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Age Of Love - The Age Of Love


We tried to keep the connection with the fans and the scene by offering livestreams and releasing music. In a time where everything is disconnected and not physical, it felt more important than ever to keep the interaction alive. Nothing will ever compare to being in front of a crowd and surrounded by the people we love but sadly, during the past 18 months, that did not seem to be possible. We did all we could we the limited resources we had.




Age Of Love - The Age Of Love


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From the point of view of the Don Juan passionate love may be compared to a strange road, steep and difficult, which at first, it is true, leads through delightful groves, but soon loses itself among jagged rocks not the least attractive to ordinary eyes. Gradually the road climbs among high mountains and through a dark forest whose huge trees shut out the light with their thick towering foliage, bringing terror to the hearts of those unaccustomed to danger.


This unnatural naturalness, this choreographed approach to the clumsiness of truth, is a perfect illustration of the synthesis we have been narrowing in on: the elaborate preparations for naturalness are an attempt to master a situation, but the moments of naturalness are themselves an act of surrender. One prepares for intoxication; but one is nevertheless intoxicated. One yields carefully; but one nevertheless yields. This precarious mixture of the active and the passive is the middle ground between a yearning, hopeless love and a ribald pickup artistry. It is love mediated through art, an artistry of love.


Obviously, love is an unpredictable feeling that cannot be calculated, but it is also evident that we each tend to appreciate, in the other, certain qualities more than others and that recurrent patterns are found in happy couples. So why not let algorithms propose an initial selection of profiles that correspond to our criteria and put us in touch with people we would not have the opportunity of meeting in the closed circle of our daily interactions. This is what Match.com, the first online site of its kind, set out to do when first launched in 1995. It worked quite simply at first: users created their own profiles (usually using a pseudonym) based on a limited number of characteristics; the algorithm then presented the user with a classification of more or less compatible people, and the user could then send messages to these potential matches to start getting better acquainted. The site worked by delivering a selection of new compatible profiles every day, which served both to increase the chances of individuals meeting their mate and to make the choice more difficult, with the effect of keeping subscriptions going longer.


This custom began in Europe during the High Middle Ages, the pinnacle of the age of courtly love, and is captured in immemorial English literature as the mid-Feburary day when birds (and lovers) first begin to pair:


The High Middle Ages is called "High" because it was the golden age of the Roman Catholic Church and the peak of faith among the European people. The liturgical calendar of saints and their feast days were a commonly celebrated part of everyday life. Thus it was for the February 14th feast of St. Valentine, the patron saint of love.


St. Valentine was a 3rd century Christian martyr who lived during the reign of Roman Emperor Claudis II. According to tradition, Valentine was a Roman priest who was tortured and killed for his commitment to continue officiating sacramental marriages after the Emperor passed an unjust law outlawing wedlock. Because Valentine was martyred for helping lovers to marry in secret, his intercession was called upon by lovers and engaged and married couples after his entrance into eternal life.


The custom of men and women writing love letters to their "Valentine" in honor of the feast of the patron saint of lovers emerged in later centuries. Over time, other tokens of love and infatuation were also incorporated into the custom, such as sweets, chocolates, and sentimental jewelry.


Keep the flame of love well-fueled this St. Valentine's Day by keeping this honored tradition of noble ages past. Don't forget a faith-filled gift for your special Valentine today, and pray this prayer to the patron saint of lovers:


One account has it that the emperor banned all marriages and engagements in Rome, believing this was the reason Roman men were unwilling to serve in the army. Valentine defied this unjust decree and continued to perform marriages for lovers in secret.


In classical scholarship, the presence of legal language in love poetry is commonly interpreted as absurd and incongruous. Ovid's legalisms have been described as frivolous, humorous, and ornamental. Law and Love in Ovid challenges this wide-spread, but ill-informed view. Legal discourse in Latin love poetry is not incidental, but fundamental. Inspired by recent work in the interdisciplinary field of law and literature, Ioannis Ziogas argues that the Roman elegiac poets point to love as the site of law's emergence.The Latin elegiac poets may say 'make love, not law', but in order to make love, they have to make law. Drawing on Agamben, Foucault, and Butler, Law and Love in Ovid explores the juridico-discursive nature of Ovid's love poetry, constructions of sovereignty, imperialism, authority, biopolitics, and the ways in which poetic diction has the force of law. The book is methodologically ambitious, combining legal theory with historically informed closed readings of numerous primary sources. Ziogas aims to restore Ovid to his rightful position in the history of legal humanism. The Roman poet draws on a long tradition that goes back to Hesiod and Solon, in which poetic justice is pitted against corrupt rulers. Ovid's amatory jurisprudence is examined vis-à-vis Paul's letter to the Romans. The juridical nature of Ovid's poetry lies at the heart of his reception in the Middle Ages, from Boccaccio's Decameron to Forcadel's Cupido iurisperitus. The current trend to simultaneously study and marginalize legal discourse in Ovid is a modern construction that Law and Love in Ovid aims to demolish.


Reviews 141 All these essays are worthy of attention in themselves, but what of the far-reaching implications claimed for the assemblege as a whole? The essays indeed illustrate that 'eschatological attitudes changed over time', if not always why. They bring into sharper focus 'divergent eschatological assumptions . . . and the conflicts or incompatibilities among them'. The essays dealing with literature and art, in particular, also raise questions of 'how eschatological understandings hovered over human experience, inflecting the ways people spoke about values and hopes' (p. 1). However, the main presence which seems to hover over the eschatological understandings of many ofthe present writers is that of Professer Bynum herself, frequently mentioned in text and footnotes. Indeed, the student who wants a more coherent and measured introduction to such topics might do well to consult her extensive writings on the subject, such as Fragmentation and Redemption (1992), and The Resurrection of the Body (1995), before tackling this more diffuse offering. Sabina Flanagan Department ofHistory University ofAdelaide Carrithers, Gale H. Jr, and James D. Hardy Jr, Age ofIron: English Renaissance Tropologies of Love and Power, Baton Rouge, Louisiana, Louisiana State University Press, 1998; cloth; pp. xviii, 314; 1 b/w illustration; R R P $95AUD, US$55. The title of this book is quite deceptive, though it describes quite fairl coverage. Readers accustomed to the frequently rehearsed tropes of new historicism will be drawn to the keywords here: 'iron', 'tropology', 'love', 'power', and expect perhaps a Renaissance survey written under the influence, say, of Hayden White's historical analysis and Louis Montrose's elegant depictions of the functions of pastoral at Elizabeth I's court. They would be wrong, for this is emphatically not a book of that kind. Carrithers and Hardy aim rather to redress the materialists' balance of criticism over the last twenty years. They argue that 'the Renaissance English saw their lives and society and civilization in religious terms . . . Religion, therefore is not merely a topic to be studied, like Parliament, the Jacobean stage, colonization, or the draining of the 142 Reviews fens, but is the matrix within which all the others occurred and within which contemporaries understood subjects n o w seen as essentially secular' (Preface, n.p.). Colonisation, the place of the stage, and fen drainage, of course, have been prime sites for recent scholarship. The authors do not argue that studying such things is wrong; rather that all such topics must be subsumed by the master narratives of Protestantism which dominate the period. The 'tropologies' are four key tropes which they see as dominating all the texts they study: the 'journey toward ultimate justice and mercy'; 'the differentiating and defining moment' (or epiphany); 'calling' to be a 'Pauline ambassador of the good'; and 'theater' (Preface, n.p.). These tropes are not used merely as rhetorical terms borrowed, say, from George Puttenham, but rather as prime sites where language turns to 'transcendance' (Preface n.p.). Thus they present not the material force ofwords, as you mightfind,say, in work by Patricia Parker. They look instead for the divine in every part. Unsurprisingly, they focus on texts which are explicitly religious: the Book of C o m m o n Prayer (which they rightly see as having been neglected as a forceful text in the period); Ben Jonson's poems (though they deal briefly with his irreligious plays as well); Donne's sermons; Milton's tracts and poems and Marvell's apocalyptic, Cromwellian poems. The book concludes with a briefnote on 'tropologies of love and power' in Shakespeare, which evidently foreshadows a sequel where the authors will trace their chosen paradigm through all his works. Doubtless they will glean much from the Bard. This is a curiously limited yet oddly useful book. Carrithers teaches English and Hardy History at LSU. The book arose out of an interdisciplinary course they taught on the history and literature of seventeenth-century England. The course and the book thus form part of what is clearly a long conversation the authors have been fruitfully having on the meaning of the English Renaissance. Even for a scholarly monograph the book is very extensively annotated. These notes seek to provide background for many of the issues... 041b061a72


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