratashvili, on the other hand, describes the despair of his rider, who is in a state when nothing in the world matters to him and who prefers death to life, but meaningful death, sacrificed to descendants. The genius of the author of Merani is manifested precisely in the fact that in the harsh, gloomy atmosphere of his time, he still managed to discern that a person in the future will still win, that the time will come and justice will triumph: there will be a holiday on his street. N. Baratashvili was able to unite reason and faith, and in their selfless, titanic confrontation with blind fate, he saw the highest meaning and justification of human existence. Merani for all Georgian poetry is the same crown as The Knight in the Panther’s Skin by Shota Rustaveli. If classic epic thinking found its fullest reflection in Rustaveli’s poem, Merani is a brilliant example of lyrical self-expression characteristic of romantic poetry.