unrequited love
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2021 ◽  
Vol ahead-of-print (ahead-of-print) ◽  
Author(s):  
Muhammad Al Mahameed ◽  
Umair Riaz ◽  
Lara Gee

Purpose This paper aims to examine the effects of coronavirus disease 2019 (COVID-19) on the relationship between UK universities and professional accounting bodies (PABs) in the context of the accreditation system and how well prepared this relationship was to observe and respond to the pandemic. Design/methodology/approach The research draws on 10 semi-structured interviews and correspondence, with six English universities in the context of their relationship with three PABs to build an extended analytical structure to understand the nature and extent of the accreditation system in light of COVID-19. Findings The study shows that COVID-19 has highlighted pedagogical and ideological conflicts within the PAB–university relationship. The analysis shows that, in an attempt to resolve these conflicts, universities demonstrate “unrequited love” for PABs by limiting changes to assessments to meet the PABs’ criteria. Indeed, PABs face very little resistance from universities. This further constrains academics by suppressing innovation and limiting their scope to learn and adopt new skills, habits and teaching styles. Originality/value The paper highlights the weakness of the PAB–university relationship. Moreover, it shows that rather than using the pandemic crisis to question this relationship, PABs may seek to promote their accounting pedagogy and retain greater control of the accounting curriculum. This can entail the transformation of academics into translators of PABs’ accounting pedagogy rather than exercising academic freedom and promoting critical thinking.


2021 ◽  
Vol 12 ◽  
Author(s):  
Werner Greve ◽  
Johanna Hauser ◽  
Farina Rühs

A large number of studies suggest that humor is associated with mental well-being and effective as a means of coping. However, it is less well-understood which mechanisms are effective for this particular function of humor. The present study examines whether processes of change of perspective, which are often regarded as constitutive for humor, could be an effective coping-factor when facing unrequited love as a specific psychological burden. In a questionnaire study, N = 148 persons aged 18–65 years (w = 96) with actual or past experiences of unrequited love reported on their subjective burden due to this experience, their self-esteem and satisfaction with life, two scales for humor (Multidimensional Sense of Humor Scale: MSHS, and a self-constructed scale: Humorous Change of Perspective, HCOP) and a coping scale which measure change of perspective in the confrontation with goal blockages (Flexible Goal Adjustment, FGA). Results indicated that the burden of unrequited love [operationalized objectively as actuality of experience (dichotomous) or subjectively as burden experienced] and both indicators of well-being were negatively associated. Multiple regression analyses showed that humor was a significant moderator of this relationship in nearly all combinations of operationalizations of humor and indicators of well-being: Higher levels of humor are associated with better well-being even when the perceived burden was high. In addition, the study examined whether the coping effect of humor can be partly or mainly attributed to the individual's capacity to perspective change as captured by FGA. When including this scale as a covariate in the regression models, the moderation effect for MSHS did not persist; however, for HCOP the moderation effect remained unchanged: the moderator effect of humorous change of perspective proved to be independent of FGA. Taken together the results suggest that perspective-changing skills play a significant role in the coping effect of humor in dealing with psychological burdens. However, depending on which humor facet is measured, the entailed perspective change may or may not appear to go beyond what the individual's FGA can account for. This suggests that the coping effect caused by humorous change of perspective includes aspects that are also discussed for other coping resources as well as its own, humor-specific aspects. Potential avenues for future studies are discussed both with respect to the necessity for replication and extension of the present study and to the determination of other potential alleviativing effects of other facets of humor.


2021 ◽  
Vol 6 (1) ◽  
pp. 29-47 ◽  
Author(s):  
Emerald L. King

The androgynous heroine of Ikeda Ryoko’s manga The Rose of Versailles (1972–73), Oscar Françoise de Jarjayes, is usually depicted in masculine, specifically military, attire. The sixth daughter of an important military colonel during the reign of Louis XV and Louis XVI, Oscar is raised as a son and follows her father into the military. Oscar is only ever depicted in one dress, known as the robe l’odalisque – a gown that is adopted at a pivotal moment of character development. It is while wearing this dress, which Ikeda intended to serve as a wedding dress, that Oscar comes to terms with her unrequited love for Marie Antoinette’s lover, Count Axel von Fersen. In doing so, Oscar places more importance on her allegiance to France than to romance. This article investigates the complicated gender and social politics that are symbolized by the choice to wear women’s clothing in The Rose of Versailles.


2021 ◽  
pp. 49-63
Author(s):  
Mayron Estefan Cantillo-Lucuara

This article offers a close reading of Katharine Bradley and Edith Cooper’s lyric III in Long Ago, a Sapphic volume of verse published in 1889 under the collaborative nom de plume of Michael Field. This collection articulates a dramatic inquiry into the tragedy of unrequited love in a long cycle of lyrics whose third piece most effectively encapsulates the kernel of what the Fields reconstruct as Sappho’s ambivalent eroticism. The outcome of this reconstruction, as analysed in light of lyric III, is a consistent Hegelian view of desire that subsumes a complex system of tropes, myths, paradoxes and imaginative strategies under an overarching ideology of desire as a radical experience of appropriation, violence and self-destruction.


2021 ◽  
Vol 30 (1) ◽  
pp. 26-44
Author(s):  
Helen Dampier

Letters have sometimes been assumed to be a private form of life writing, and certainly many of the South African writer Olive Schreiner’s (1855–1920) letters have been read in this way. However, her letters trouble any simple, binary notions of public and private. This article offers a re-reading of Schreiner’s letters to the statistician and founder of the Men and Women’s Club, Karl Pearson (1857–1936). It argues that the dominant reading that has been made of these letters as ‘unrequited love letters’ needs rethinking, for when these letters are considered in their entirety and contextualised as part of Schreiner’s wider extant letters, and when the intertwining of their public and private aspects is recognised, it becomes clear that a considerably more complex interpretation of her letters is required, and that this has implications for reading letters more generally.


2021 ◽  
pp. 188-210
Author(s):  
Mark Duffett

Fan fiction is, ordinarily, nonprofessional writing—premised thematically on media texts, celebrities, or artistic creations. Some fanfic uses public figures as the basis for characters and is called real person fiction (RPF). Bandfic is a subgenre of RPF involving rock musicians. Slash fiction is a subset of fanfic involving same-sex intimacy between central characters. Real person slash (RPS) is a fanfic subgenre that hybridizes RPF with slash and can involve pairs of musicians. One typical Beatles fanfic story on Archive of Our Own, is listed as male-to-male romance between John Lennon and Paul McCartney and tagged with angst, love confessions, rejection, unrequited love, and period-typical homophobia. In academia, discussions about such fanfic have covered copyright, fan labor or play, fan literacy and reading practice, community-created archives, world building, identity politics, or subversion and censorship. This chapter considers a less-discussed question: how does RPF about the Beatles relate to celebrity fandom?


2021 ◽  
Vol 19 (1) ◽  
pp. 308-327
Author(s):  
Roman Mniсh

The article offers an interpretation of Innokenty Annensky's poem Magdalene written in 1885, but published only in 1997. This early work of the poet differs significantly from his poetry, known from published collections (Quiet Songs and Cypress Box), which are not characterized by an appeal to biblical images and motifs. In the poem Magdalene Annensky offers his interpretation of the Gospel story, depicting the conflict and struggle between human feelings (Mary Magdalene) and divine vocation (Jesus) in the dialogues between Magdalene and Jesus. Analysis of the structure of the poem allows us to determine the presence of three literary traditions in it: 1) ancient Greek tragedy and the chorus as one of its main actors; 2) a romantic poem about unrequited love (first of all, The Demon by Mikhail Lermontov) and the concept of romantic duality; 3) Faust by Johann Wolfgang Goethe. The combination of antique concepts (fate, destiny, metamorphosis) with the ideas of Christianity, as well as allusions to the works of Russian romantics, allowed the author to combine three aspects in the image of Mary Magdalene: ancient fate (destiny), Christian (Orthodox) holiness and romantic alienation from the world. The combination of these three aspects in the poem by I. Annensky forms a new quality: the romantic poem did not provide for the chorus as a character, and the ancient Greek tragedy did not allow for such lyrical digressions typical for a romantic poem. The Gospel text in the poem by I. Annensky is transformed in line with the three mentioned traditions, and thus the theme “grows” into a dramatic poem.


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