This study of four of Keats's greatest poems explores a dynamic pattern in the poet's imagination: a relationship between the oral/fusional imagery and the romantic/oedipal themes. The poet's imagination seems to have been propelled backward from oedipal conflict to earlier narcissistic/oral unrest and pleasure.
This article examines the Steinach rejuvenation operation (a vasectomy) which Norman Haire performed on W. B. Yeats in 1934: while this method is now discredited, many others are still used in similar attempts to "cure" old age and restore youthful vitality.
Tidsskrift for Den Norske Laegeforening: Tidsskrift for Praktisk Medicin, Ny Raekke
Emil Aarestrup (1800-56) worked as a general physician, later as a public health officer in Denmark. He married his cousin and wrote love poems to her and to other women. His erotic poetry is regarded as the most elegant in Danish literature. His poems have precise words and colourful details and show a special sense of the condensed mood in the erotic situation. He writes upon the complex nature of love: union, separation and death.
A principal components analysis of 68 volunteers' subjective ratings of 20 excerpts of Romantic poetry and of Dictionary of Affect scores for the same excerpts produced four components representing Pleasantness, Activation, Romanticism, and Nature. Dictionary measures and subjective ratings of the same constructs loaded on the same factor. Results are interpreted as providing construct validity for the Dictionary of Affect.
This manuscript offers a new view of old and timeless values: the essential ethic of love, informed by contemporary European philosophies, and caring theory, as well as ancient poetry and wisdom traditions. It integrates some of the philosophical views of Levinas and Logstrup with Watson's Transpersonal Caring Theory.
This essay places Coventry Patmore's The Angel in the House in the context of Victorian explorations of the act of thinking about a beloved other. It centers on two short "Preludes" from the poem--"The Kiss" and "Love Thinking"--which raise questions about the relationship of love to knowledge. Reading Patmore's poem in this way makes it possible to recognize "The Kiss" as the crucial source for a much more serious poem about thinking, kissing, and sleeping: George Meredith's Modern Love.
The article examines the topic of love and melancholic sickness in medicine and literature of Late Antiquity with special attention to the poem Aegritudo Perdiccae. In the Late Antiquity, medicine takes a new attitude to the disease of love, making it an indipendent disease, with specific physical and psychological symptoms. Many new features can be justified by the influence of Christian thought on medical theories.
Although Sappho was revered as the greatest woman poet of all time by the Greeks, in later antiquity and the Middle Ages, her love of women was considered shameful and overshadowed her excellent reputation. She was also called a prostitute, and fictional accounts of her affairs with men further "tarnished" her reputation. Dual representations of Sappho existed within two centuries of her death.
Geoffrey Chaucer frequently depicts the emotions of his characters via the outward physical signs of the body, and he often does so using a discourse that draws on Galenic theories. A striking example of Chaucer's medicalized descriptions of emotion is his adaptation of the suicidal impulse associated with lovesickness. Chaucer reconstructs this motif in "The Knight's Tale" and The Book of the Duchess by altering his sources (Boccaccio, and Froissart and Machaut) to anatomize the emotional body of the suffering knight.
This article explores the melodramatic expression of lesbian girlhood and teen romance in Disney's Tangled (2010) and Disney Pixar's Brave (2012), as well as "Meripunzel" femslash, fan-authored romantic pairings of the animations' female protagonists. First, Anne Sexton's poem, "Rapunzel," offers a literary precedent for exploring lesbian themes in the fairy tale. The next section shows how Tangled and Brave invoke the narrative conventions of the family melodrama.