Citadel Love Stories - An Intergenerational Creative Storytelling Project

It is hard to tell how much authentically Persian literature made its way into Greek, but it is not impossible that some did. The Persian and Phoenician abduction stories that begin Herodotus’s Histories may be the kind of stories told by Hellenised non-Greeks. Herodotus clearly did have access to stories from multiple traditions. Another allegedly Persian story about cultural hybridisation is Zariadres and Odatis, told by Chares of Mitylene, a version of which turns up in the mediaeval Shahnameh, and which is possibly connected to a late-antique Sanskrit romance by Subandhu.

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“Redha tu Ikhlas”: The Social–Textual Significance of Islamic Virtue in Malay Forced Marriage Narratives

Religions ◽

10.3390/rel12050310 ◽

2021 ◽

Vol 12 (5) ◽

pp. 310

Author(s):

Alicia Izharuddin

Keyword(s):

Cultural Practices ◽

Individual Choice ◽

Forced Marriage ◽

Marital Relations ◽

Love Stories ◽

God's Will ◽

The Social ◽

Mediated Discourse ◽

Marital Success ◽

Do So

What accounts for the endurance of forced marriage (kahwin paksa) narratives in Malaysian public culture? How does one explain the ways popular fascination with forced marriage relate to assumptions about heteronormative institutions and practices? In a society where most who enter into marriages do so based on individual choice, the enduring popularity of forced marriage as a melodramatic trope in fictional love stories suggests an ambivalence about modernity and egalitarianism. This ambivalence is further excavated by illuminating the intertextual engagement by readers, publishers and booksellers of Malay romantic fiction with a mediated discourse on intimacy and cultural practices. This article finds that forced marriage in the intimate publics of Malay romance is delivered as a kind of melodramatic mode, a storytelling strategy to solve practical problems of experience. Intertextual narratives of pain and struggle cast light on ‘redha’ (submission to God’s will) and ‘sabar’ (patience), emotional virtues that are mobilised during personal hardship and the challenge of maintaining successful marital relations. I argue that ‘redha’ and ‘sabar’ serve as important linchpins for the reproduction of heteronormative institutions and wifely obedience (taat). This article also demonstrates the ways texts are interwoven in the narratives about gender roles, intimacy, and marital success (or lack thereof) and how they relate to the modes of romantic melodrama.

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Primitive Love and Love-Stories. Henry T. Finck

The International Journal of Ethics ◽

10.1086/intejethi.15.1.2375834 ◽

1904 ◽

Vol 15 (1) ◽

pp. 125-128

Author(s):

Nathaniel Schmidt

Keyword(s):

Love Stories

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The Return to Romance: Love Stories in Recent French Women's Writing

L Esprit Créateur ◽

10.1353/esp.2010.0486 ◽

2005 ◽

Vol 45 (1) ◽

pp. 97-109 ◽

Cited By ~ 2

Author(s):

Diana Holmes

Keyword(s):

Women's Writing ◽

Love Stories ◽

Women’S Writing

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Plant Stories are Love Stories Too: Moss + Curation

Public ◽

10.1386/public_00071_1 ◽

2021 ◽

Vol 32 (64) ◽

pp. 54-61

Author(s):

Toby Katrine Lawrence ◽

Michelle Jacques

Keyword(s):

North America ◽

Art History ◽

Art Museum ◽

Cross Cultural ◽

Knowledge Systems ◽

Love Stories ◽

White Settler ◽

Black Canadian ◽

Learning Research ◽

Professional Resources

In 2020, after a year of dreaming, we officially embarked on the development of Moss Projects: Curatorial Learning + Research, an educational and philosophical space that aims at peeling away the colonial layers of the art museum, within the context of Turtle Island (now North America), to imagine something else. This initiative supports peer-to-peer pedagogies alongside Indigenous, Black, and People of Colour-led and allied inquiry and practices, valuing diverse knowledge systems and modes of organization beyond dominant parameters of curation, art, and art history. As white settler and Black Canadian curators, we are founding Moss Projects as a collaborative, reflexive, and praxis-based process, utilizing our professional resources for curatorial incubation and to establish spaces and mechanisms for sharing cross-cultural and cross-disciplinary methodologies.

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