Open Preview See a Problem? Details if other :. Thanks for telling us about the problem. Return to Book Page. Preview — Ransacked Heart by Jayne Bauling. The past Six years ago, Maria had been devastated by the brutal way in which she had been sacked from her first job -- and all because of Luke Scott.
The present Now Luke was back in her life The future Maria was determined to fight the powerful attraction that existed between them -- but Luke was so t The past Maria was determined to fight the powerful attraction that existed between them -- but Luke was so tempting, it seemed he would get what he wanted in the very near future Get A Copy. Published first published January 1st More Details Other Editions 8. Friend Reviews. To see what your friends thought of this book, please sign up.
To ask other readers questions about Ransacked Heart , please sign up. Lists with This Book. This book is not yet featured on Listopia. Community Reviews. Showing Rating details. More filters. Sort order. The kiss takes place in a church, in front of a clergymen, and the sparks and lifting in the air show that there is something magical, supernatural to it. Being in a church, the kiss takes [End Page 12] place as the consummation of the marriage ceremony, which can be taken as sacramental.
Yet, Fiona and Shrek remain the same; what this signifies is that the grace and blessedness bestowed on them, while transfigurative, is also something that can be found within their human lives and human experience of marriage. In Shrek the music often helps to convey the mood and experience of falling in love.
We need only to think of Williams and Dante and their romantic theology to see how a vision of the beloved transforms experience and makes ready an acceptation of the good. These themes, and the kiss motif, continue through the next three Shrek films. When Shrek finds Fiona and offers her his new and improved human form if they kiss before midnight, Fiona prefers the old Shrek.
Going back to the Christian theology of the kiss, we should remember that a kiss not from the heart, not with true affection, and not full of faith cannot have effect, cannot bestow the holy spirit or confer unity and peace, cannot knit the souls of the kissers; it becomes a Judas kiss instead. Shrek 2 continues a postmodern religious discourse through this legacy of a Christian theological remnant and hyper-meaning within this romantic love tradition.
The theological significance that this could bear is akin to grace and mystical discourse. Mystics cannot make a divine encounter happen, cannot transform themselves into divine beings or experience divine union. The same holds true with grace; its infusion is something God bestows, not something we can attain by our effort. Romantic love often works in the same way in film; it is something that happens and that we cannot control, and which transforms us unexpectedly.
He cannot make Fiona love him or manipulate the circumstances of love and happiness through his own efforts. Here one cannot make love happen, just as one cannot make beauty, goodness, or truth happen.
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The religious discourse through the romantic love story also continues in the third film, Shrek the Third. A disgruntled Prince Charming gathers an army of disgruntled fairy-tale villains who desire their own happily-ever-afters, and again unsuccessfully try to make them happen. Yet here a young King Arthur convinces these fairy-tale villains to repent and reform, while Shrek tells Charming to seek his own happily ever after, after which Charming is killed by a tower prop.
Arthur tells them:. The thing that matters most is what you think of yourself. The villains lay down their weapons and ponder other professions, such as growing daisies or opening spas. In other words, they have seen the error of their ways, have repented, and are redeemed and reformed of their wickedness.
Bringing back Williams and his romantic theology again, it helps us link the good, or even wondrous, in human experience with a divine goodness. It is likewise salvific or redemptive; it constantly rescues Fiona and Shrek from evils and tribulations, and is sealed by the kiss Williams, Outlines The last film, Shrek Forever After , ties everything together. Though Shrek is happily married with ogre triplets, he finds this life dull and monotonous.
Because he cannot be grateful for his life, he nearly loses everything. Without his love story with Fiona, he ends up in a dystopia. Though in this dystopia Fiona has no interest in love and dislikes Shrek, Shrek slowly restores her faith and makes her fall in love with him again. What stands out to me in this last movie as regards romantic discourse as a bearer of theological meaning and religious experience is the romantic theology of love, marriage and family as sacramental, holy experiences that can lead to redemption.
Shrek lives in a state of ingratitude at the beginning of the film. He has forgotten to see his life as a gift of grace. After he has lost it all, Shrek realizes this. You gave me a home and a family. I got the chance to fall in love with you all over again. Fiona is cynical, faithless, and loveless. After Shrek kisses her and nothing happens, Shrek remarks:. I did. I saved myself. Did you live all alone in a miserable tower?
Did you cry yourself to sleep every night waiting for a true love that never came? She has lost faith not just in love, but in the good and beautiful in life, especially as freely given gifts. Everything now depends on her own human effort and will against a cruel world. That is why the kiss did not work; she no longer believes, or loves. Yet even here, there is still a ray of hope. I am not believing what I have just witnessed. Back there—you and Fiona, there was a spark. A spark inside her heart I thought was long extinguished.
It was as if for one moment Fiona had actually found her true love. It is thus up to Shrek to restore her belief and faith in love through love. Through the sacrifices Shrek makes to save Fiona, Fiona comes to believe in Shrek and the power of love again: in the power of goodness, and in beauty and happiness. When Shrek apologizes for not having been there for her, Fiona says that it does not matter, that he is here now.
Her life and her past are beginning to be redeemed through this experience of love, and her faith and hope are renewed. Without that love, in a world of cynicism, faithlessness, and disbelief, everything is a dystopia. With the grace and beauty of love, it is beautiful and joyous again, showing how love repeatedly renews the world Williams, Outlines In the last movie, we see clearly the analogous relation of romantic love and religious faith, and how this romantic love narrative and discourse could stand in for that of religious faith, showing once again the transposition of Christian theological themes into romantic discourse.
We can read the love story again as more than just a romantic love story, as that through which in postmodernity, due to the historical relation of romantic and Christian discourse, discourse on religion, God, and faith take place, albeit in a secularized, human form. In postmodernity the genre of romantic comedy also becomes a site in which religious discourse takes place, where discourse about love can be read as discourse about religion. What these romantic comedies show even more clearly than the above films is how the love story in film acts as a foil to the modern secular story of hedonism, value-neutrality, scientific rationality, skepticism, cynicism, and disbelief.
Romantic love acts as a site which challenges this secular viewpoint by allowing for an experience of love which contains the possibility of a deeper significance as a divine, religious experience. To me marriage is an archaic and oppressive institution that should have been abolished years ago.
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Yeah, it makes you feel all warm and relevant but in the end love leaves you weak, dependent, and fat. I wish I could believe in all this crap. I also wish I could believe in the Easter Bunny…. I am condemned to see the world as it really is, and love, love is a myth. We could substitute religion, faith, or God very easily here for the word love, and probably marriage, and we would probably recognize this speech as the modern, secular, skeptical view of religion.
His moral reformation begins when his deceased lecherous uncle Wayne visits him, warning him to repent of his ways. The connection signifies religious and moral meaning, requiring the repentance and reformation of Connor. Connor does see the error of his ways, and begins a new life, a life of committed love. He meets Erica Barry, the divorced mother of his girlfriend, and while he is convalescing in her home from a heart attack, they develop a special romantic relationship which turns into love.
When they first make love, it is as if they have both experienced something new and wondrous in their lives, an openness and vulnerability but also passion and elation. That was the first night either of them had ever slept eight hours. We can chalk it up to just sexual desire, but something happens that also transforms their lives. She appears happier than ever, and explains to her daughter it was because she let love in, even if it did not work out.
Meanwhile Harry attempts to go back to his former playboy life, but to no avail. He is unhappy, and every time he sees Erica he has an anxiety attack which he fears is another heart attack. Realizing he needs to change, he goes back, tries to find every woman he has ever wronged, and makes amends.
He looks for Erica in Paris, but finds her with another man. Yet she returns to him. Whether realized before or not, it brought something missing from their lives into it, love, passion, or wonder, that changed and transformed them. The kiss and romantic love in film can operate religiously and theologically.
They have the capacity not only to bear a theological significance, but to offer an opportunity for divine encounter and transformation, as well as containing the possibility of a religious discourse. This is due to the origins of medieval courtly love and its relationship with Christian theological discourse, where medieval courtly love borrowed the sentiments and language of Christian discourse, particularly mystical discourse.
Moreover, something of the humanly erotic also remained within sublimated mystical discourse, fusing the two experiences and making it more difficult to distinguish one from the other. This paved the way for romantic love, the descendent of courtly love, to contain the possibility of this deeper theological meaning and religious experience within it. In postmodernity, where God is dead, and where transcendence has been displaced onto immanence and the divine onto the human, this dormant religious and theological possibility of romantic love in culture and art can sometimes be activated, and can become pregnant with meaning.
This holds particularly true in film. Moreover, in postmodernity romantic love in films can sometimes stand in for and represent religious experiences of God or for religious discourse. Therefore, I contend that romantic love in film can be one style, form and representation through which religious experience and reflection are taking place in postmodernity. It thus shows the religious and theological possibilities of popular culture and popular cultural manifestations. Finally, I hope looking at romantic love in film in this light, in relation to theological aesthetics, contributes to opening up and freeing theology and film studies, which seldom treats the theme of romantic love as theologically or religiously pertinent.
Theology and film studies should welcome more often these positive engagements with film and religious studies and popular culture. To quote the Iranian filmmaker Mohsen Makhmalbaf:. I see happiness as a right. I think that it is a human right to be joyful. The person who makes a dark, realistic film in India is wasting his time…. They must be allowed to have some pleasure in life. The person who has had to sell his body for a morsel of food — you want to make a film for him about social justice? What is he supposed to do after seeing that film?
Like Makhbalhaf, we can aim to take seriously those filmmakers who by treating romantic love desire to bring a little more happiness and joy to life and to the world, and consider such a goal a legitimate [End Page 18] enterprise. We can also appreciate films and scholarly work that reveal and point us toward this joyous side to life, and realize their value. I close with a discussion of the ending of Cinema Paradiso. But it signifies something else as well: the kisses signal passion, wonder, beauty, ecstasy and joy, treated in courtly love and romantic literature, but also having origins in Christian mystical discourse and the Christian sacrament of the kiss.
I hope this kiss can begin to be understood as that which sometimes graces life, not just in romantic love, but in all our everyday moments, and which may be read and understood as a symbol of human or divine goodness, not to mention the hope, faith and belief in the good, the beautiful and the true, and perhaps the happily ever after of romantic love or Christian redemption.
Let us hope that we, unlike the priest, do not censor this out of film or religion, its study, and certainly not out of life.
There existed also a system of rules and observances which must govern this service. A theophany is the same idea only with the eruption of God or the divine into the mundane. For more information see Eliade, Sacred. The revelation can also often manifest itself through a work of art, as an encounter; it entails the revelation through the work of art to a passive subjectivity. Most of the writings of Marion are a propos to this phenomenon, but in particular Being Given may be of use in explaining this idea. Cinema Paradiso. Giuseppe Tornatore. Miramax US , Online download. Ghosts of Girlfriends Past.
Mark Waters. New Line, Online Download. Andrew Adamson and Vicky Jenson. Shrek 2. Shrek Forever After. Mike Mitchell. Paramount Shrek the Third. Chris Miller and Raman Hui. Paramount, Nancy Meyers. Warner Brothers, The Da Vinci Code. Ron Howard. Columbia, The Last Temptation of Christ.
Martin Scorsese. Willem Dafoe, Barbara Hershey. Universal, The Matrix. Larry and Andy Wachowski. The Matrix Reloaded. The Matrix Revolutions. Counting Crows. Smash Mouth. Dreamworks, Apostolos-Cappadona, Diane, ed. Art, Creativity, and the Sacred. New York: Cross Road, Balthasar, Hans Urs von.
Erasmo Leiva-Merikakis. Joseph Fessio and John Riches. Excerpt in Thiessen Barth, Karl. Church Dogmatics. Bromiley and T. Oxford: Oxford University Press, Bird, Michael. John R. May and Michael Bird. Boase, Roger. The Origin and Meaning of Courtly Love. Manchester: Manchester University Press, Brown, Stephen.
Clive Marsh and Gaye Ortiz. Oxford, Blackwell, Chittister, Joan. Coates, Paul. Cinema, Religion, and the Romantic Legacy. Aldershot, UK: Ashgate, Deacy, Christopher. Robert K. Chapter Kindle for PC Version.
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Electronic Book. London: Blackwell, Electronic book. Detweiler, Craig. Chapter 1. Detweiler, Craig, and Barry Taylor. Eliade, Mircea. Excerpt in Apostolos-Capadona Sacred and the Profane: The Nature of Religion. Willard R. Gilkey, Langdon. Chicago, IL. Keynote Address. Excerpt in Apostolos-Cappadona Graham, David John.
Free and Faithful in Christ. Slough: St. Paul Publications, Jasper, David. Johnston, Robert K.
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Reel Spirituality: Theology and Film in Dialogue. John Lyden. London: Routledge, Klassen, William. Lyden, John. Film as Religion: Myths, Morals, and Rituals. Lynch, Gordon. London: Darton, Longman, and Todd, Chapter 5. Makhmalbaf, Mohsen. London: Verso, Excerpt in The Religion and Film Reader. Jolyon Mitchell and S. Brent Plate. Marion, Jean-Luc. Being Given: Toward a Phenomenology of Givenness.
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Jeffrey L. Stanford: Stanford University Press, Marsh, Clive. Milton Keynes, UK: Paternoster, Boulder, CO: Westview Press, Martin, Thomas M. London: Associated University Presses, McFague, Sallie. Philadelphia: Fortress Press, Theology and Joy. London: SCM Press, Navone, John. Toward a Theology of Beauty. Diane Apostolos-Cappadona. Penn, Michael Philip. Philadelphia: University of Pennsylvania Press, Perella, Nicolas James.
Phillips, L. Cambridge, UK: Grove Books, Plate, S Brent. Religion and Film: Cinema and the Recreation of the World. London: Wallflower, Polhemus, Robert M. Chicago: University of Chicago Press, Rahner, Karl. Smith, Greg M. Carl Plantinga and Greg M. Baltimore: Johns Hopkins University Press, Smith, Jeff. Tan, Ed S. Taylor, Barry. Chapter 2. Thiessen, Gesa Elsbeth, ed. Theological Aesthetics: A Reader. Grand Rapids, MI: Eerdmans, Verbeek, Marjeet.
Viladesau, Richard. Williams, Charles. Outlines of Romantic Theology. Berkeley, CA: Apocryphile Press, Zwick, Reinhold. Over the past few decades, there has been a growing critical mass of scholarly interest in the study of popular romance as a literary form in its own right. Although Goldman does mention primary sources, her main focus is on secondary materials, i.
Goldman also identified a list of 37 core secondary sources for popular romance scholarship Secondary materials are definitely important, but the systematic collection of primary sources, the actual popular romance novels and short stories themselves, is vital. Academic libraries have long had an uneven record of collecting so-called popular contemporary literature.
Although historical collections of items such as dime novels are not uncommon, popular contemporary literature is often not collected until it is, so to speak, no longer contemporary. Three recent trends in university and college libraries have prompted academic libraries to rethink their ideas about popular literature collections….
Trend towards user-focused libraries, revitalization of the library as place, and promotion of literacy and lifelong reading These are all worthy goals and purposes, but they do not necessarily align with the systematic collection and preservation of primary source materials. Leisure reading collections are often leased from companies such as McNaughton. Moreover, materials that might work best for a leisure reading collection and attract student attention may not necessarily be those desired by future researchers.
As more colleges and universities begin to offer popular literature courses, there are indications that some academic libraries are starting to change or adapt their practices. In a exploratory study, Justine Alsop found that a majority of her literature librarian survey respondents did collect some popular contemporary literature. Lack of space and money are very real issues for many academic libraries, especially given the vast amount of popular fiction that is published. According to the Romance Writers of America, the romance genre alone generates 1.
In a book chapter, Charles W.
Selection criteria are seldom based on the quality of the literature, so that statistical methods can be used. Wanting a sample of romances, for example, which the industry produces at the rate of about four a day, one might decide to buy those published on the first day of every month. They are alike, after all or rather, their differences are statistical Leaving aside the question of whether romance novels really are all alike, buying materials in this fashion, while it might result in good representation of the romance genre as a whole, would make it very difficult for researchers to study individual authors or even subgenres such as paranormal romance since there would be little continuity aside from date of publication.
However, leaving popular romance collecting to public libraries is not necessarily the best alternative. Public libraries have very different missions than do academic libraries. Aside from public library systems that include research branches such as the New [End Page 3] York Public Library, most public libraries do not collect for the long term needs of researchers and students, but instead, focus on the present reading interests of the populations that they serve.
Collection development policies of public libraries should be guided by local reading tastes that may favor certain authors and sub-genres versus others. Many standard library review sources, such as Library Journal , only publish popular romance on a quarterly basis. In , the American Library Association publication Reference and User Services did publish an article on collecting romance genre fiction in public libraries, but it only listed five titles per romance sub-genre Wyatt et al.
In public libraries, as titles become less popular or simply wear out, they are often withdrawn in order to make room for newer titles. Again, the role of most public libraries is not to preserve items, but rather, focus on current patron needs. The expectation that public libraries will have research-worthy collections of popular romance novels just is not realistic in these days of shrinking budgets, public demand, and a now longstanding collection development philosophy Baltimore County Public Library.
There are a few academic libraries that do systematically collect popular romance materials, mostly through their special collections. A prime example is the Browne Popular Culture Library at Bowling Green State University, which currently holds over 10, volumes of category romance series. Another is the University of Melbourne Library in Australia, which began collecting romance novels as early as , with an emphasis on authors from Australia and New Zealand. One of the arguments used for establishing the collection at the University of Melbourne Library was that other Australian libraries were already collecting other genres of popular fiction Flesch Other schools, such as the University of Wisconsin, have focused on specific sub-genres such as nurse romances.
These collections have an immense value in regards to long-term preservation of these materials. While locating these materials in Special Collections may be desirable from a preservation standpoint especially in the case of mass market paperbacks , it does limit student and researcher access. Circulating collections provide greater physical access for faculty and students as well as researchers and students at other institutions who have Interlibrary Loan access.
The authors of this article would argue that there is value in systematically collecting popular romance fiction for circulating academic library collections. As no established collection development model exists specifically for this type of collection, the authors created a strategy using other genre collections such as science fiction as a model, and their skills as established liaison librarians in crafting the collection. In this article, the authors will describe how they established a popular romance collection at George Mason University Libraries, as well as discuss various issues that were encountered.
George Mason University is a highly diverse, state-funded, growing institution, and has recently become one of the largest universities in the state of Virginia. The University Libraries encompass four libraries, in addition to a separately managed Law Library. Two of the libraries are on the large Fairfax Campus while the other two libraries serve the research and service needs of our distributed campuses.
The Fenwick Library is the largest library and is generally considered the main research library of the University. The majority of the 1. Like many academic libraries, the University Libraries had sporadically collected romance novels, mostly through a leased McNaughton collection, gifts, and faculty requests. It had also collected secondary sources to support the courses in the English Department and other programs, and had 78 per cent of the core popular romance scholarship titles identified by Goldman Goldman Sheehan and Stevens decided to begin systematically collecting popular romance novels at George Mason University in response to several campus developments.
Matthews created the course partly in response to the degree and depth of engagement that she observed on web-based forums devoted to reader discussion of popular romance novels Ramage. First offered in , it was successful enough to be offered again in , with 38 students registered George Mason University. Given that the Library of Congress is ready to highlight popular romance novels, academic libraries now have an opportunity to acquire resources that may have been previously considered fringe or not appropriate for scholarly study.
After learning about the Popular Romance Project, Sheehan contacted the coordinators and arranged to become a blogger for the site. One of the faculty members involved with the Popular Romance Project turned out to be Jessica Matthews. Bernice Rubens. Secret Babies Bundle. Kim Lawrence. New Moan. Stephfordy Mayo. The Royal Baby Bargain. Breaking Yawn. Night Street. Kristel Thornell. A Date with Destiny. John Banville. Virgin Bought and Paid For.
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