Love Song is an essay about romance, passion, obsession, attraction, Eros, intoxication, infatuation, to fall in love and love. Love songs, as artworks, are almost always directed towards a nameless “you” and this essay wants to talk to you. The text might be seen as a way to create and rewrite something, a performance to understand other performances, a dwelling on past relationships, a love letter, or just a text for me to vent you with others that have been thinking about you. I would love to hear Elsa von Freytag-Loringhoven, Chris Kraus, Beyoncé, Bell Hooks, Anaïs Nin and Taylor Swift talk to each other about art and romances, but because that is an impossible dream I try to connect them and many other thinkers, artists and singers through language. One of them, Roland Barthes once wrote: "Language is a skin: I rub my language against the other. It is as if I had worlds instead of fingers, or fingers at the tip of my worlds."[1] Love Song is, more than anything else an attempted to touch you, a strategy to better understand the way you made and make me feel.   [1] Roland Barthes, A Lover’s Discourse – Fragments, original: Fragments d’un discours amoureux, 1977, translation from French: Richard Howard, Edition du Seuil, 1978, p. 73.

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Freud s'était intéressé à la question de l'étiologie et les spécificités de la relation d'objet dans les psychoses dès le fondement de sa théorie. Il avait buté sur la possibilité du traitement des sujets psychotiques par la psychanalyse puisqu'ils lui paraissaient inaptes au transfert à cause d'une part de l'état anobjectal primitif de leur narcissisme et d'autre part de leur régression au stade autoérotique. Lacan, dans son retour à Freud, revient sur les spécificités de la structure et cerne la question. Il étoffe ainsi son hypothèse selon laquelle la forclusion du Nom-du-Père et la réapparition dans le réel de ce qui est forclos seraient la cause de la psychose. Ce travail de recherche est une mise en tension entre la rencontre avec trois femmes dont le diagnostic de psychose est avéré et l'approche de Freud et de Lacan des psychoses pour cerner notre question de recherche. De là, notre hypothèse sera la suivante : l'amour et le transfert ont des dimensions bien particuliers dans les névroses et dans les psychoses. Néanmoins ils restent des organisateurs de la vie du sujet pour toutes les structures psychiques. À travers l'amour, le sujet psychotique essaie de suppléer : au défaut dans la symbolisation dû à la forclusion du Nom-du-Père ; au défaut de la signification phallique ; et au défaut dans la localisation de la jouissance de l'Autre. L'amour fait symptôme dans les psychoses. Il est une des seules défenses que le sujet a contre le Réel et, constitue une tentative de guérison. / Freud has focused his research on the etiology of psychosis and the specificities of object relations in psychosis since the foundation of his theory. He has confronted with the impossibility of the treatment of the psychotic patient by his methods because they seem to be incapable of transference due to their narcissism and their regression to the autoerotic stage of the development. After Freud, Lacan questions the specificities of the psychotic structure and identifies the foreclosure of the Name of the Father, a primordial signifier, as the etiologic source of the psychosis.This thesis is a tension between case studies of three psychotic women and the approach of Freud and Lacan. Our hypothesis is: love and transference have unique dimensions in neurosis and psychosis. However they still organize the life of the subject in all the structures psyches.Through love, the psychotic subject tries to compensate structural fault. It is one of the only defenses against the Real and it is an attempt to cure. The psychotic subject can form an ego by identifying with the love object. In this case, love is articulated in three registers defined by Lacan: the real, the imaginary and the symbolic. If the psychotic slides purely to the narcissistic side, if the love is based solely on the imaginary register, the deadly side of love, Thanatos, can take over.

M.A. / The purpose of this study is to introduce to the reader to meaning of erotikos logos in Papadiamantis’ prose. Special attention is also paid to the female type, as it was formed at the end of the 19th century and the beginning of the 20th century in Greece. The theme of paganism with special reference to the erotikos logos is examined in Preface as well. The examination is based on Triantafillopoulos’ edition, the Άπαντα. In Introduction the theoretical framework is discussed, which is a mixture of formalism, structuralism, Marxism and feminism. The plurality of Papadiamantis work is shown by this manner. Besides, the general approach is mentioned, which is based on a modern system of literary criticism. The main questions which have been posed in this reasearch have been connected to the emergence of the female model in reference to the socio -cultural role, both in that time and in Papadiamantis’ work. Furthermore, the narrative forms and the motives used by the author are mentioned. In addition, the natural, supernatural and linguistic factors effective in erotikos logos are examined. The stucture of the study is as follows: Part I, Chapter A΄, 1, contains a detailed description of the most important events which took place at the end of the 19th century and in the beginning of the 20th century. The influence of the social and historical context is obvious to Papadiamantis’ character and writings. His artistic creativity started early, with translation novels. The social rules and the woman’s sexual identity are examined in Chapter Α΄, 2. Greek society limited woman to domestic activities. Her destiny was to be a dedicated mother and a good wife. The socialization of the female is a great factor which influences her stereotype. It is analysed in Chapter A΄, 3 and focuses on the role of family, religion and education. Τhe traditional female type is given analytically in Chapter A΄, 4. Nethertheless, the differences of the above mentioned type are pointed out in the same chapter. The theme of love and marriage are examined in Chapter A΄, 5. Economic and social criteria make dowry a specific custom and a basic requirement for an arranged marriage, as mentioned in the same chapter. The theme of love appears for first time in Papadiamantis’ novels and is examined in Chapter B΄, 1. In Μετανάστις, his first novel, the traditional type is given in Chapter B΄, 2, according to the techniques of romanticism. In Έμποροι των Εθνών, a revolutionary feminine type is presented in Chapter B΄, 3, with in the historic frame work of the Venetian invasion in the Greek islands. In Γυφτοπούλα, a moderate female type is analyzed in the context of the fall of Constantinople (Chapter B΄, 4). In 1887, Papadiamantis ceased writing romantic novels and turned to country life, as is mentioned in Chapter C΄, 1. He analyzed the social reality, looking inward into the human being, thus experiencing life and pain and not simply theorizing about them. Ιn Chapter C΄, 2, the theme of Platonic love is expressed dramatically. His female heroes usually come from a low class, bear many children, yet suffer from poverty, as is illustrated in Chapter C΄, 3. The majority belong to the traditional woman’s stereotype. Only several go against to the status quo but finally turn back to the traditional way of thinking, as is observed in Chapter C΄, 4. A few go further and refuse to obey the rules. These women become the pioneers of woman’s equallity (Chapter C΄, 5). New facts are added to the existing descriptions of the motif of love in Chapter D΄. The written dialogue Πόσις και Δάμαρ is an example of the difficulty in communication between a married couple. The male is the protagonist and the female the antagonist. The Erotikos logos is a battle between them. The winner is the woman, like Eve in the lost Edem. The theme of nature and paganism in Papadiamantis’ work is described in Part II, Chapter E΄, 1. The triangle woman-magic-erotikos logos is analysed in Chapter E΄, 2. The language of Papadiamantis’ writtings is a mosaic of dimotili, katharevousa, the language of church hymns and of Homer’s work. This post-modern strategy plays an important role in describing erotikos logos (Chapter E΄, 3, 4 ). In Papadiamantis’ times, the woman was taught to channel her libido towards the interests of childbirth and the needs of her husband. She also had to be submissive and quiet by fulfilling roles prescribed in a patriarchal society of domestic duties and child rearing. A close yet negative association between the female and the magic power arises. The man is overpowered by the woman as love through magic seems to be a guided story. On the one hand, Papadiamantis’ work shows the otherness of the female in comparison to the theory of social rules and practise. The Erotikos logos is a dialectical interaction between emotion and language, a great power that stirs everything. On the other hand, it comes to light that the Erotikos logos overcomes pleasure and pain, good and evil and is close to the lost paradise. A bibliography concludes the study. Finally, it is hoped that the findings of the research may lead to a better understanding of Papadiamantis’ writings.

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Shakespeare reveals his interest in the popular theme of courtly love, which came to him as an established tradition, in a number of his plays. This tradition can be traced back to the troubadours of Provence who, during the Crusades, appeared as a class of knights whose chief values were valor, courtesy, and knightly worth. From the troubadours came the idea of love service: every knight must have a lady whose relationship to him was parallel to that between him as a vassal and his lord. This love service came.to be looked upon as leading to moral dignity and true chivalry and it was performed by the knight for another 's wife. An elaborate set of rules grew up describing the nature of courtly love and the attitudes and responses of both the knight and the lady. From Provence courtly love spread to Italy where it was endowed with spiritual and philosophical aspects by Cardinal Bembo, Dante, and Petrarch, for example. By the time that the tradition reached England it had been modified, added to, and conventionalized in its passage through Italian and Northern French literature. A number of Shakespeare's predecessors made important contributions to the courtly theme: Chaucer suggested its evil consequences, Castiglione established the rules to guide the perfect courtier and the lady, and emphasized marriage as the only acceptable end of courtly love, Sidney combined the medieval chivalric and the classical pastoral traditions in an imaginary setting where chivalric ideals always triumphed over evil, and Spenser added a strong moral note, recognizing the physical as well as the spiritual aspects of love in his emphasis on virtue and constancy. By the time that Shakespeare began to deal with courtly love, courtesy meant more than the medieval idea of a willingness to undertake love-service. It meant gentlemanly conduct, refined manners, intellect, and a high moral purpose. When Shakespeare took up the courtly theme, it had been refined considerably. In an early treatment of the theme, Shakespeare satirizes the folly connected with courtly love and the courtly ideal. This is seen in Love's Labour's Lost where the ladies only toy with the men and where love is not triumphant. In The Two Gentlemen of Verona the satirical vein is continued and the weaknesses inherent in courtly love are exposed in the struggle between love and friendship. As You Like It is another play in this group where courtly love is satirized. Rosalind becomes the spokesman for sincerity and faithfulness in love and condemns artificiality and sham. In a group of plays which treats the courtly theme as comedy (A Midsummer Night's Dream, Twelfth Night, Henry IV (Part I), and Henry V) Shakespeare is more fun-loving and gentler in his presentation than he was in the plays where courtly love was treated satirically. No serious issue mars the comic atmosphere as we see the humorous side of love in each of these plays. In another group, Romeo and Juliet, The Winter's Tale, and Cymbeline, we see the strength derived from romantic love which is presented as a genuine passion leading to permanence. Such love gives strength in adversity and though love ends tragically in Romeo and Juliet and nearly ends tragically in the other two plays, we see that it enables the lovers to meet their fate, even when it is death. Shakespeare reverses the theme in the following plays: All's Well that Ends Well, Much Ado about Nothing, Measure for Measure, and Richard II. In the first three the lady uses a trick to win her man, and in Richard II she pleads for love but is rebuffed. The scheming and trickery of the first three plays in this group brings the theme close to unpleasantness and degrades the courtly lover. Shakespeare here probes the realistic aspects of the theme and shows men and women as they really are. This treatment is followed through in the tragedies Troilus and Cressida, Hamlet, and Othello, where the unpleasant, realistic aspects of courtly love lead naturally to tragedy. In these tragedies the gaiety and idealism of the conventions of courtly love have disappeared completely and the true possibilities have been exposed. After these plays, courtly love no longer could supply a valid pattern for loving and living. In The Tempest the theme is subverted and love is seen as the force of renewal in the world. The lovers are no longer of interest as courtly lovers but appear as mature people whose marriage becomes the hope of a better world. The conventional suffering for love is gone and in its place is a mature, reasoned attitude to the most basic of man's emotions. With this play Shakespeare has come all the way from artificiality and sham to a lasting, satisfying type of love. / Arts, Faculty of / English, Department of / Graduate

La psychanalyse s'est intéressée dès ses fondements à la question de l'amour en partant de la clinique de la vie amoureuse telle qu'elle est amenée par la parole des patients. Freud s'est rapidement confronté au surgissement d'un amour de transfert dans la logique même du dispositif analytique. D'abord résistance puis ressort, cet amour a enseigné sur la logique même de l'amour véritable. Lacan en reprendra les enseignement pour en formaliser une logique centrée sur le rapport au savoir. Mais ceci permet-il d'y réduire l'apport lacanien au vaste champ de la question de l'amour ? Ce travail reprend l'approche par Lacan de l'amour dans ses différentes figures tout au long de son enseignement. A partir de ce foisonnement de propositions, est-il possible de dégager une théorie lacanienne de l'amour? Mais surtout, quels apports trouverons-nous afin de nous permettre une approche clinique de la vie amoureuse?Il s'agira, après avoir organisés ces apports selon un plan qui suivra la structure d'un nouage des trois registres Imaginaire/Symbolique/Réel, de mettre à l'épreuve la thèse selon laquelle l'amour est psychopathologique. De là, l'hypothèse sera la suivante : l'amour est, d'un point de vue métapsychologique, essentiellement engainé dans le registre Imaginaire; ce sera son nouage au deux autres registres qui lui permettra de ne pas verser dans le pousse à la mort de la passion amoureuse. L'amour pourra selon ce nouage à trois s'exprimer dans une clinique au-delà du narcissisme et par là même créer un quatrième registre qui sera celui de l'amour symptôme et/ou sinthome; celui qui est vécu entre deux sujets dans tous ces avatars cliniques qui frôlent parfois la clinique et la psychopathologie des psychoses. / Psychoanalysis has focused since its foundation to the question of love from the clinic's love life as it is brought by the patients' speech. Freud was quickly confronted with the emergence of transference love in the logic of the analytical device. First resistance is apparent then, that love has taught on the very logic of true love. Lacan's teaching resume to formalize approaches based on the report to know. But this allows it to reduce the contribution of the broad field of Lacanian question of love? We revisit the approach of Lacan's love in its various figures throughout his teaching. From this abundance of proposals, is it possible to identify a Lacanian theory of love? But more importantly, what will we find contributions to allow us a clinical approach to the love life? It will, after such contributions held by a plan that will follow the structure of a knot of three registers Imaginary / Symbolic / Real, to test the thesis that love is psychopathological. Hence, the assumption is this: love is a metapsychological point of view, sheathed mainly in the Imaginary register, it will be his knotting two other records that will allow him not to pour into the shoot death of passion. Love can tie this according to three speak in a clinic beyond the narcissism and thereby create a fourth register which will be the symptom of love and / or sinthome and one who is experienced between two subjects in all these avatars sometimes verges on the clinical and psychopathology of psychoses.

Abstract Love's Story is a documentary journey into the storytelling world, where the themes of love and memory connect the audience to a unique set of film interviewees. Marie and Alexis provide interesting recollections about their individual pasts, while Cherie guides the course of the film with her expert theories about the nature of storytelling. What initially appears a simple film, actually provides a multi-tiered commentary tackling issues of memory, love, and perseverance. The film equally highlights the nature of storytelling to encourage audiences to critically dissect the stories around them in the world. Presented visually through minimalist animation and aurally through a mix of interviews, sound effects, and music, Love's Story is a poetic film about the process of storytelling and the interconnectedness of the memories individuals tell.

Previous studies have shown that the experience of joy normally accompanies the experience of tenderness or love. Theorists have thus suggested that tenderness is not a distinct emotion, but rather a variety of joy. The present study explored whether it is possible to induce tenderness while inhibiting joy. Participants watched scenes designed to induce different emotions. Results showed that a scene could induce high levels of tenderness and low levels of joy if that scene also induced high levels of sadness. These findings suggest the need to reconsider theoretical assumptions regarding the distinction between tenderness and joy.

This study proposes to demonstrate that the Platonic doctrine of the ennobling power of love is of paramount importance in a number of Shakespeare's plays. This study has been limited to the three love tragedies because in them the ennobling power of love is a major theme, affecting both the characters and the plot structure. The plays to be studied are Romeo and Juliet, Troilus and Cressida, and Antony and Cleopatra.