Present Day Romance Tragedy

1993 Reports from India of parents killing their children in public because of social shame related to forbidden marriage began coming to world attention. 1993 Admira Ismi (Bosniak) and Boko Brki (Serb) were killed by sniper fire while fleeing the besieged city of Sarejevo on Vrbanja bridge, now known as the ‘Romeo and Juliet Bridge.’ Their bravery ‘became a symbol for the suffering of the people on all sides of the conflict.’ The challenge of young people for rights to options is highlighted by the phenomenon and imperative of romance tragedy within and across cultures. Globalisation brings awareness of other cultures: of their legends and real life heroic stories; of their struggles and sacrifices; and of their social progress. This study focuses on the time period from 1993 to the present time during which romance tragedy in India especially, began attracting world attention through the media. The first pillar of Gandhi’s ‘Satyagraha’ is truth, claiming that openness to, and awareness of the greater community – the world community – is a necessity of peace, both at the family level and for the world community. Nonviolence (the second pillar) is seen as the first step in the path of peace, using the word ‘peace’ here to equate with ‘the enjoyment of good relationships’. Principles for the attainment and maintenance of good relations apply to individuals at the local level and to states and nations at the government level. Martyrdom of romantic lovers choosing Gandhian-like self sacrifice (the third pillar) continues today. Reflecting hugely intense joy and sorrow, storytelling of romance tragedy through the arts and media brings compelling heroism to our attention. It leaves us with a message of hope for the new generation.

1993 Reports from India of parents killing their children in public because of social shame related to forbidden marriage began coming to world attention. 1993 Admira Ismi (Bosniak) and Boko Brki (Serb) were killed by sniper fire while fleeing the besieged city of Sarejevo on Vrbanja bridge, now known as the 'Romeo and Juliet Bridge.' Their bravery 'became a symbol for the suffering of the people on all sides of the conflict.' The challenge of young people for rights to options is highlighted by the phenomenon and imperative of romance tragedy within and across cultures. Globalisation brings awareness of other cultures: of their legends and real life heroic stories; of their struggles and sacrifices; and of their social progress. This study focuses on the time period from 1993 to the present time during which romance tragedy in India especially, began attracting world attention through the media. The first pillar of Gandhi's 'Satyagraha' is truth, claiming that openness to, and awareness of the greater community - the world community - is a necessity of peace, both at the family level and for the world community. Nonviolence (the second pillar) is seen as the first step in the path of peace, using the word 'peace' here to equate with 'the enjoyment of good relationships'. Principles for the attainment and maintenance of good relations apply to individuals at the local level and to states and nations at the government level. Martyrdom of romantic lovers choosing Gandhian-like self sacrifice (the third pillar) continues today. Reflecting hugely intense joy and sorrow, storytelling of romance tragedy through the arts and media brings compelling heroism to our attention. It leaves us with a message of hope for the new generation.

Passion, romance, drama, humor, and tragedy intertwine in this compulsively readable Hamlet retelling, from the perspective of a strong-willed, modern-day Ophelia. Meet Ophelia, high school senior, daughter of the Danish king's most trusted adviser, and longtime girlfriend of Prince Hamlet of Denmark. She lives a glamorous life and has a royal social circle, and her beautiful face is splashed across magazines and television screens. But it comes with a price--her life is ruled not only by Hamlet's fame and his overbearing royal family but also by the paparazzi who hound them wherever they go. After the sudden and suspicious death of his father, the king, the devastatingly handsome Hamlet spirals dangerously toward madness, and Ophelia finds herself torn, with no one to turn to. All Ophelia wants is to live a normal life. But when you date a prince, you have to play your part. Ophelia rides out this crazy roller coaster life, and lives to tell her story in live television interviews.

Despite the recent turn to affects and emotions in the humanities and despite the unceasing popularity of romantic and erotic love as a motif in fictional works of all genres, the subject has received surprisingly little attention in academic studies of contemporary drama. Love in Contemporary British Drama reflects the appeal of love as a topic and driving force in dramatic works with in-depth analyses of eight pivotal plays from the past three decades. Following an interdisciplinary and historical approach, the study collects and condenses theories of love from philosophy and sociology to derive persisting discourses and to examine their reoccurrence and transformation in contemporary plays. Special emphasis is put on narratives of love’s compensatory function and precariousness and on how modifications of these narratives epitomise the peculiarities of emotional life in the social and cultural context of the present. Based on the assumption that drama is especially inclined to draw on shared narratives for representations of love, the book demonstrates that love is both a window to remnants of the past in the present and a proper subject matter for drama in times in which the suitability of the dramatic form has been questioned.

From the USA TODAY bestselling author of Sweet Thing and Nowhere But Here comes a love story about a Craigslist “missed connection” post that gives two people a second chance at love fifteen years after they were separated in New York City. To the Green-eyed Lovebird: We met fifteen years ago, almost to the day, when I moved my stuff into the NYU dorm room next to yours at Senior House. You called us fast friends. I like to think it was more. We lived on nothing but the excitement of finding ourselves through music (you were obsessed with Jeff Buckley), photography (I couldn’t stop taking pictures of you), hanging out in Washington Square Park, and all the weird things we did to make money. I learned more about myself that year than any other. Yet, somehow, it all fell apart. We lost touch the summer after graduation when I went to South America to work for National Geographic. When I came back, you were gone. A part of me still wonders if I pushed you too hard after the wedding… I didn’t see you again until a month ago. It was a Wednesday. You were rocking back on your heels, balancing on that thick yellow line that runs along the subway platform, waiting for the F train. I didn’t know it was you until it was too late, and then you were gone. Again. You said my name; I saw it on your lips. I tried to will the train to stop, just so I could say hello. After seeing you, all of the youthful feelings and memories came flooding back to me, and now I’ve spent the better part of a month wondering what your life is like. I might be totally out of my mind, but would you like to get a drink with me and catch up on the last decade and a half? M