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Women’s narratives of their lived experience when love and abuse co-exist in intimate partner relationships, provide insight into the ways that their action for safety is impacted by their beliefs about love, the micro-politics of these relationships, and the macro-politics of the structural inequalities that constrain these relationships. Women’s vulnerability to abuse is increased and their access to safety limited by a belief in love as a promise, the dominant romance narratives including the fairy tale and dark romance narratives, by the practice of love with the two core conditions that support abuse, and by the social structures and institutions of society that constrain these relationships. Understanding the impact of how love is practiced, the dominant narratives of love and abuse, and the ways that social structures and institutions constrain women when love and abuse co-exist will enhance women’s access to safety and social work services.

The Octoroon, by Dion Boucicault, is a play that Boucicault himself argued is “an effective intervention in the slavery debate, one designed to reveal the real cruelties of the slavery system” (Mullen 91). By calling The Octoroon an intervention, Boucicault intimated that his play could influence what was happening during the antebellum period of United States history by starting a dialog between opposing factions. While Boucicault did indeed contribute to this dialog, he is also known for not choosing a side. “‘Nothing in the world,’ protested the Times, ‘can be more harmless and non-committal than Mr. Boucicault’s play.’ It had in it ‘no demonstrations in favor of the down-trodden, no silly preachings of pious negroes, no buncombe of Southern patriots, no tedious harangues of Eastern philanthropists.’ The Octoroon was exactly what it had intended to be ‘a picture of life in Louisiana!’” (Kaplan 551). By simply writing a play that paints “a picture of life in Louisiana,” Boucicault was able to allow his work to present the complex issues that are the ingredients in this dramatic portrait.

This dissertation studies the concept of “love” in Algernon Charles Swinburne’s "Poems and Ballads" [1866]. As I argue in Chapter One, there has been surprisingly little critical discussion of the concept of love in "Poems and Ballads," and what there has been is flawed in that it inadvertently reinforces the longstanding charge of Swinburne’s “meaninglessness,” obscures the ways in which the love of "Poems and Ballads" is an informed critical response to the culture of the time, and tends to render the poems and their dramatic speakers interchangeable. In Chapter Two, I attempt to redress the ahistoricism that has dominated these discussions by explaining how the love of "Poems and Ballads" arose in response to the “cult of love” of Swinburne’s contemporaries, which he, informed by ideas that he inherited from his Romantic forbearers, viewed as an impoverishment of sensual experience, and consequently of humankind’s creative capacities—as dramatized through his speakers’ “refusals” of love and its imaginative possibilities. In Chapter Three, I explore two such “refusals,” expressed through the voices of the very different speakers of the “Hymn to Proserpine” and “The Triumph of Time.” After clarifying some sources of confusion, I trace how both of these characters, by means of different philosophical and psychological pathways, come to turn away from love and (in doing so) their own poetic potential. In Chapter Four, I turn to “Dolores,” in which the speaker’s rejection of love drives him to the “perverse spiritualism” that Swinburne identifies with the Marquis de Sade. Although the speaker succumbs to creative impotence, I argue that he is capable of recognizing his own inadequacies, and to welcome a poet who can “kiss” and “sing” like Catullus once did (340-42). Finally, in Chapter Five, I argue that, in the Sappho of “Anactoria,” Swinburne provides a dramatic model of (the development of) the kind of poet who could “see love,” in all of its volatility and violence, and still “choose him.” In concluding the chapter, I also claim that Swinburne suggests, in Sappho’s relation to her future readers, how such a poet might inspire others to “choose” love. / Thesis (Ph.D, English) -- Queen's University, 2014-04-23 10:34:46.253

Women’s narratives of their lived experience when love and abuse co-exist in intimate partner relationships, provide insight into the ways that their action for safety is impacted by their beliefs about love, the micro-politics of these relationships, and the macro-politics of the structural inequalities that constrain these relationships. Women’s vulnerability to abuse is increased and their access to safety limited by a belief in love as a promise, the dominant romance narratives including the fairy tale and dark romance narratives, by the practice of love with the two core conditions that support abuse, and by the social structures and institutions of society that constrain these relationships. Understanding the impact of how love is practiced, the dominant narratives of love and abuse, and the ways that social structures and institutions constrain women when love and abuse co-exist will enhance women’s access to safety and social work services.

The confluence of singers, composers and audiences within contemporary Mexican culture, produces a "bolero effect" in which the bolero tradition of the popular love song is established as a complex network of relationships between actors and spaces. The relationships between public discourses about romance, courtship and self identities, is produced and secured by the deployment of a variety of codes and languages that together constitute love as a shared memory. Collective and personal memory are strongly related. The process of interpreting and responding to the bolero is rooted· not only in individual biography but also in the life of the community to which a person belongs, and which provides him/her with frames of reference within which to organise memory, a kind of mental map drawn up by language. The aim of this thesis is to analyse the complex and contradictory interplay between the public presentation and proliferation of the bolero, and the intimate, unique, experience of love. The first part of the thesis explores the public culture of the bolero as it travels along trajectories linking live performance to radio, cinema, records and television. The second part explores the experiences and responses of male and female subjects from two contrasting class locations in contemporary Mexico City.

This masters thesis in creative writing is comprised of two sections, a critical review of contemporary love stories written by women in the narrative mode and a novel entitled Si tes reves m'etaient contes. / In our study of Le recit amoureux feminin actuel, we attempt to explain women's preference for the narrative mode, to describe the new vocabulary of love and highlight its specific meaning and style. How do women write about love, how do they portray men, what have become their amorous preoccupations in the recent years? / Si tes reves m'etaient contes is the story of Catherine who, fast approaching her forties, reflects upon her life and her marriage. She is forced to conclude that her husband, whom she thought she knew so intimately, is no longer the man she married. He has become a stranger to her.

What I Meant to Say about Love is an ever-differing interstitial text which has left open spaces for artists, researchers, and teachers, called a/r/tographers, to contest the curriculum and pedagogy of reduction and pragmatic means-ends orientations that monopolize schools. This text wanders, meanders, and digresses to places where, through poetic inquiry, the notion that there is no pedagogy without love can be explored. In a broad understanding of midrash, as it is performed poetically, three years of an English teacher's life are recorded fictionally. James, the main character, discovers that love is a physically potent force that structures and deconstructs, just as it connects and disconnects. His story considers how the professional emphasis in education compartmentalizes and separates the inner life from the outer life. In love with life, with learning, and with others, the James of this story writes poetry to acknowledge love's power, and to restore its credibility in the classroom—that the lovers' discourse might be trusted again. This un/authorized autobiography ruptures the predictable stories of what it means to be a successful teacher by considering one teacher's journey as a limit case, examining phenomenologically how he connects his life of love and poetry to his classroom practice and how his students respond to his poetically charged way of being. My hope is that it might be possible to offer here, in this place, one poet's understanding and celebration of difference in the world. Recognizing the relationship between what is original and what is shifting, I hope to keep complexity and diversity alive, to resist answers, to continue to converse and traverse and transgress. Thus, with careful attention to poetry as a way of knowing and unknowing, and by attending to the paradox, humour, and irony in one poet's lived experiences, both public professings and inner confessings, as they are understood in relations of difference, or as they are understood in relations of decomposition and fertility, it is possible to consider how powerful emotive experiences, oftentimes relegated to the personal and therefore insignificant, can and do have profound transformational effects on praxis.

Thesis (M.A.)--University of Toronto, 2005. / Includes bibliographical references (leaves 63-65).

Thesis (Ph.D.)--York University, 2006. Graduate Programme in Clinical Developmental Psychology. / Typescript. Includes bibliographical references (leaves 41-48). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:NR29530