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Tuija Saresma

Theoretical and Conceptual Background Love is often considered a positive emotion, an ethical, equal relationship and even a radical power that can transgress established social practices and norms ( Grossi 2013 ). Romantic heterosexual love as the dominant discourse of love in Western


Dikmen Yakalı-Çamoğlu

is for men’s cultural forms, which present totally distinct sets of traits for masculinity and femininity. The existence of these distinct stereotypical representations seems to construct an infrastructure of emotion and communication for girls and boys as they grow up. Although patriarchal discourse


Bridget Sandhoff

. Generally love is a positive emotion associated with the romantic coupling of men and women or other pairings. The intensity of this feeling and the longing to bond with another human being has made love one of the most common topics found in literature and the visual arts, even in antiquity. Ancient


Angela Tumini

upset the mould of sexual difference, which is encoded in classical narrative. The dramatic composition of rich light and heightened emotions in Fontaine’s film comes from her compelling female-centred narrative. Like a filmic surgeon, she uses her camera as an operating tool, with which she dissects


Deirdre C. Byrne

are associated with rationality (the mind), while women are associated with emotion, the body and the irrational. Men’s superior physical strength, when seen against women’s supposed weakness, is another attribute of masculine rationality: women’s greater embodiment is seen as the consequence of their


Deirdre C. Byrne and Wernmei Yong Ade

2012. Violence against women is similarly examined in the next chapter, Tuija Saresma’s “The Concept of Love in Masculinist Blogs: A Strategic Ideal,” but this time on the internet, where love, often considered as a positive emotion and (ideally) an ethical relationship between people, is used to

Gazes, Faces, Hands

Othering Objectification and Spectatorial Surrender in Abdellatif Kechiche’s Vénus noire and Carl Th. Dreyer’s La Passion de Jeanne d’Arc


Jorunn S. Gjerden

actress nearly as astute in expressing delicate female emotions under enormous stress as Renée Maria Falconetti was in Dreyer’s The Passion of Joan of Arc , another sobering chronicle of a martyr’s persecution. 3 In his short comparison, Fujishima establishes parallels between plot structure (“a martyr


Kelly Gardiner

Maupin. It does not matter that we now know Sappho lived into old age: she is visible in dozens of paintings of a woman so overwhelmed with emotion – with that uncontrollable eros – that she flings herself from the metaphorical cliff top. Ovid’s “fictions of Sappho” became fictions of a whole range of


Marianne Schleicher

, edited by Craig A . Evans and James A . Sanders , 166 – 175 . Sheffield : Sheffield Academic Press . Wolde , Ellen van . 2008 . “Sentiments as Culturally Constructed Emotions: Anger and Love in the Hebrew Bible” . Biblical Interpretation 16 : 1 – 24 .