Relevant bibliographies by topics / Love triangle

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Academic literature on the topic 'Love triangle'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Love triangle"

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ALDRIDGE, DAVID. "Education's Love Triangle." Journal of Philosophy of Education 53, no. 3 (August 2019): 531–46. http://dx.doi.org/10.1111/1467-9752.12373.

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Hiltbrunner, Michael. "The Triangle of Love." Performance Research 23, no. 4-5 (July 4, 2018): 107–10. http://dx.doi.org/10.1080/13528165.2018.1511038.

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Mozina, Andy. "Love Triangle by the Sea." Ecotone 14, no. 2 (2019): 112–15. http://dx.doi.org/10.1353/ect.2019.0049.

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Nelson, Thorana S., and Russell W. Brethauer. "Love Triangle in Marital Therapy." Journal of Family Psychotherapy 14, no. 2 (March 2003): 81–84. http://dx.doi.org/10.1300/j085v14n02_06.

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Deng, Wei, and Xiaofeng Liao. "Complex Dynamics in a Love-Triangle Model with Single-Frequency and Multiple-Frequency External Forcing." International Journal of Bifurcation and Chaos 29, no. 10 (September 2019): 1950133. http://dx.doi.org/10.1142/s0218127419501335.

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In this paper, a new version of the nonlinear model with two women competing vehemently for an attractive man in a competitive love-triangle is proposed, which provides more insight into the dynamical behaviors of the complex love-triangle relationship. A notable and important feature of this model is that the effects of the competition, single-frequency and multiple-frequency external periodic forcing terms are introduced into the model, as environmental fluctuation on every individual in the love-triangle relationship. By analyzing the dynamical behaviors of the competitive love-triangle model through analytical techniques and numerical simulation, we find that under some simple parametric conditions, with the effects of external periodic forcing, the model gives rise to the appearance of various phenomena such as stability, quasi-limit cycles, and resonant responses. The results show that system parameters and external periodic forcing play a key role in the love-triangle relationship: system parameters can be the control parameters and their different appropriate values can produce different phenomena, while external periodic forcing can enhance or weaken the oscillations of the feeling density, and moreover, the interesting phenomenon called resonant response can occur under some suitable conditions. In this way, complex types of love feelings can be described and it is closer to the reality.
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Cardinal, Roger. "Ghost ships: a Surrealist love triangle." cultural geographies 13, no. 3 (July 2006): 477–78. http://dx.doi.org/10.1177/147447400601300311.

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ثامر راشد الزبيدي, د. "Love Triangle in August Strindberg’s ‘The Stronger’ and G.B. Shaw’s Candida." لارك 2, no. 41 (March 31, 2021): 57–45. http://dx.doi.org/10.31185/lark.vol2.iss41.1919.

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Abstract Love triangle, or eternal triangle, has been the focus of many plays where the plot revolves around a three-sided affair in which the woman becomes a site of love competition between two males, the husband and the lover. The majority of those plays present the woman as the erring wife who chooses either to be with the lover or remorsefully remain with the husband. In this paper, we deal with another portrayal of love triangle in which the wife either defends her marriage or stands against the intruder. Such a portrayal is identified in August Strindberg’s ‘The Stronger’ and G.B. Shaw’s Candida. Yet, this does not suggest that the plot in both plays is identical. While the intruder in Strindberg’s play is a woman, it is a young poet in Shaw’s play. Moreover, whereas Shaw’s play ends with the intruder’s departure opening the space for the husband and wife to continue their marriage on a new basis of understanding, the conflict remains unresolved in Strindberg’s play. This paper argues that this contrastive portrayal of love triangle in both plays relies, to a great extent, on the playwright’s personal experience and also his notion of the woman and her role in the domestic and public spheres. Key words: love triangle, Strindberg, Shaw, ‘The Stronger’, Candida. الملخص لقد كان موضوع مثلث الحب أو المثلث الأبدي مركزيا في الكثير من المسرحيات التي تناولت الحبكة فيها علاقة ثلاثية تصبح المرأة فيها مسرحا لصراع الحب بين رجلين هما الزوج و العاشق. و في الأعم الأغلب من هذه المسرحيات أنها قد قدمت المرأة رمزا للزوجة الخطاءة التي تختار أما الرحيل مع العاشق أو البقاء نادمة مع زوجها. في هذا البحث نتعامل مع عرض جديد لموضوع مثلث الحب والذي تقوم الزوجة فيه أما بالدفاع عن زواجها أو الوقوف بوجه الشخص الدخيل. وهكذا نوع من العروض يمكن تشخيصها في مسرحيتي "الأقوى" لأوغست سترندبيرغ و كانديدا لبرناردشو. ان هذا التقارب في موضوع المسرحيتين لايعني بأن الحبكة فيهما متطابقة. فبينما يكون الشخص الدخيل امرأة في مسرحية سترندبيرغ، فأنه يصبح شاعرا يافعا في مسرحية برناردشو. بالاضافة لذلك، بينما تنتهي مسرحية برنادشو برحيل الدخيل فاسحا المجال للزوجين بأكمال زواجهم بفهم جديد للعلاقة بينهما، يبقى الصراع قائما في مسرحية سترندبيرغ. و تبين الورقة البحثية أن هذا التقديم المتناقض لموضوع مثلث الحب في كلا المسرحيتين يعتمد بدرجة كبيرة على تجربة الكاتب المسرحي نفسه و كذلك رأيه بالمرأة و دورها على المستويين المنزلي و العام.
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Zhernokleyev, Denis. "Mimetic Desire in Dostoevsky’s The Idiot with Continual Reference to René Girard." Dostoevsky Journal 20, no. 1 (June 19, 2019): 77–95. http://dx.doi.org/10.1163/23752122-02001005.

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It is common to see Myshkin, the principal character of Dostoevsky’s The Idiot, as a failed lover and a compassionate saintly figure, who gets entangled in a love triangle but cannot embody it. This paper challenges such a view and argues that Myshkin fully incarnates the violent dynamic of desire that governs the novel. With the help of René Girard’s notion of mimetic desire, the paper explores Myshkin’s relationship with Rogozhin as erotic rivalry. Instead of seeing the two characters as autonomous entities, it is suggested that they should be viewed as doubles, as two poles of the same consciousness. On this view, Myshkin’s compassion and Rogozhin’s lust become two different manifestations of the same desire, united by a conflict of interest, which drives the love triangle towards a violent resolution.
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Anita Candra Dewi and Andi Asrifan. "A Semiotic Analysis on Robert Frost’s Poem Love and a Question Based on Charles Sander Peirce’s Triangle Theory." International Journal of Sustainable Applied Sciences 1, no. 5 (November 30, 2023): 499–516. http://dx.doi.org/10.59890/ijsas.v1i5.868.

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This research aims to identify Robert Frost's symbols in "Love and a Question" and disclose their meanings using Peirce's triangle theory. This study uses descriptive and qualitative methods to examine Robert Frost's Love and a Question's symbols. Interpreting poem symbols is the focus of this research. This library research uses books and scientific materials to ensure objectivity. Finally, using semiotics and Peirce's triangle, the researcher explains Robert Frost's poem Love and a Question's symbols. The poem Love and a Question's symbolic words' significance through Peirce's triangle theory. The symbolic terms were: green-white stick signified lengthy journey, stranger symbolized uncertainty, rich a curse symbolized precious, and sky symbolized unpredictable future. The poem's represented words all have a life-related significance. The actual meaning of life is building a household as a newlywed couple. Also included is a purpose of life that is no longer defined by wealth because greediness can lead to suffering.
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Pam, Alvin, and Judith Pearson. "When Marriage Ends in a Love Triangle." Journal of Divorce & Remarriage 25, no. 3-4 (July 10, 1996): 175–99. http://dx.doi.org/10.1300/j087v25n03_11.

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Dissertations / Theses on the topic "Love triangle"

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Pouke, S. (Saara). "A study of the function of the love triangle in The Hunger Games trilogy." Bachelor's thesis, University of Oulu, 2017. http://urn.fi/URN:NBN:fi:oulu-201706102663.

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This bachelor’s thesis aims to explain why the love triangle that appears in the dystopian Hunger Games trilogy by Suzanne Collins has a function within the work and so does not take away any of the feminist power that the protagonist of the book, Katniss Everdeen, possesses. The love triangle works to explore the themes of adolescent love, games and is a metaphor for the various societies in the book. In the theme of adolescent love, the internal motivators and the external motivators as to whom Katniss should pick differ. Sexuality is also explored through these characters. The theme of games is looked at though the male leads competing for the love of the protagonist, as well as the governments exploitation of the protagonist’s emotions to play to their advantage. Lastly, the male leads become representations of both the rebellion and the Capitol as well as representations of different types of members of the rebellion
Tämän työn tarkoitus on tutkia ja selittää Suzanne Collinssin Nälkäpeli (eng. The Hunger Games) trilogiassa kuvatun kolmiodraaman temaattista ja metaforista funktiota kirjailijan dystopisessa tekstissä. Narratiivi ei kyseenalaista päähenkilöä (Katniss Everdeen) feministisenä hahmona. Kuvattu kolmiodraama tukee tekstin temaattisia aspekteja, kuten nuoren henkilön rakkautta ja pelaamisen teemaa, sekä toimii metaforana yhteiskunnan eri osa-alueille. Katniss -hahmon sisäiset ja ulkoiset syyt parinvalintaan vaihtelevat ja kolmiodraamassa tutkitaan myös seksuaalisuutta. Peli -teema esiintyy mieshahmojen keskinäisessä kilpailussa, sekä siinä kuinka diktaattori hyväksikäyttää päähenkilön tunteita. Metaforana mieshahmot toimivat kapinoijien, heidän vaihtelevien identiteettiensä sekä diktatuurin kuvaajina
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Martinez, Daniel. "Play the Fool." Digital Commons at Loyola Marymount University and Loyola Law School, 2018. http://www.kaltura.com/tiny/d2h1z.

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Peters, Friedrich Ernst. "Die schmale Brücke." Universität Potsdam, 2012. http://opus.kobv.de/ubp/volltexte/2012/5725/.

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"Die schmale Brücke" ist eine Dreiecksgeschichte, die das Ringen zweier ungleicher Männer um eine junge Frau schildert. Der fleißige und solide Mittelschulrektor Peter Hansen, der unter der Kinderlosigkeit und Kälte seiner Frau leidet, trifft nach dem Ersten Weltkrieg seinen "Jugendfeind", den redegewandten, bei den Damen hoch beliebten Werner Hagemann wieder, welcher im Zug die Lehrerin Ursula Wüstenhagen kennengelernt hat, eine Kollegin Peter Hansens, in die dieser sich verliebt hat. In schwüler Gesprächsatmosphäre entwickelt sich eine Rivalität, die zunehmend bedrohliche Züge annimmt. Mordgedanken keimen auf. Schließlich fordert Peter Hansen, auf ein Gottesurteil hoffend, Werner Hagemann zu einem lebensgefährlichen Kräftemessen auf einer Brücke auf. Die Erzählung ist das einzige Werk von F. E. Peters, das im Lehrermilieu spielt. Verwoben mit der spannungsreichen Dreiecksbeziehung sind Themen der Frauenemanzipation und modernen Pädagogik sowie zahlreiche literarische Reminiszenzen an den "Zauberberg" oder auch an Goethe und Hölderlin, insbesondere in der zentralen Frage der "Schicksalswürdigkeit". Der ursprünglich von Peters gewählte Titel ("Der Schicksalswürdige") wurde auf Wunsch des Verlages in "Die schmale Brücke" geändert.
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Griffin, Stephanie A. "A qualitative inquiry into how romantic love has been portrayed by contemporary media and researchers." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1149001149.

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Selmi, Nejib. "Les obstacles à la constitution du couple amoureux dans les littératures orientale et française médiévales : Essais sur Floire et Blanchefleur et son modèle arabo-persan." Thesis, Nice, 2014. http://www.theses.fr/2014NICE2047/document.

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Cette étude met à l'épreuve l’hypothèse selon laquelle « pour qu’il y ait « histoire », roman, il faut qu’il y ait obstacle à la réalisation de [l’amor] » (Pierre Gallais). Les obstacles à la (re)constitution du couple amoureux reviennent avec récurrence dans les romans de couple de l’époque médiévale, aussi bien en Orient qu’en Occident, et méritent d’être mis en avant. Les interroger, c’est rappeler que la lecture de Floire et Blanchefleur nous invite, par moments, à le comparer à deux autres intrigues amoureuses : l’une persane (Varqe et Gulšāh), l’autre arabe ('Urwa et 'Afrā’). C’est essayer de découvrir ou redécouvrir les affinités thématiques et les relations de parenté entre ces textes. C’est rappeler que les amours heureuses n’ont pas d’histoire et qu’aimer conduit souvent à s’exposer aux autres, à l’opposition parentale et plus généralement à la société. C’est montrer que l’amour s’accroît avec la séparation et la souffrance. C’est tenter de mettre en relief le paradoxe sur lequel reposent ces romans : l’obstacle, qui à première vue semble inquiéter les couples en herbe et condamner leurs idylles, s’avère finalement un élément indispensable de l’intrigue amoureuse qui ne fait que célébrer l’intrépidité des jeunes amants. C’est montrer que dans ces textes, aucun des obstacles rencontrés ne finit par disjoindre les amants. Enfin, c’est montrer comment les conversions finales, aussi bien individuelles que collectives, finissent par conférer à ces textes une dimension civilisatrice, « une tendance orientalisante », voire « un « orientalisme » romanesque »
This study examines the hypothesis according to which “for there to be a “story”, a novel, there needs to be an obstacle hindering the realization of [love]” (Pierre Gallais). The obstacles of the lovers’ union reoccur in love stories from medieval times, as much in the Orient as in the Occident. These obstacles merit being brought to attention. To examine them is to recall that the reading of anonymous French idyll invites us, at times, to compare it to two amorous plots: one being Persian (Varqe and Gulšāh), the other Arabic ('Urwa and 'Afrā’). The thematic affinities between these related texts do not extinguish in any circumstance the originality of each novel. It should be noted that stories are not created from fortunate love and that to love often drives one to expose himself to others, parental opposition and to society. It shows love is only intensified with separation and suffering. It attempts to emphasize the paradox upon which these novels are based: the obstacle, which at first glance appears to worry the aspiring couples and condemn their idyll, decisively proves an indispensable element of the romantic plot which serves only to celebrate the intrepidity of young lovers. It is demonstrated in these texts that none of the obstacles encountered succeed in separating the lovers. Finally, it shows how individual and collective conversions finish by conferring a civilizing dimension to the texts, “an orientalizing tendency”, indeed “a Romanesque ‘Orientalism’”
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Castelan, Ivair Carlos. "Trieste, inaptidão e ciúme: três componentes fundantes do romance sveviano." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8148/tde-06052015-173049/.

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O principal objetivo deste trabalho é realizar uma leitura atenta que demonstre a importância do ciúme para a tessitura narrativa nos romances de Italo Svevo: Una vita (1892), Senilità (1898) e La coscienza di Zeno (1923). A partir da ordem de publicação de cada obra, pretende-se desvelar as relações amorosas, desnudando o modo como o ciúme apresenta-se nas histórias vividas pelos personagens. As diversas teorias que discorrem sobre o ciúme, ainda que de modos diferentes, convergem em um ponto, ou seja, no caráter triplo desse sentimento que terá, portanto, o triângulo como a forma geométrica que melhor o representa. Todavia, o ciúme será analisado neste estudo, sobretudo, à luz da teoria do filósofo francês, René Girard. Este trabalho ainda trata de duas questões fundamentais na obra de Svevo, intrinsicamente ligadas ao ciúme: o ambiente triestino, onde se desenrolam as histórias e o caráter inapto de seus protagonistas.
The main goal of this work is to produce an attentive reading that demonstrates the importance of jealousy shaping the narrative web in Italo Svevo\'s novels: Una vita (1892), Senilità (1898) e La coscienza di Zeno (1923). Following the chronological order of each piece, the intent is to unveil the amorous relationships by uncovering the manner jealousy is presented in characters\' histories. The diverse theories lecturing on jealousy -though may diverge in some aspects- end up converging in one: the triple aspect of the feeling, the triangle for its geometrical shape that very well represents it. However, jealousy will be taken in this study, most of all, enlightened by the french philosopher theory of René Girard. Furthermore, this thesis also deals with two important matters of Svevo\'s work, intrinsically linked to jealousy: the Triestian enviroment, where main characters\' storyline and inaptitude flourish.
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Ristimella, I. T. (Iida-Tuulia). "Love-triangles and the structure of Fahrenheit 451:creating contrast to foreground the elements of dystopia." Bachelor's thesis, University of Oulu, 2017. http://urn.fi/URN:NBN:fi:oulu-201708122747.

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Ray Bradbury’s Fahrenheit 451 (1953) is one of the best-known science fiction dystopias, presenting a strictly controlled state maintained by book-burning ‘firemen’. People of the society have been turned into non-thinking masses, as books are banned, and technology and media are used to control their thought. The protagonist, Guy Montag, is a fireman, who goes through a transformation leading him to question the society and internalize humane values. In this thesis, I will examine the relationships between Montag and two female characters contributing to his transformation, namely Clarisse and Montag’s wife, Mildred, and compare these relationships and the two female characters. Love-triangle construction between the three characters is used to demonstrate the contrast between Clarisse and Mildred and their relationships to Montag, revealing the contrasts of life and death, meaningful and shallow relationship, and nature and technology. These contrasts foreground common dystopian elements in Fahrenheit 451: the fears of deindividualization and dehumanization, as well as critique towards consumer culture. Thus, Mildred and Clarisse are not only affecting Montag’s transformation, but have a function of representing the dystopian society of the novel
Ray Bradburyn Fahrenheit 451 (1953) on yksi tunnetuimpia ”science fiction” -dystopioita. Se esittelee tiukasti kontrolloidun yhteiskunnan, jota valvovat kirjoja polttavat ”palomiehet”. Yhteiskunnan asukkaat on muutettu ajatteluun kykenemättömiksi massoiksi kieltämällä kirjat ja käyttämällä teknologiaa ja mediaa ajatusten kontrolloimiseen. Päähenkilö Guy Montag on palomies, joka käy läpi yhteiskunnan kyseenalaistamiseen ja inhimillisten arvojen sisäistämiseen johtavan muutoksen. Tässä tutkielmassa tarkastelen Montag’n suhteita kahteen hänen muutokseensa vaikuttavaan naishenkilöön, jotka ovat Clarisse sekä Montag’n vaimo Mildred, ja vertaan näitä suhteita sekä naishenkilöitä toisiinsa. Mainittujen henkilöiden välistä kolmiodraama -rakennelmaa käytetään teoksessa havainnollistamaan Clarissen ja Mildred’n sekä heidän ja Montag’n välisten suhteiden luomaa kontrastia, paljastaen näin elämän ja kuoleman, merkityksellisen ja pinnallisen suhteen sekä luonnon ja teknologian väliset kontrastit. Nämä kontrastit puolestaan tuovat esiin tyypilliset dystopian elementit teoksessa Fahrenheit 451, toisin sanoen pelon yksilöllisyyden ja inhimillisyyden häviämisestä sekä kritiikin kulutuskulttuuria kohtaan. Näin ollen Mildred ja Clarisse eivät ainoastaan vaikuta Montag’n muutokseen, vaan he toimivat myös dystopisen yhteiskunnan piirteiden esiintuojina
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Suarez, Veronica. "Nights in The City Beautiful." FIU Digital Commons, 2018. https://digitalcommons.fiu.edu/etd/3851.

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Nights in The City Beautiful is a collection of confessional, free verse poems that explores sexual trauma, mental health, the exigencies of marriage, and the complexities of human desire. These interconnected poems are grounded with a braided narrative and tackle taboo themes. In Part 1: Monogamy, the reader journeys into the world of Vincent and Victoria, their profound love, and their anxiety disorders. In Part 2: Polyamory, Victoria gets caught in a love triangle when she meets her publishing coworker, Peter Langley. The book evokes the movement of Romanticism and first-and-second-generation Romantic poets such as William Blake and Lord Byron. Contemporary influences on this collection include Aaron Smith’s Primer, Stacey Waite’s Butch Geography, and Tracy K. Smith’s The Body's Question. Nights in The City Beautiful merges lyricism with narrative, the ethereal with the physical. It is a novella in verse that delves into the boundaries of sexuality, love, and intimacy.
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Carpenter, David. "The Age of Innocence [score]." Diss., Temple University Libraries, 2011. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/216328.

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Music Composition
D.M.A
The Age of Innocence is an opera based on the 1920 novel by Edith Wharton. Set in New York high society of the 1870's, it tells the story of Newland Archer, a young lawyer, his fiancée May Welland, and her cousin, the Countess Ellen Olenska, who has returned to her native New York in an aura of scandal, having left her husband, the dissolute Polish Count Olenski, in Europe. Although Archer and Ellen fall in love, he nevertheless follows the expectations of his family and marries the lovely but conventional May. For her part, while she sees a life with Archer as an escape from her loneliness, Ellen cannot allow herself to betray her cousin, insisting that she and Archer can love each other only if they remain apart. This love triangle is unique because of the social pressures placed upon Archer: he is a product of New York society, which has taught him to believe in the factitious idea of female innocence, as personified by May. Though he questions this and other conventions of his society, he is unable to bring himself to abandon the safety of these social norms that govern every aspect of proper behavior in New York. It is Archer's love for Ellen that prompts him to challenge these standards, pointing out New York's hypocrisy in welcoming May's cousin back to America while at the same time treating her as a pariah for abandoning her husband in Europe. None of their objections to Ellen is explicitly stated, however, for this is a world which has a morbid fear of "the unpleasant"--that is, anything that would disturb the calm surface of society's politesse and social grace. It comes as no surprise, then, that Archer's desire for Ellen (especially after he marries May), becomes a potential social nightmare for his family and all of New York, as they ruthlessly plot to drive the two apart, and send Ellen back to Europe. The main challenge in creating an opera out of this story, in addition to streamlining a lengthy and complex plot, was to delineate both in the libretto and the music the realms of the said and unsaid--that is, what the characters say in public, and what they say to themselves or to others that represents their innermost feelings. In the libretto, this was achieved by drawing upon Wharton's dialogue and narration in the novel in order to create these private and public utterances, in the form of recitatives, arias, duets, or ensemble pieces. The language of the libretto has been fashioned to serve these different musical forms, with dialogue from the novel employed in moments of recitative; and freely-metered verse, with a modest use of rhyme, for the "numbers" of the opera. The music, meanwhile, employs a system of codes to define the realms of the said and unsaid--motives, sonorities and key relationships that bring into focus the interactions of the characters, especially Archer, Ellen and May as their drama plays out under the ever-watchful eyes of New York society. The music has also been rendered to bring out the stresses and meter of the text, and heighten the import of the words as sung by a particular character. I have attempted in my opera to bring to life the timeless themes of Wharton's novel: unfulfilled love, the individual versus society, the potential corrupting influence of desire, and the moral choices that human beings face as they wrestle with these common issues. Opera, through the language of music, is one of the few art forms capable of fully realizing these themes in a dramatic context--in this sense, it is just as relevant to our time as it was to Wharton's, and therefore remains a viable medium for the twenty-first-century composer.
Temple University--Theses
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Carpenter, David. "The Age of Innocence: an opera in two acts." Diss., Temple University Libraries, 2011. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/132444.

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Music Composition
D.M.A.
The Age of Innocence is an opera based on the 1920 novel by Edith Wharton. Set in New York high society of the 1870's, it tells the story of Newland Archer, a young lawyer, his fiancée May Welland, and her cousin, the Countess Ellen Olenska, who has returned to her native New York in an aura of scandal, having left her husband, the dissolute Polish Count Olenski, in Europe. Although Archer and Ellen fall in love, he nevertheless follows the expectations of his family and marries the lovely but conventional May. For her part, while she sees a life with Archer as an escape from her loneliness, Ellen cannot allow herself to betray her cousin, insisting that she and Archer can love each other only if they remain apart. This love triangle is unique because of the social pressures placed upon Archer: he is a product of New York society, which has taught him to believe in the factitious idea of female innocence, as personified by May. Though he questions this and other conventions of his society, he is unable to bring himself to abandon the safety of these social norms that govern every aspect of proper behavior in New York. It is Archer's love for Ellen that prompts him to challenge these standards, pointing out New York's hypocrisy in welcoming May's cousin back to America while at the same time treating her as a pariah for abandoning her husband in Europe. None of their objections to Ellen is explicitly stated, however, for this is a world which has a morbid fear of "the unpleasant"--that is, anything that would disturb the calm surface of society's politesse and social grace. It comes as no surprise, then, that Archer's desire for Ellen (especially after he marries May), becomes a potential social nightmare for his family and all of New York, as they ruthlessly plot to drive the two apart, and send Ellen back to Europe. The main challenge in creating an opera out of this story, in addition to streamlining a lengthy and complex plot, was to delineate both in the libretto and the music the realms of the said and unsaid--that is, what the characters say in public, and what they say to themselves or to others that represents their innermost feelings. In the libretto, this was achieved by drawing upon Wharton's dialogue and narration in the novel in order to create these private and public utterances, in the form of recitatives, arias, duets, or ensemble pieces. The language of the libretto has been fashioned to serve these different musical forms, with dialogue from the novel employed in moments of recitative; and freely-metered verse, with a modest use of rhyme, for the "numbers" of the opera. The music, meanwhile, employs a system of codes to define the realms of the said and unsaid--motives, sonorities and key relationships that bring into focus the interactions of the characters, especially Archer, Ellen and May as their drama plays out under the ever-watchful eyes of New York society. The music has also been rendered to bring out the stresses and meter of the text, and heighten the import of the words as sung by a particular character. I have attempted in my opera to bring to life the timeless themes of Wharton's novel: unfulfilled love, the individual versus society, the potential corrupting influence of desire, and the moral choices that human beings face as they wrestle with these common issues. Opera, through the language of music, is one of the few art forms capable of fully realizing these themes in a dramatic context--in this sense, it is just as relevant to our time as it was to Wharton's, and therefore remains a viable medium for the twenty-first-century composer.
Temple University--Theses
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Books on the topic "Love triangle"

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Koteskey, Ronald L. The love triangle: Sex, dating & love. [Wheaton, Ill.]: Victor Books, 1989.

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Pavlik, Cheryl. Love Triangle. Mcgraw-Hill College, 1997.

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Tatano, Nic. Love Triangle. HarperCollins Publishers Limited, 2016.

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Love Triangle. Independently Published, 2018.

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Love Triangle. AuthorHouse, 2012.

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Wilkes, Ila. Love Triangle. Page Publishing Inc., 2017.

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Love Triangle. HarperCollins Publishers Limited, 2016.

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McFadden, Markiss, and Desiree Marie McFadden. Love triangle. 2017.

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Love Triangle. Albany: DiskUs Publishing, 2003.

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Mealue, Shane, and Monique Mealue. Love Triangle. Trafford Publishing, 2012.

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Book chapters on the topic "Love triangle"

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Ivančić, Viktor, and Drago Bojić. "The Balkan Love Triangle." In Balkan Contextual Theology, 156–71. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003157915-11.

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Bradbeer, Mark. "Glimpses of Shakespeare's Love Triangle." In Aemilia Lanyer as Shakespeare's Co-Author, 55–60. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003221203-8.

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Verevis, Constantine. "Bizarre Love Triangle: The Creature Trilogy." In Film Trilogies, 68–87. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9780230371972_4.

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Rampoldi-Hnilo, Lynn, and Michele Snyder. "The Business Love Triangle- Smartphones, Gamification, and Social Collaboration." In Human-Computer Interaction. Applications and Services, 309–15. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-39262-7_35.

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Levner, Lawrence. "A ‘Dysfunctional Triangle’ or Love in All the Right Places." In Working with the Dying and Bereaved, 152–76. London: Macmillan Education UK, 1998. http://dx.doi.org/10.1007/978-1-349-26222-9_6.

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Levner, Lawrence. "A ‘Dysfunctional Triangle’ or Love in All the Right Places." In Working with the Dying and Bereaved, 152–76. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003416906-6.

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Andersson, Theodore M. "Skald Sagas in their Literary Context 3: The Love Triangle Theme." In Skaldsagas, edited by Russell Gilbert Poole, 272–84. Berlin, Boston: De Gruyter, 2020. http://dx.doi.org/10.1515/9783110823547-010.

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Raya Fages, Lourdes, and Pablo Piqueras Yagüe. "Chapter 35. Troilus and Briseida in the Western literature." In Comparative History of Literatures in European Languages, 578–87. Amsterdam: John Benjamins Publishing Company, 2024. http://dx.doi.org/10.1075/chlel.xxxiv.35ray.

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Abstract:
This chapter analyzes the figure of Troilus and the motif of the love triangle, consisting of him, Briseis, and Diomedes from the De excidio Troiae of Dares Phrygius to contemporary literature. We focus specifically on the medieval works that influenced the representation of these three characters and their relationship. We examine their roles in Dares’ work, in the Roman de Troie of Benoît de Sainte-Maure, in Guido delle Colonne’s Historia destructionis Troiae, in two epics of the XII and XIII centuries (De bello Troiano of Joseph of Exeter and Troilus of Albert of Stade) and in three more familiar pieces, namely Boccaccio’s Il Filostrato, Chaucer’s Troilus and Criseyde, and Shakespeare’s Troilus and Cressida, to end with a quick review of the theme from that moment until the present. The representation of the characters and their triangle was formed in the Roman de Troie following Dares, and each author who developed the story used the tradition but added his own special touches.
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Wada, Ayako. "Visions of the Love Triangle and Adulterous Birth in Blake’s The Four Zoas." In Sexy Blake, 35–46. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137332844_3.

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Felson, Richard B. "Love triangles." In Violence and gender reexamined., 107–17. Washington: American Psychological Association, 2002. http://dx.doi.org/10.1037/10470-008.

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Conference papers on the topic "Love triangle"

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Jia, Yunlong. "Investigation and Research on the Love of Contemporary Chinese Homosexuals Based on the “Love Triangle”." In 2021 International Conference on Social Development and Media Communication (SDMC 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220105.141.

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Hedayati, Mehrnoosh. "Love as Caring Maturity: A Criticism of the Love Triangle Theory and Presenting a New Approach to Love in Couple’s Relationships." In 2nd World Conference on Social Sciences and Humanities. Acavent, 2020. http://dx.doi.org/10.33422/2nd.shconf.2020.09.234.

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Chen, Ying Chih, and Kuo Cheng Chung. "Understand the public insurance purchase orientation through the triangle theory of love." In ACM ICEA '20: 2020 ACM International Conference on Intelligent Computing and its Emerging Applications. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3440943.3444348.

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Gronlund, Allan, and Seth Pettie. "Threesomes, Degenerates, and Love Triangles." In 2014 IEEE 55th Annual Symposium on Foundations of Computer Science (FOCS). IEEE, 2014. http://dx.doi.org/10.1109/focs.2014.72.

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Reports on the topic "Love triangle"

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Laurenceson, James. In the US–AU–China love triangle, actions speak louder than words. East Asia Forum, October 2017. http://dx.doi.org/10.59425/eabc.1507716026.

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