By Diana Whitney
SOMEBODY'S HERO...SOMEBODY'S CHILD
Rae Hooper had enjoyed just one guy: Martin Manning. yet her clean-cut warrior had marched off to glory a decade in the past, by no means to come domestic. fortunately, he'd given her a baby. yet, unfortunately, little Martina could by no means recognize her daddy.
But at ten, scrappy, freckle-faced Martina all of sudden stumbled on a father determine. The mysterious drifter couldn't resemble Martin much less, but he stirred an eerily standard starvation in Rae. He drew her like a bee to clover. They'd informed her Martin used to be lifeless. yet used to be her long-lost hero alive and well...and domestic to stay?
The ups, the downs, the laughter and the tears...it's all part of PARENTHOOD.
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Additional info for A Hero's Child
In addressing these issues, I also show how the Romantic Ethic has inﬂuenced subsequent theorizing on consumption, as well as referring to research evidence in support of its claims. I then offer a critical appraisal of the Romantic ethic thesis, recalling and drawing together existing critiques and developing new arguments. This discussion problematizes Campbell’s assertion that the rationally controlled (de)control of emotion when consuming is ever fully autonomous. Instead, I point to external factors which mediate the consumption experience.
Iv) A relation of uniﬁcation Here we arrive at a fourth and ﬁnal viewpoint on the relationship between reason and emotion, one in which their ‘marriage’ is well and truly ‘consummated’. It is not simply, as in (iii), a question of rationality dominating or managing emotions, but of their more or less happy or harmonious convergence for a supportive or synonymous uniﬁcation. A growing body of literature may be drawn upon here, in support of these contentions – from Damasio’s (1996) exposure of Descartes’ Error and the affective basis of effective decision-making, to Barbalet’s (1998) own insightful exploration of the passion for rationality, and from Johnson’s (1987) and Lakoff’s (1987) demonstration of the bodily basis of meaning, imagination and reason, to feminist reconstructions of being and knowing (Jaggar, 1989; Rose, 1994).
On the other hand, this change in attitude may be indicative of a growing awareness that distorted or fabricated cultural representations of romance do not always resonate with ‘real-life’ involvements, leading to disappointment and despondency and perhaps an altogether more realistic assessment of such relationships. So too, as Illouz points out, ‘love at ﬁrst sight’ – a mainstay of the Romantic’s conception of love and an infallible indicator of true passion – has been deconstructed and demystiﬁed through the contemporary separation of sexuality from love.
A Hero's Child by Diana Whitney