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Is it possible to capture something as ephemeral as love with mere words? Méira Cook draws on Lacan, Derrida, Barthes, and Kristeva to wrestle with the theoretical problems of representing the unrepresentable. In Writing Lovers she searches for a language adequate to articulating the discourse of passion, desire, and longing in the love poetry of Dionne Brand, Elizabeth Smart, Daphne Marlatt, Dorothy Livesay, Kristjana Gunnars, and Nicole Markotic.In writings by the French post-structuralists, rhetorical tropes such as speechlessness, fragmentation, and deflection testify to the writer's difficulty in broaching the subject of love. Similarly, Cook shows that love poetry proceeds out of a profound failure of language resulting from the opacity of discourse, its lack of neutrality, or the fugitive transparency of reference. Writing Lovers also explores race, ethnicity, age, and sexual identity within the context of the passionate excesses of amatory discourse.
The Roman de la Rose explicitly offers an 'art of love', while also repeatedly asserting that the experience of love is impossible to put into words. An examination of the intertextual density of the Rose , with its citations and adaptations of a range of Latin authors, shows that the discourse of bodily desire, pleasure, and trauma emerges indirectly from the juxtaposition and conflation of sources. Huot's new book focuses on Guillaume de Lorris's use of the Ovidian corpus, and on Jean de Meun's dazzling orchestration of allusions to a wider range of Latin writers: principally Ovid, Boethius, and Virgil, but also including John of Salisbury and Alain de Lille. In both parts of the Rose , poetic allegory is a language that can express the unspeakable and the ineffable.
Explores the variety of bonds that are formed between writers and the figure of the dead lover
Annotation An exploration of women's desire for women.
What kinds of pleasure do we take from writing and reading? What authority has the writer over a text? What are the limits of language's ability to communicate ideas and emotions? Moreover, what are the political limitations of these questions? The work of the French cultural critic and theorist Roland Barthes (1915-80) poses these questions, and has become influential in doing so, but the precise nature of that influence is often taken for granted. This is nowhere more true than in poetry, where Barthes' concerns about pleasure and origin are assumed to be relevant, but this has seldom been closely examined. This innovative study traces the engagement with Barthes by poets writing in English, beginning in the early 1970s with one of Barthes' earliest Anglophone poet readers, Scottish poet-theorist Veronica Forrest-Thomson (194775). It goes on to examine the American poets who published in L=A=N=G=U=A=G=E and other small but influential journals of the period, and other writers who engaged with Barthes later, considering his writings' relevance to love and grief and their treatment in poetry. Finally, it surveys those writers who rejected Barthes' theory, and explores why this was. The first study to bring Barthes and poetry into such close contact, this important book illuminates both subjects with a deep contemplation of Barthes' work and a range of experimental poetries.
Establishing and maintaining a meaningful, satisfying, and enduring intimate relationship can be elusive for many people. Time and again, they are drawn to lovers with whom the relationship is futile, ending with hurt feelings and regrets. In this work, Nina Brown shares her longtime experience as a professional counselor to help those who ask: Why do I keep picking unsuitable lovers? Brown calls them dead-end lovers, and in this work she shows us, not only how to spot them early and avoid them, but also what it is—what psychological needs we have —that attracts us to them. Guided by decades of counseling those with relationship problems, Brown includes 17 clear signals of unsuitability, and tells us how to spot the five types of unsuitable lovers: Hurting and Needy, Risk-Taking and Rebellious, Charming and Manipulative, Self-absorbed, or Exotic and Different. To help us understand why we are drawn to them, she explains the personal psychological lures and attractions we may have—from Being a Saver, to Searching for Excitement, Craving Attention and Admiration, Finding a Mirror, and Rebellion against Convention. She also explains why entering into a relationship expecting to change another person is most often just an exercise in futility. Perhaps most important, Brown details how we can move ahead and find true intimacy by pinpointing the components of a satisfying and meaningful intimate relationship, increasing interpersonal effectiveness, strengthening our psychological boundaries, resisting lures, managing emotions, and becoming aware of potential personal romantic illusions.