Love Story

In 1870, Jane Austen’s nephew, the Reverend James-Edward Austen-Leigh, (1798-1874), published A Memoir of Jane Austen. The recollections of literary life, although sparkling from the pen of Austen-Leigh, left no dramatic indications of Jane Austen’s personal life. (Jane’s Letters ix).

Kazuo Ishiguro won the Nobel Prize in English Literature in 2017 for “in [his] novels of great emotional force, [he] has uncovered the abyss beneath our illusory sense of connection with the world.” Never Let Me Go (2004) remains his best love story. This dystopian science fiction depicts a world where reproductive cloning has been legalized in order to harvest organs. Human clones are artificially engendered in laboratories only to be taken apart bit by bit when their organs are required to replace the original. The life of the cloned individual is caught in a quagmire of deprivations and illusions. From the very moment of their conception they are waiting to be reaped. In such a critical juncture, where does humanity find hope if not in love? The clones prove to be an outstanding “metaphor for the general human condition.” The only difference is that their life is more to the point. Ishiguro dexterously deals with an excellent mnemotechnique manipulating the reader’s anticipations and engagement with the work of fiction. The novel with a romanticized title changes into the memoir of a clone as the reader proceeds. Ishiguro misleads the reader to engage with the various prominent nodes instead of consciously identifying with the clones as normal human beings. This paper provides a detailed study of the novel with potential excerpts dished out for the readers to observe the subtleties of the fish-net technique of reader’s memory manipulation As the climax arrives, the apparent detachment from the characters metamorphoses into the reader experiencing a brilliantly crafted loves story.

Except for Essays, all kurdish prose literature samples are in many aspects similar. In Folk Literature, differences between literary varieties get very few, especially in works including ‘LEGENDARY LOVES.’ Sometimes those differences are nearly none. I have talked over and compared three-four varieties or forms for each Legend. The ones
that have the same context, characters, sequence of statement, and event sequence, even if the work is short, but its characteristics resemble a variety, I called it as ‘FORM’. I based the summaries on the longest and familiar legends in the society. I have examined both, the main and stereo characters. The emotional, religious, friendship and relative relations worth examining, but the characters and the relations were changing according to the varieties, so we discussed them under a separate title. If It wasn’t made clear, the variations wouldn’t be
understood. Some of the legends had too many forms and variations, I couldn’t add the all these summaries to this study, if we did, it would be a doctorate thesis. We mostly handled the common varieties and forms in the society. Some of these varieties and forms were in Turkish language. Since they were kurdish legends, and happened in the land where the kurds live, I included them in my study too. The example of these are the novels: ‘Mem-û Zîn’, written by M.Said Ramazan el Bûtî, and Dewrêş û Adûlê, which was written by Bawer Ferat. When and where the legends happened is important to everybody. We examined this subject as
much as we could. All the legends should have been handled in terms of evaluation and result. It should have been intepreted as well. Those unchanged headlines, for all the legends were appeared as a Standard Method. Since our subject is limited to proses, I didn’t interest in any
literary works such as: poem, song, and epics, but I mentioned a few lines of texts of these legends.
A part called ‘The RESULT ’ takes place at the end of study, including samples of all comments and evaluations. Along with’Supplement 1’ a song (kilam), that was believed to be sung by EDÛL upon DEWRÊŞ, takes place in it too. In this study I met another type of written in kurdish literature: Mixing literary form. As it is known, in literature history, in terms of shape, a writing is formed by lines and stanzas and we call these epic, mesnavi, and lyric, or they are prepared as a prose that we call them story, novel, memory. Mixing literature form is formed by using these two types together, that is: both a prose and poetry, epics and song (kilam). That was mostly used in legendary loves. In order to understand this for better, I chose ‘Legendary Loves’ as my investigation and examining theme. Especially the love of Bijen and Menice was not known among kurmancs, but it will be seen that it is not less interesting than that of Mem-û Zîn. Ahmedê Xani’ s Mesnavî, Mem and Zin, has contributed much to our literature world as a story by Molla Mahmudî Beyazîdî, but hasn’t lost anything from its literary value. Like this, while in Firdevsy’s Şehname, Bijen and Menice’s love have been stated as couplets, but as it will be seen in the proceeding parts of this thesis, in many parts this love will be stated as prose and take part in books. Whatever style and method they are written by, short or long, even if there are different variations , even changing from region to the regions, if the name of heroes and location differs, the events happening areas changes, those loves haven’t lost anything from their contexts.
Descriptions that were unstated in rhymed poetries or lyrics can be uttered more easily and widely in pages of story and novels, which there is a chance of prolonging remarks .There is one examples for the era Before Christ: The love of Bîjen –Menîce. This is an authentic
love events still are listened at kurds night meetings by storytellers.( şevbêrk). Bijen is Ristemi Zal’s nephew, and Menice is Turanistan King Efrasiyah’s daughter and the enemy of İran. The great obstacle is this enmity. Dewrêşê Evdî and Edûle’s love starts when a clash between Milan and the other three tribes, Türkmen, Gêsî and Şemiran breaks out, ends with tragedy. The greatest obstacle between that loves is religious and beliefs and class differences. Dewrêş both Yezid and poor. Edûl is a sunni Muslim and Temîr Paşa’s daughter. Siyabend and Xecê’s love encounters longing. Siyabend is a bandit, he lives on mountains. Xecê is the sister of seven brothers. Her brothers don’t allow her to marry Siyabend, he took her by force and got away. He takes her on the peaks of Mountain Sipan. There he fells from a rock, with the oxe’s horn attacks, and dies. Xecê jumps after him. Here, there are social contradictions. If that accident didn’t happen they migh be living together happily. Mem and Zin's love, previously took part in Memê Alan epics, later was written by Ahmedê Xanî as a mesnavi. In 18th century, was written as a story by Mahmûdê Beyazîdî, lately it has been published as a novel.
From all these loves I only took four of them: Dewrêşê Evdî and Edûlê, Siyabend and Xecê, Bijen and Menîce, Mem and Zîn. But I can specify that there are ten similar ones to these examples.

Love is the what binds most of us and which has been the aspiration in cultural memes from Jesus  to the tragedies of Shakespeare and the lives of icons for whom the passions of enduring desire became the voyeuristic daily bread for our bored to distracted psyches.

The paradigms of love that  give license to the boundaries of irrationality for the sake of 'love's devotion' extrapolate from the romantic intimate coitus to the familial loyalties, and the extended lineage of associations-informal and formal-of culture and society and nations. The brutality and mayhem derived from the jealousies and possessiveness of 'Love' are timelessly historic.

The things we do and justify for the sake of love!

https://nakedhumanity.blogspot.com/2022/04/whatslove-ahs-got-to-do-with-it.html

Margery Kempe doesn’t join the rank of those canonized principally because her actions made her vocation questionable. Although, her meditations were on the love of Christ, she was often questioned and publically condemned. This essay will attempt to examine why Margery’s love of Christ didn’t get her resounding ecclesiastical acceptance, when so many others who have contemplated on the subject of divine love have been acknowledged, if not canonized, by the Catholic Church. This will be accomplished through a comparative analysis of Gottfried Von Strasburg’s version of Tristan and the Book of Margery Kemp.
I intend to argue that Margery, a romantic herself, had a lot in common with the literary figures of Tristan and Isolde; and that it was these similarities, which best express the complexities in the intermingling of the pagan ideals of love and Christian morality within the medieval period. I will utilize the works of: Plato, Ovid, Thomas of Britain’s version of Tristan (to end Gottfried’s incomplete manuscript), and Dante; for the purpose of further exploration and a comparison of Margery’s understanding of divine love, with the type of earthly or pagan love, which Tristan and Isolde shared. The themes, which are utilized include: a comparison between Christian ideals of love and death, with the pagan worldview of Gottfried’s Tristan; and a comparison between Martyrdom for God and Martyrdom for love, and finally, a comparison between women in Christianity and in romances as femme fatals.

Ada rasa dari masa lalu yang kadang menyeruak di waktu-waktu yang kini kita lewati. Sebagian menyenangkan, sebagian tidak. Apa lagi jika berhubungan dengan kisah dua anak manusia yang kandas di tengah jalan. Ada yang dapat melupakannya, sementara yang lain menyisakannya sebagai sebuah rasa yang tertinggal dari sebuah kenangan.
Semoga kita dapat mengambil pelajaran dari kisah-kisah ini. Selamat membaca, semoga Anda menemukan apa yang dicari disini.

Jakarta, Oktober 2020

The thought of the power of love brought back the memories of that memorable encounter he had on the train the previous year. 'Oh! What a lass she was!' he thought, and reflected upon that incredible incident. During that early winter, he went to Khajuraho to study the erotic architecture of its sandstone temples. After a weeklong stay there, that evening he boarded the Ganga-Kaveri Express at Satna to reach Madras to present his seminar paper. After exchanging pleasantries with a Father on the side and the trade unionist opposite in that four-berth coupe, he went about polishing his seminar paper well into the night. Next morning, he was lazing by the window enjoying the refreshing landscape of the wilderness. At around eight, two girls came to greet the Father who was engrossed with the Bible. The one, who was almost in, was rather plain but the other behind her seemed tantalizing in her grey sari. With a black shawl draped around, she was a shade darker and an inch taller than her companion. Directing his gaze upon the charmer, he found her graceful though tentative in her flowing frame. As she surveyed the scene, she found him intently staring at her in wonderment. It

Laura Iosa è una quarantenne costretta a competere con una società che delle donne apprezza soprattutto aspetto, giovinezza e impudenza. Trattata con sufficienza dalle case editrici a cui chiede invano di pubblicare un suo dizionario e delusa dall’ambiente che la circonda, Laura decide di scrivere la sua storia su un blog, aperto ai commenti dei visitatori, imprimendo così una svolta radicale alla sua vita: sviluppa una relazione con due strani personaggi, un ragazzo solitario, mago dell’informatica e un sorprendente omino saggio che la condurrà in un paradiso virtuale e allucinante.

Doina Ruşti è una delle scrittrici romene contemporanee più celebrate dalla critica e dai lettori per la forza epica e l’originalità della narrazione.

Doina Ruşti scrittrice, sceneggiatrice e docente dell’Università di Bucarest. Autrice della famosa “trilogia fanariota” composta da Manuscrisul fanariot (2015), Mâța Vinerii (2017) e Homeric (2019) e di molti altri romanzi di successo caratterizzati da una forte componente sociale tra cui, in traduzione italiana, Zogru (Bonanno, 2010) e Lisoanca a 11 anni (Rediviva, 2013). Ha ricevuto il Premio per la prosa dell’Unione degli scrittori romeni (2008) e il Premio “Ion Creangă” dell’Accademia di Romania (2009).

It's perilous penning this blurb.
It's fine when man is modest about his work.
It even affords him the aura of an invisible crown!
But what about his work?
Were it an art or craft, it is there for all to see.
What of a literary work of an unheralded author?
Well, lauding the same might raise one's eyebrows.
Failing to praise wouldn't make a 'jewel-less crown' either!
Why not see, if this is the great Indian novel.
This is the story of the rise and fall of an ambitious man, the decline, and the decay of his conniving wife, the trials, and tribulations of their wayward son as well as the grit and gall of a spirited woman, who enters into his life.
This depiction of their life and times not only pictures the facets of ambition and achievement, intrigue and betrayal, compulsion and compromise, sleaze and scandal, trial and sentence, but also portrays the possibilities of repentance and resolution, love and empathy coupled with compassion and contribution, leading to the spirituality of materialism, and that makes it the saga of our times.
The story of a lifetime, truly.

Dedicated to
VV Rao my soul mate
PN Murty the friendly cousin
KB Bhaskar my computer guru
for their support of my literary cause,
Jewel-less Crown comprises of -

Book One - Artha and Kama
1. Party Gone Sour
2. Trauma at Tihar
3. Mind of the Maligned
4. Twist at Tis-Hazari
5. Trial in Camera
6. Dilemma of Qualms
7. Moment of Reckoning
8. End within end
9. Vestiges of Prestige
10. High on Rebound
11. Bellows of Delhi
12. Dicing with Life
13. Spidering Spadework
14. Loss to Order
15. Daring the Fate
16. Victims of Deceit
17. Baring the Soul
18. Garland of Guilt.

Book Two - Dharma and Moksha
1. Bliss of Being
2. Collage of Crime
3. Domain of the Devil
4. Renaissance of Life
5. Sprouts of Love
6. Despair of Hope
7. Turn at the Bend
8. Amity of Empathy
9. Day to Remember
10. Spirituality of Materialism
11. Sense of Reincarnation
12. Epilogue.

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The success of 50 Shades of Grey was a controversial issue within Mexican audiences, because it represented a liberal perspective of women’s sexuality within a conservativeCatholic society. This study presents the results of 587 surveys and 5 focus groups with
Monterrey’s population, which main objective was to recollect information on the social representations of romance and their relationship with what is portrayed in the film 50 Shades of Grey. Findings show that most of the identification of the audiences with the story was based on the expectations of the traits that romantic partners should have, are similar to what is found in Christian Grey and Anastasia Steele.

LAST CALL FOR LOVE
My album and my song "Last Call For Love" is my call my prayer for Universal Love for the world in those days of war in Ukraine. My songs with ancient jewish Ukrainian melodies dedicated to Nahman of Braslav who is in the center and in the heart of Ukraine.
Last Call For Love ,  Song , voice , film by Sandra Zemor
See the full movie on this link in Youtube in Sandra Zemor s Chanel
https://youtu.be/AEFPEaSy5c8

Lured by the pitch - All marriages are made in heaven but some are delayed on earth: We endeavor to hasten them all - Priya goes to Renuka Marriage Bureau.
Scanning the prospects, when she spotted Venu, whom she slighted long ago, she rushes to him to bring about a dramatic encounter.
What brought about Priya’s change of heart to seek her former suitor and how Venu responds to his old flame’s fresh overtures lend suspense to their romance in this eclectic novella.

I was charmed when I first got the chance of translating one of - the Algerian novelist and academic - Saida Bechar’s writings. Among academia, literature and fiction Bechar captures the readers in her novels written in Arabic and a few were translated to English. This Short stories collection is sought to take handsomely the reader from all over the world to the tumultuous climax where love is seldom powerful and often fragile. The HER Pain reflects pride and disguise, loyalty and treason that were all marinated in love. I would like to thank Saida, my dad (Ahmed), my mom (Nadia), my sister (Kawter), my love (Nesrine) and all those who supported me all the way to finish translating these stories.
Much love,
Ali Alghorbany

Το διήγημα του Κώστα Κρυστάλλη,  "Η Υπνοβάτις", δημοσιεύεται στην εφημερίδα ΕΘΝΙΚΗ σε
συνέχειες ξεκινώντας από το φύλλο της 4ης Σεπτεμβρίου 1890 και δεν
περιλαμβάνεται στα ΑΠΑΝΤΑ των εκδόσεων «Μαίναλον» το 1967.
Στη γραφή ο Κρυστάλης ακολουθεί την παράδοση του αφηγητή του χωριού, που ξέρει να συγκινεί με την αφήγησή του.
Ο Υμνητής της ελληνικής υπαίθρου περιγράφει τη Βοιωτική γη μέσα από τνο έρωτα της αρχοντοπούλας της Λιάτανης Μαρούλας και ενός Θηβαίου βοσκού, του Αγγελή.
Κατά τη μεταφορά διατηρήθηκε η ορθογραφία του αρχικού κειμένου με
αλλαγή του πολυτονικού συστήματος σε μονοτονικό.

Love comes in many forms, as we all know and as the quote from Anna Karenina by Tolstoy holds. Some forms are more frequent than others. As a consequence, less frequent forms may be either tolerated or dismissed as deviant, and therefore socially sanctioned. And different cultures may deal with such forms very differently. In this chapter we look at one form that is less frequent, namely age-gap relations: love relations between either an older man and a considerably younger woman, or vice versa: an older woman and a considerably younger man.

Since it may be expected that nations differ in their attitudes toward such relationships, we investigated two that are (geographically and culturally) wide apart: Brazil and Ukraine.

We offer some examples of empirical methods (Empirical methods aim at knowledge that comes from observation and experience, i.e., evidence gathered through the senses that can be analyzed independently by anyone wishing to re-analyze the data gathered.) with which to investigate short time and longitudinal effects of confronting fictional love stories.

We report a case study, in which we checked how social views on intimate relationships involving a substantial age difference between partners were influenced by reading literary passages from canonical literature, focusing on age-gap relationships. The results cast light on the views on age-gap relations in these respective cultures and thereby highlight their national mentality. Additionally, the findings lend support to the idea that reading literature influences human attitudes.

The true definition of the three major human’s viirtues. // Истинное определение трех основных человеческих добродетелей.
________________

Надежда, рекут, умирает последней: в сем мире последним теряем мы тело, каким есть она. Но Любовь, огнь бессмертной души, коя есть че’LOVE’к — не умрет никогда.

This famous quote from Winnie-the-Pooh reveals something fundamental about the role love stories play in the lives of people. That they do, is beyond doubt, as the theme of love pervades all of literature. And this interest in the topic of love has not waned. Publishing love stories is a multi-billion business. Apparently humans are not content with loving and being loved; they also want to read about other people’s love. Why?

In this chapter we propose several motifs for reading about love in fiction, based on insights from sexology and expert relation therapy. Love stories apparently transfer experiences through the written word into meaningful experiences that, although knowingly fictional, nevertheless are of the utmost importance to readers. After presenting some data on love literature and basic impediments to human love relations, we offer some escape routes from desire (through death, divorce, and extramarital affairs), arguing that the road to desire in relations is hardly represented in fictional literature, with one exception, what we call “the magic of love”. With this we mean that in reading literature words have to be pronounced ad verbatim so that, similarly to magical practices, they produce the desired effect on the reader.

In a final section we reflect on the urgent need to investigate reading about love through more rigorous, empirical, research methods than the speculative ones employed so far in literary studies.

Charla dictada por mí en El Café con Notas do Ateneo Mar de Arousa, el día 4 de octubre, como parte de un grupo de apreciación musical, donde quise mostrar el uso inicial que hizo Walt Disney del cine sonoro, que había inaugurado en 1927, "El Cantante de Jazz" ¿Se deben hacer los dibujos animados antes que la música o visceversa? Enigma que se queda sin contestar; pero, podemos disfrutar de la belleza de estos pequeños cortometrajes.

RESUMEN En este artículo analizamos la figura de Eros, algunos aspectos de erotismo griego y las histo-rias de amor en el poema épico Las Dionisiacas, de Nono de Panópolis. PALABRAS CLAVE: Eros. Erotismo griego. Historias de amor. Nono de Panópolis. ABSTRACT «Love-stories and eroticism in Dionysiaca of Nonnus». In this article we analyse the figure of Eros, some aspects of Greek eroticism and the love-stories in the epic poem Dionysiaca of Nonnus of Panopolis. KEY WORDS: Eros. Greek eroticism. Love stories. Nonnus of Panopolis. 1. El erotismo en la literatura ha pasado a ser una de las líneas de investigación más cultivada en los últimos años, después de haber sido poco atendida hasta las déca-das de los ochenta y noventa del siglo pasado. Libros como los de S. Alexandrian (1990) y G. Morales (1998), por poner sólo un par de ejemplos, son bien signifi-cativos de lo que decimos, uno de cuyos exponentes últimos es la reciente recopi-lación editada por R. Sánchez García (2005). 2. Uno de los capítulos más interesantes para nosotros dentro de la literatura griega antigua es el concerniente al dios masculino del amor: Eros. A esta divinidad veni-mos dedicándole en los últimos años algunos de nuestros trabajos más recientes, en los que hemos tocado algún aspecto de esta figura mitológica, como son los himnos que se le han compuesto (1998a), sus genealogías (2005), su poderío (2006) o su presencia en la obra de Plutarco (2007), cuya finalidad última es conformar una monografía dedicada a este dios que pueda añadirse a las magníficas ya existentes, como la de F.. 3. Las historias de amor constituyen uno de los ejes más significativos de cualquier literatura. Desde que hacen su aparición en la Ilíada (s. VIII a. C.) hasta hoy en día HISTORIAS DE AMOR Y EROTISMO EN LAS DIONISIACAS... 69 FORTVNATAE, 18; 2007, pp. 69-94

El exito en taquilla de la primera pelicula de la saga de 50 Sombras de Grey, fue un tema controversial en Mexico debido a que expuso la sexualidad femenina desde una perspectiva liberal, en una sociedad considerada altamente conservadora por su influencia Catolica. Este estudio presenta los resultados de 587 encuestas y cinco grupos de enfoque, cuyo objetivo fue el de conocer las representaciones sociales del romance en las audiencias regiomontanas, y su relacion con lo que se presenta en la pelicula. Los principales hallazgos arrojan que los participantes se identifican en su mayoria con los personajes (Christian Grey y Anastasia Steele), debido a que representan las caracteristicas mas deseables para una relacion romantica.

This article deals with genetic connections between Fyodor Dostoevsky and Catherine Breillat—using psychoanalysis and philosophy that integrates Plato and Aristotle with Kleinian psychoanalysis. The article develops the notion of two kinds of love, good and bad, distinguishing Freud’s work on instincts referencing Plato’s "Symposium," from Klein’s interest in the function of instincts in human relations. The article discusses issues of intimacy— specifically destructive and creative forces—as conflicting forces to better understand the dynamics of tragic love stories. It then discusses the way that understandings of tragedy, comedy, and tragicomedy help us conceptualize mistakes and learning in intimate relations. It does this by considering the notion of “noble error” discussed in Plato’s "Symposium," and the notion of tragedy in Aristotle’s "Poetics," dealing with the magnitude of such “error” and its consequences. The article then uses these concepts to describe differences in narration and characterization in Dostoevsky’s "The Idiot" and Breillat’s "Bad Love." It suggests that, ultimately, the tension of intimacy leads to the need for symbolic death in the form of relief from intimacy—which, when taken to the extreme, can lead to a “noble error” of real death and resulting in tragic love

Si la Genèse peut être régénérée, c’est en lui prêtant un Dieu plus ludique que tragique, prêt à enseigner la vie, geste par geste, en trouvant un langage commun avec son premier écolier. Et la mort ? Né enfant, prêt à apprendre la marche sur les eaux, le jeu du buisson ardent et le jardinage à la sauvage, Adam prend son temps. Lorsque le Père décide de lui confier Ève, selon le scénario onirique du mythe, elle est un nourrisson assoiffé de sèves, incapable de remplir ses attentes d’une « aide semblable à lui ».
L’aventure conduisant du script édénique à l’Histoire est une histoire d’inter-éducation, de découverte et d’évasion. Ève n'aime pas rester emprisonnée, Adam ne peut pas rester sans Ève, alors ils quittent de bon gré le paradis.
Dieu et le serpent n’ont qu’à suivre…

Жизнь свою целиком отдала она Песне. Сравненье ее с Пиаф, храбрым воробышком Света — глубокое: как и она, Мирей — птица в полете Любви, воин Музыки на одиноком неторном пути. С тем, средь толп ее славящих — она одна, и семья ей, высокой, есть Вечность.

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"He raised himself slightly, his right hand finding new position on her neck. He pushed forward and planted his lips on hers, her long gentle finger stroking his nape and cheeks. He pulled out and looked into her face, a pleasant shock shooting through his eyes. And as if to confirm the reality of this, he gently pulled her again to himself and she fell lifelessly against his chest. He smoothed her hair and as his eyes determinedly cut through her, he suddenly discovered the face of a woman full of passion."

This famous quote from Winnie-the-Pooh reveals something fundamental about the role love stories play in the lives of people. That they do, is beyond doubt, as the theme of love pervades all of literature. And this interest in the topic of love has not waned. Publishing love stories is a multi-billion business. Apparently humans are not content with loving and being loved; they also want to read about other people’s love. Why? In this chapter we propose several motifs for reading about love in fiction, based on insights from sexology and expert relation therapy. Love stories apparently transfer experiences through the written word into meaningful experiences that, although knowingly fictional, nevertheless are of the utmost importance to readers. After presenting some data on love literature and basic impediments to human love relations, we offer some escape routes from desire (through death, divorce, and extramarital affairs), arguing that the road to desire in relations is hardly ...

"Though destiny has forbidden me to tell how I really feel and how much I am into him, I hate him for the fact that I loved him and that we are not meant for each other’s arms." - An excerpt in the paper.

Everyone experiences love but not all turned into a happy ending. This is a story of a man who fell in love with someone totally the same with him. A total fellow, totally male. But when time came to confess, it was all late. "... I found out that he’s in love with someone else, someone unlike me, estranged from the natural boy girl affair."