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Although our love ended, I’m still haunted by this passion… When his helicopter crashes in the jungle, Marco is severely injured. After his brush with death, all he can think about is Sophie, a childhood friend and the woman he tried to forget, but who was always on his mind. A few months later, Sophie hears that Marco is back at his parents’ house. Her heart races. But he was the one who left her to pursue his dreams six years ago. She is still heartbroken, so she decides to have nothing to do with him this time round, whatever the reason behind his return…
THE MAN SHE COULDN'T FORGET… He was a man of adventure, the epitome of masculinity, and he had swept the girl next door off her feet one incredible night—and made her a woman. But Marco Esposito didn't think he was the home-and-hearth type of man that Sophie Morrell deserved…so he walked away. But he never forgot her. Now Marco was back and he wanted to do right by Sophie—for now and always. Sophie hadn't forgotten those fiery kisses, but could she trust that their night of shared passion would grow into the love of a lifetime…?
Among those newly departed souls waiting at the Arena of the Mist is Makeda the Queen of Sheba, who has an unusual request to bring before the Karmic Board. She would like to reunite with her Eternal Lover, not knowing she will have to navigate the choppy waters of a love triangle to relieve the anguish in her heart resulting from the drama of her past life.
Love and Providence provides the first study of the recognition scene in Greek "romantic" novels and its significance in the ancient literary tradition.
This book is about the bold, beautiful, and faithful heroines of the Greek novels and their mythical models, such as Iphigenia, Phaedra, Penelope, and Helen. The novels manipulate readerly expectations through a complex web of mythical variants and constantly negotiate their adventure and erotic plot with that of traditional myths becoming, thus, part of the imperial mythical revision to which they add the prospect of a happy ending.
This book examines the relationship between narrative film and reality, as seen through the lens of on-screen classical concert performance. By investigating these scenes, wherein the performance of music is foregrounded in the narrative, Winters uncovers how concert performance reflexively articulates music's importance to the ontology of film. The book asserts that narrative film of a variety of aesthetic approaches and traditions is no mere copy of everyday reality, but constitutes its own filmic reality, and that the music heard in a film's underscore plays an important role in distinguishing film reality from the everyday. As a result, concert scenes are examined as sites for provocative interactions between these two realities, in which real-world musicians appear in fictional narratives, and an audience’s suspension of disbelief is problematised. In blurring the musical experiences of onscreen observers and participants, these concert scenes also allegorize music’s role in creating a shared subjectivity between film audience and character, and prompt Winters to propose a radically new vision of music’s role in narrative cinema wherein musical underscore becomes part of a shared audio-visual space that may be just as accessible to the characters as the music they encounter in scenes of concert performance.
There are profound, extensive, and surprising universals in literature, which are bound up with universals in emotion. Hogan maintains that debates over the cultural specificity of emotion are misdirected because they have ignored a vast body of data that bear directly on the way different cultures imagine and experience emotion - literature. This is the first empirically and cognitively based discussion of narrative universals. Professor Hogan argues that, to a remarkable degree, the stories people admire in different cultures follow a limited number of patterns and that these patterns are determined by cross-culturally constant ideas about emotion. In formulating his argument, Professor Hogan draws on his extensive reading in world literature, experimental research treating emotion and emotion concepts, and methodological principles from the contemporary linguistics and the philosophy of science. He concludes with a discussion of the relations among narrative, emotion concepts, and the biological and social components of emotion.
Friends, Lovers, Co-Workers, and Community analyzes how television narratives form the first decade of the twenty-first century are powerful socializing agents which both define and limit the types of acceptable interpersonal relationships between co-workers, friends, romantic partners, family members, communities, and nations. This book is written by a diverse group of scholars who used a variety of methodological and theoretical approaches to interrogate the ways through which television molds our vision of ourselves as individuals, ourselves as in relationships with others, and ourselves as a part of the world. This book will appeal to scholars of communication studies, cultural studies, media studies, and popular culture studies.