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This article reconsiders one of the most important theories of romantic love in contemporary philosophy, the theory of love as union. Drawing on observations from transpersonal research, the article raises the question whether it is not worthwhile to accept, at least partially, a strong sense of union in the context of love. Thus the article takes a position that is not taken by anyone in contemporary philosophy. In this context, the article also briefly analyses one of the most important variants of love as union, a union with God. At the end, the suggestion is made that it makes more sense to talk about connections rather than relations in the case of fulfilled love.

This article reconsiders one of the most important theories of romantic love in contemporary philosophy, the theory of love as union. Drawing on observations from transpersonal research, the article raises the question whether it is not worthwhile to accept, at least partially, a strong sense of union in the context of love. Thus the article takes a position that is not taken by anyone in contemporary philosophy. In this context, the article also briefly analyses one of the most important variants of love as union, a union with God. At the end, the suggestion is made that it makes more sense to talk about connections rather than relations in the case of fulfilled love.

In canto V of Hell of the Divine Comedy, the author presents different examples of those condemned for lust. In this paper a classification of these characters into two categories is proposed: on the one hand, those who subject reason to erotic passion and, on the other, those who subject it to affective passion. Likewise, the reasons why the Florentine author considers these approaches as serious transgressions against «the order of love» are questioned. Next, a comparative analysis is carried out of these two types of love present in two works that establish a clear intertextuality relationship with the Divine Comedy, namely, the Non-Divine Comedy by Zygmunt Krasinski and Don Juan in Hell by Carlos Fisas. This demonstrates the extent of the influence of this author in different times and cultural spaces, as well as his amazing universality., En el canto V del infierno de la Divina Comedia, el autor presenta diferentes ejemplos de condenados por la lujuria. En este trabajo se propone la clasificación de dichos personajes en dos categorías, por un lado, aquellos que someten la razón a la pasión erótica y, por el otro, aquellos que la someten a la pasión afectiva. Así mismo, se cuestionan los motivos por los cuales el autor florentino considera estas aproximaciones como transgresiones graves contra «el orden del amor». A continuación, se lleva a cabo un análisis comparativo de estos dos tipos de amor presentes en dos obras que establecen una clara relación de intertextualidad con la Divina Comedia, a saber, la No-Divina Comedia de Zygmunt Krasinski y Don Juan en el infierno de Carlos Fisas. Se demuestra de este modo la amplitud de la influencia de este autor en diferentes épocas y espacios culturales, así como, su asombrosa universalidad.

El amor romántico y sus mitos son factores de riesgo cuando de violencia de género se trata; un amor idealizado, todopoderosos, basado en mandatos de género y en la idea de la pareja como propiedad privada, por lo que se entiende mejor en términos liberales y capitalistas. Ante esto, y conociendo la función educativa de los medios, la sociedad occidental, donde este modelo de amor ha arraigado, debe plantearse si la audiencia comulga con dichos mitos e ideología. Tras el éxito de La isla de las tentaciones, el presente estudio tiene como objetivo analizar la audiencia del programa en relación con dos aspectos: (1) mitos asumidos y rechazados e (2) ideología con la que se autodefinen los televidentes. Para ello, se ha aplicado una metodología compuesta por un focus group y una encuesta; permitiendo vislumbrar, por ejemplo, cómo el mito de la fidelidad o el de la omnipotencia son primordiales para los televidentes., Romantic love and its myths are risk factors when it comes to gender-based violence; an idealised, all-powerful love, based on gender mandates and the idea of the partner as private property, so it is best understood in liberal and capitalist terms. Given this, and knowing the educational function of the media, Western society, where this model of love has taken root, must ask itself whether its audiences buy into such myths and ideology. Following the success of La Isla de las Tentaciones, this study aims to analyse the programme’s audience in relation to two aspects: (1) myths assumed and rejected, and (2) the ideology with which viewers define themselves. To this end, a methodology consisting of a focus group and a survey has been applied, allowing us to glimpse, for example, how the myth of fidelity or omnipotence are primordial for viewers.

El amor romántico y sus mitos son factores de riesgo cuando de violencia de género se trata; un amor idealizado, todopoderosos, basado en mandatos de género y en la idea de la pareja como propiedad privada, por lo que se entiende mejor en términos liberales y capitalistas. Ante esto, y conociendo la función educativa de los medios, la sociedad occidental, donde este modelo de amor ha arraigado, debe plantearse si la audiencia comulga con dichos mitos e ideología. Tras el éxito de La isla de las tentaciones, el presente estudio tiene como objetivo analizar la audiencia del programa en relación con dos aspectos: (1) mitos asumidos y rechazados e (2) ideología con la que se autodefinen los televidentes. Para ello, se ha aplicado una metodología compuesta por un focus group y una encuesta; permitiendo vislumbrar, por ejemplo, cómo el mito de la fidelidad o el de la omnipotencia son primordiales para los televidentes., Romantic love and its myths are risk factors when it comes to gender-based violence; an idealised, all-powerful love, based on gender mandates and the idea of the partner as private property, so it is best understood in liberal and capitalist terms. Given this, and knowing the educational function of the media, Western society, where this model of love has taken root, must ask itself whether its audiences buy into such myths and ideology. Following the success of La Isla de las Tentaciones, this study aims to analyse the programme’s audience in relation to two aspects: (1) myths assumed and rejected, and (2) the ideology with which viewers define themselves. To this end, a methodology consisting of a focus group and a survey has been applied, allowing us to glimpse, for example, how the myth of fidelity or omnipotence are primordial for viewers.

El amor romántico y sus mitos son factores de riesgo cuando de violencia de género se trata; un amor idealizado, todopoderosos, basado en mandatos de género y en la idea de la pareja como propiedad privada, por lo que se entiende mejor en términos liberales y capitalistas. Ante esto, y conociendo la función educativa de los medios, la sociedad occidental, donde este modelo de amor ha arraigado, debe plantearse si la audiencia comulga con dichos mitos e ideología. Tras el éxito de La isla de las tentaciones, el presente estudio tiene como objetivo analizar la audiencia del programa en relación con dos aspectos: (1) mitos asumidos y rechazados e (2) ideología con la que se autodefinen los televidentes. Para ello, se ha aplicado una metodología compuesta por un focus group y una encuesta; permitiendo vislumbrar, por ejemplo, cómo el mito de la fidelidad o el de la omnipotencia son primordiales para los televidentes., Romantic love and its myths are risk factors when it comes to gender-based violence; an idealised, all-powerful love, based on gender mandates and the idea of the partner as private property, so it is best understood in liberal and capitalist terms. Given this, and knowing the educational function of the media, Western society, where this model of love has taken root, must ask itself whether its audiences buy into such myths and ideology. Following the success of La Isla de las Tentaciones, this study aims to analyse the programme’s audience in relation to two aspects: (1) myths assumed and rejected, and (2) the ideology with which viewers define themselves. To this end, a methodology consisting of a focus group and a survey has been applied, allowing us to glimpse, for example, how the myth of fidelity or omnipotence are primordial for viewers.

Romantic love myths are irrational socially constructed beliefs about the nature of love, what are the desirable characteristics when selecting a partner, the importance of love, expectations for the future and the type of relationship, can help us to understand the internalisation of these romantic love myths that only foster patriarchal hegemony and gender inequalities. The presence of these romantic beliefs favours or maintains intimate partner violence and control-based relationships, which are related to lower self-esteem. These myths, which are irrational beliefs, reinforce intimate partner violence and contribute to its maintenance once it occurs. The objectives of this review are to analyse and deepen the knowledge obtained about the myths of romantic love in relation to gender violence, as well as to collect some of the proposals developed for the prevention of this specific form of violence, Los mitos del amor romántico son constructos mentales socialmente construidas sobre la naturaleza del amor, dentro de ellos se incluyen: las características deseables al seleccionar pareja, la importancia del amor, las expectativas de futuro y el tipo de relación. Estos aspectos nos pueden ayudar a comprender la interiorización de estos mitos del amor romántico los cuáles sólo fomentan la hegemonía patriarcal y la desigualdad de género. La presencia de estas creencias románticas favorecen o mantienen la violencia de género de la pareja y las relaciones basadas en el control, las cuales se relacionan con una menor autoestima, contribuyendo a su continuidad una vez que aparece. Los objetivos de esta revisión son analizar y profundizar en el conocimiento obtenido sobre los mitos del amor romántico en relación a la violencia de género, así como recoger algunas de las propuestas elaboradas para la prevención de esta forma específica de violencia.

Romantic love and its myths are risk factors when it comes to gender-based violence; an idealised, all-powerful love, based on gender mandates and the idea of the partner as private property, so it is best understood in liberal and capitalist terms. Given this, and knowing the educational function of the media, Western society, where this model of love has taken root, must ask itself whether its audiences buy into such myths and ideology. Following the success of La Isla de las Tentaciones, this study aims to analyse the programme's audience in relation to two aspects: (1) myths assumed and rejected, and (2) the ideology with which viewers define themselves. To this end, a methodology consisting of a focus group and a survey has been applied, allowing us to glimpse, for example, how the myth of fidelity or omnipotence are primordial for viewers., El amor romántico y sus mitos son factores de riesgo cuando de violencia de género se trata; un amor idealizado, todopoderosos, basado en mandatos de género y en la idea de la pareja como propiedad privada, por lo que se entiende mejor en términos liberales y capitalistas. Ante esto, y conociendo la función educativa de los medios, la sociedad occidental, donde este modelo de amor ha arraigado, debe plantearse si la audiencia comulga con dichos mitos e ideología. Tras el éxito de La isla de las tentaciones, el presente estudio tiene como objetivo analizar la audiencia del programa en relación con dos aspectos: (1) mitos asumidos y rechazados e (2) ideología con la que se autodefinen los televidentes. Para ello, se ha aplicado una metodología compuesta por un focus group y una encuesta; permitiendo vislumbrar, por ejemplo, cómo el mito de la fidelidad o el de la omnipotencia son primordiales para los televidentes.

[Resumen] El amor es un concepto que históricamente ha atravesado una serie de transformaciones que afectan directamente hacia cómo las personas viven sus vínculos sexo-afectivos. Actualmente nos encontramos en una etapa donde las relaciones sentimentales son cada vez más abiertas, diversas y efímeras, por lo que existe un importante interés social en estudiar este fenómeno, sobre todo entre la juventud. A través de un análisis cualitativo, se han realizado doce entrevistas dirigidas a profesionales en este tema y a jóvenes de entre 18 y 30 años residentes en la ciudad de A Coruña con la finalidad de indagar sobre la percepción que tienen sobre el amor, sus experiencias en relaciones sexo-afectivas, y la influencia que juegan el amor romántico y el amor líquido en sus vidas. Pudiendo, de este modo, establecer posteriormente una tipología de los tipos de relaciones sexo-afectivas existentes en nuestros días., [Resumo] O amor é un concepto que históricamente atravesou unha serie de transformacións que afectan directamente hacia cómo as personas viven os seus lazos sexo-afectivos. Actualmente encontrámonos nunha etapa onde as relacións sentimentais son cada vez mais abertas, diversas e efímeras, polo que existe un gran interese social en estudiar este fenómeno, sobre todo entre a xuventude. A través dunha análise cualitativo, realizáronse doce entrevistas dirixidas a profesionais neste tema e a xóvenes de entre 18 e 30 anos residentes na cidade da Coruña coa finalidade de indaga sobre a percepción que teñen do amor, as súas experiencias en relacións sexo-afectivas, e a influencia que xogan o amor romántico e o amor líquido nas súas vidas. Polo que deste modo, establécese posteriormente unha tipoloxía dos tipos de relacións sexo-afectivas existentes nos nosos días., [Abstract] Love is a concept that historically has gone through a series of transformations that directly affect how people live their sexual-affective bonds. We are currently in a stage where sentimental relationships are increasingly open, diverse and ephemeral, so there is an important social interest in studying this phenomenon, especially among young people. Through a qualitative analysis, twelve interviews were conducted with professionals in this field and with young people between 18 and 30 years old living in the city of A Coruña in order to inquire about their perception of love, their experiences in sex-affective relationships, and the influence that romantic love and liquid love play in their lives. In this way, it is possible to establish a typology of the types of sex-affective relationships existing in our days.

[EU] Maitasun erromantikoa gizartean gehien hedatua dagoen maitasun eredua da; hala ere, honek indartzen dituen mito eta ezaugarri anitzak oso kaltegarriak dira, batez ere, identitate pertsonalaren garapenean dauden pertsonentzat. Fenomeno hau indartzen duen erreminta nagusietako bat Haur eta Gazte Literatura da. Hortaz, lan honen helburuak dira, batetik, euskal Haur eta Gazte Literaturaren barnean dauden hainbat narraziotan maitasun erromantikoa nola jorratzen den aztertzea eta, bestetik, maitasun eredu ezberdinak eskaintzen dituzten lan literarioak proposatzea. Liburuen azterketa narratologikoa egin ostean, urteak pasa ahala, maitasunaren gaiari dagokionez, Haur eta Gazte Literaturak aldaketak jasan dituela ondorioztatu da., [ES] El amor romántico es el modelo de amor más extendido en la sociedad; sin embargo, los múltiples mitos y características que éste refuerza son, sobre todo, muy perjudiciales para las personas en desarrollo de identidad personal. Una de las principales herramientas que potencia este fenomeno es la Literatura Infantil y Juvenil. Por lo tanto, los objetivos de este trabajo son, por un lado, analizar cómo se aborda el amor romántico en diferentes narraciones que forman parte de la Literatura Infantil y Juvenil vasca y, por otro, proponer obras literarias que ofrecen diferentes modelos de amor. Tras el análisis narratológico de los libros, se ha concluido que con el paso de los años, la Literatura Infantil y Juvenil ha sufrido cambios en cuanto al tema del amor., [EN] Romantic love is the most widespread model of love in society; however, the multiple myths and characteristics that it reinforces are, above all, harmful to people in the process of developing their personal identity. One of the main tools that enhance this phenomenon is Children’s and Young People’s Literature. Therefore, the aims of this work are, on the one hand, to analyse how romantic love is dealt with in differentes narratives that form part of basque Children’s and Young People’s literature and, on the other hand, to propose literary works that offer different models of love. After the narratological analysis of the books, it has been concluded that, over the years, Children’s and Young People’s Literature has undergone changes in terms of the theme of love.

En el periodo de entreguerras Ortega y Gasset se propuso construir una nueva modernidad en la que el amor habría desaparecido. Ortega establecía un estrecho vínculo entre la modernidad y la regulación de la emoción amorosa, y entre esta y las relaciones de género. La centralidad del amor en el proyecto orteguiano de rectificación de la modernidad explica la abundancia de sus escritos sobre el tema, muchos de ellos dirigidos de forma más o menos velada a Victoria Ocampo. No existen apenas estudios sobre los escritos de Ortega en torno al amor y ninguno desde la perspectiva de género. El presente artículo se inscribe además en el creciente interés dentro de los estudios de género por el tema del amor., In the inter-war period, Ortega y Gasset set out to construct a new modernity in which love disappeared. He established a close link between modernity and the regulation of amorous emotion, and between the latter and gender relations. The centrality of love in Ortega's project of rectifying modernity explains the abundance of his writings on the subject, many of these addressed, somewhat veiled, to Victoria Ocampo. There are hardly any studies on Ortega's writings on love and none at all from a gender perspective. This article is also in keeping with the growing interest in the topic of love in the field of gender studies.

En el periodo de entreguerras Ortega y Gasset se propuso construir una nueva modernidad en la que el amor habría desaparecido. Ortega establecía un estrecho vínculo entre la modernidad y la regulación de la emoción amorosa, y entre esta y las relaciones de género. La centralidad del amor en el proyecto orteguiano de rectificación de la modernidad explica la abundancia de sus escritos sobre el tema, muchos de ellos dirigidos de forma más o menos velada a Victoria Ocampo. No existen apenas estudios sobre los escritos de Ortega en torno al amor y ninguno desde la perspectiva de género. El presente artículo se inscribe además en el creciente interés dentro de los estudios de género por el tema del amor., In the inter-war period, Ortega y Gasset set out to construct a new modernity in which love disappeared. He established a close link between modernity and the regulation of amorous emotion, and between the latter and gender relations. The centrality of love in Ortega's project of rectifying modernity explains the abundance of his writings on the subject, many of these addressed, somewhat veiled, to Victoria Ocampo. There are hardly any studies on Ortega's writings on love and none at all from a gender perspective. This article is also in keeping with the growing interest in the topic of love in the field of gender studies.

The paper explores the content of 61 video capsules, presenting stories about unhealthy relationships invented, performed and filmed by 534 adolescents, from Spain, Portugal, Romania and Italy. The purpose is to analyse, through a thematic analysis of the video capsules, youth perspectives on what factors, myths and beliefs turn healthy relationships into unhealthy relationships, and what positive assets are managed to solve them. The results show common youth's perspectives on the idealization of romantic love, based on gender stereotypes, identified as a common characteristic of unhealthy relationships. Individuality is misinterpreted as a threat to the stability of dating relationships. Positive assets used by victims to face dating violence (DV) are assertiveness, communication abilities and management of emotions, whereas offenders used assertiveness, empathy and critical thinking. The paper debates the efficacy of intervention programs combining youth positive development and DV prevention approaches based on filmmaking.

Introduction Violence against women is a global health problem, and gender violence is a multifactorial phenomenon generally attributed to the fact of living in a patriarchal culture setting. Methods A systematic review and meta-analysis conducted in the following databases: PubMed, CINAHL, PsycINFO, Scopus, LILACS, MEDES, Web of Science, CUIDEN, ENFISPO, IBECS, Dialnet and Cuidatge. Inclusion criteria: quantitative design, Spanish population, Spanish, English, Portuguese and/or French language, no time restriction and use of the Myths about Love Scale. Data was collected and analysed from July to October 2020. A total of 146 records were identified, of which, after applying the eligibility criteria, 12 studies were included, and 6 met the criteria for the meta-analysis. The descriptive and prevalence analysis was performed by means of StatsDirect. In all the analyses, statistical significance was considered at p < 0.05 and the CIs, at 95%. Results The most accepted myths were those related to love idealization: the eternal passion, marriage, omnipotence and perfect match myths. The least accepted myths were those of the couple, jealousy and love-maltreatment link. Men and women accepted the myths in a similar manner, although the former showed more participation in jealousy and in love-maltreatment link. Conclusions The study contributes a current perspective about the beliefs regarding the love myths that can be a conditioning factor in love relationships and a risk factor for gender violence. The bet is on preventive education and socialization at all levels, as well as on the deconstruction of the concept of romantic love and its myths to foster healthy and egalitarian relationships.

Introduction Violence against women is a global health problem, and gender violence is a multifactorial phenomenon generally attributed to the fact of living in a patriarchal culture setting. Methods A systematic review and meta-analysis conducted in the following databases: PubMed, CINAHL, PsycINFO, Scopus, LILACS, MEDES, Web of Science, CUIDEN, ENFISPO, IBECS, Dialnet and Cuidatge. Inclusion criteria: quantitative design, Spanish population, Spanish, English, Portuguese and/or French language, no time restriction and use of the Myths about Love Scale. Data was collected and analysed from July to October 2020. A total of 146 records were identified, of which, after applying the eligibility criteria, 12 studies were included, and 6 met the criteria for the meta-analysis. The descriptive and prevalence analysis was performed by means of StatsDirect. In all the analyses, statistical significance was considered at p < 0.05 and the CIs, at 95%. Results The most accepted myths were those related to love idealization: the eternal passion, marriage, omnipotence and perfect match myths. The least accepted myths were those of the couple, jealousy and love-maltreatment link. Men and women accepted the myths in a similar manner, although the former showed more participation in jealousy and in love-maltreatment link. Conclusions The study contributes a current perspective about the beliefs regarding the love myths that can be a conditioning factor in love relationships and a risk factor for gender violence. The bet is on preventive education and socialization at all levels, as well as on the deconstruction of the concept of romantic love and its myths to foster healthy and egalitarian relationships.

The visual culture of animation films recreates discourses, messages and ideologies in the realm of fiction which are then taken as models for real life by the consuming audience. The American production company Disney stands out, because for almost a century of existence it has offered a colonialist and heteronormative vision of society. We focus our attention on its collection of “animated classics” to qualitatively analyze how the concept of romantic love evolves, what are the stereotypes that persist and how this term changes its meaning and paradigm according to the context of the movies’ plot. After revealing Disney’s tendency to defend an anachronistic idea of love when compared to the one of current daily life, this type of film criticism becomes relevant to further audiovisual literacy., A cultura visual do cinema de animação recria uns discursos, mensagens e ideologias no plano da ficção que são tomados como referências na realidade por parte da audiência consumidora. Se destaca a produtora ocidental Disney que, ao largo de um século de existência distribui uma visão colonialista e heteronormativa da sociedade. Se centra a atenção na coleção “Os clássicos” como mostra de estudo em que se analisa de maneira qualitativa como evolui o conceito de amor romântico, quais são os estereótipos que perduram e de que maneira tal termo muda de significado e de paradigma baseado ao momento contextual em que se assenta a trama dos filmes. Após manifestar a tendência Disney em defender um sentimento amoroso anacrônico em relação a cotidianidade atual, se conclui a idoneidade deste trabalho como crítica cinematográfica que contribui a alfabetização audiovisual., La cultura visual del cine de animación recrea unos discursos, mensajes e ideologías en el plano de la ficción que se toman como referentes en la vida real por parte de la audiencia consumidora. En este respecto se destaca la productora estadounidense Disney, que a lo largo de un siglo de existencia ha dispensado una visión colonialista y heteronormativa de la sociedad. Centramos la atención en su colección de “clásicos animados” para analizar de manera cualitativa cómo evoluciona el concepto de amor romántico, cuáles son los estereotipos que perduran y de qué manera dicho término cambia de significado y paradigma según el momento contextual en el que se asienta la trama de las películas. Después de revelar la tendencia de Disney de defender un sentimiento amoroso anacrónico con respecto a la cotidianidad actual, se concluye la idoneidad de similares críticas cinematográficas para contribuir a una alfabetización audiovisual.

The purpose of this study was to understand the manifestations of cyberviolence in the pololeo in Chilean university students. A qualitative approach was used, from the constructivist grounded theory. The instruments for the production of meanings were a virtual questionnaire, semi-structured interviews and focus groups, achieving the participation of 143 Chilean university students, men and women, between 20 and 25 years old.As a result, we have that cyberviolence in the pololeo is a multidimensional phenomenon, preceded mainly by jealousy, insecuri-ties and myths of romantic love. In turn, cyberviolence appears causally related to different damages in the quality of life of the victims, which translates into the affectation of their different vital areas by the perception of negative emotions, which prompts them to resort to support networks social and institutional. It is suggested to strengthen and periodically update the research on cyberviolence in the pololeo, taking into account the multidimensionality and dynamism of the phenomenon. Similarly, in future research it will be relevant to include minority and/or risk groups in adolescence, such as members of the LGBTQI+ community., El propósito de este estudio fue comprender las manifestaciones de la ciberviolencia en el pololeo en estudiantes universitarios chilenos. Se usó una aproximación cualitativa, desde la teoría fundamentada constructivista. Los instrumentos de producción de datos consistieron en un cuestionario virtual, entrevistas semiestructuradas y grupos focales; logrando la participación de 128 estudiantes universitarios chilenos, hombres y mujeres, entre 20 y 25 años. Como resultado tenemos que la ciberviolencia en el pololeo es un fenómeno multidimensional, precedido principalmente por los celos, inseguridades y mitos del amor romántico. A su vez, la ciberviolencia aparece relacionada causalmente con diferentes perjuicios en la calidad de vida de las víctimas, lo que se traduce en la afectación de sus diferentes áreas vitales por la percepción de emociones negativas, lo que les impulsa a recurrir a redes de apoyo sociales e institucionales. Se sugiere robustecer y actualizar periódicamente la investigación respecto de ciberviolencia en el pololeo, atendiendo a la multidimensionalidad y dinamismo del fenómeno. Del mismo modo, en investigaciones futuras será relevante incluir grupos minoritarios o de riesgo en la adolescencia, como integrantes de la comunidad LGBTQI+.

The purpose of this study was to understand the manifestations of cyberviolence in the pololeo in Chilean university students. A qualitative approach was used, from the constructivist grounded theory. The instruments for the production of meanings were a virtual questionnaire, semi-structured interviews and focus groups, achieving the participation of 143 Chilean university students, men and women, between 20 and 25 years old.As a result, we have that cyberviolence in the pololeo is a multidimensional phenomenon, preceded mainly by jealousy, insecuri-ties and myths of romantic love. In turn, cyberviolence appears causally related to different damages in the quality of life of the victims, which translates into the affectation of their different vital areas by the perception of negative emotions, which prompts them to resort to support networks social and institutional. It is suggested to strengthen and periodically update the research on cyberviolence in the pololeo, taking into account the multidimensionality and dynamism of the phenomenon. Similarly, in future research it will be relevant to include minority and/or risk groups in adolescence, such as members of the LGBTQI+ community., El propósito de este estudio fue comprender las manifestaciones de la ciberviolencia en el pololeo en estudiantes universitarios chilenos. Se usó una aproximación cualitativa, desde la teoría fundamentada constructivista. Los instrumentos de producción de datos consistieron en un cuestionario virtual, entrevistas semiestructuradas y grupos focales; logrando la participación de 128 estudiantes universitarios chilenos, hombres y mujeres, entre 20 y 25 años. Como resultado tenemos que la ciberviolencia en el pololeo es un fenómeno multidimensional, precedido principalmente por los celos, inseguridades y mitos del amor romántico. A su vez, la ciberviolencia aparece relacionada causalmente con diferentes perjuicios en la calidad de vida de las víctimas, lo que se traduce en la afectación de sus diferentes áreas vitales por la percepción de emociones negativas, lo que les impulsa a recurrir a redes de apoyo sociales e institucionales. Se sugiere robustecer y actualizar periódicamente la investigación respecto de ciberviolencia en el pololeo, atendiendo a la multidimensionalidad y dinamismo del fenómeno. Del mismo modo, en investigaciones futuras será relevante incluir grupos minoritarios o de riesgo en la adolescencia, como integrantes de la comunidad LGBTQI+.

Introduction Violence against women is a global health problem, and gender violence is a multifactorial phenomenon generally attributed to the fact of living in a patriarchal culture setting. Methods A systematic review and meta-analysis conducted in the following databases: PubMed, CINAHL, PsycINFO, Scopus, LILACS, MEDES, Web of Science, CUIDEN, ENFISPO, IBECS, Dialnet and Cuidatge. Inclusion criteria: quantitative design, Spanish population, Spanish, English, Portuguese and/or French language, no time restriction and use of the Myths about Love Scale. Data was collected and analysed from July to October 2020. A total of 146 records were identified, of which, after applying the eligibility criteria, 12 studies were included, and 6 met the criteria for the meta-analysis. The descriptive and prevalence analysis was performed by means of StatsDirect. In all the analyses, statistical significance was considered at p < 0.05 and the CIs, at 95%. Results The most accepted myths were those related to love idealization: the eternal passion, marriage, omnipotence and perfect match myths. The least accepted myths were those of the couple, jealousy and love-maltreatment link. Men and women accepted the myths in a similar manner, although the former showed more participation in jealousy and in love-maltreatment link. Conclusions The study contributes a current perspective about the beliefs regarding the love myths that can be a conditioning factor in love relationships and a risk factor for gender violence. The bet is on preventive education and socialization at all levels, as well as on the deconstruction of the concept of romantic love and its myths to foster healthy and egalitarian relationships.

The paper explores the content of 61 video capsules, presenting stories about unhealthy relationships invented, performed and filmed by 534 adolescents, from Spain, Portugal, Romania and Italy. The purpose is to analyse, through a thematic analysis of the video capsules, youth perspectives on what factors, myths and beliefs turn healthy relationships into unhealthy relationships, and what positive assets are managed to solve them. The results show common youth's perspectives on the idealization of romantic love, based on gender stereotypes, identified as a common characteristic of unhealthy relationships. Individuality is misinterpreted as a threat to the stability of dating relationships. Positive assets used by victims to face dating violence (DV) are assertiveness, communication abilities and management of emotions, whereas offenders used assertiveness, empathy and critical thinking. The paper debates the efficacy of intervention programs combining youth positive development and DV prevention approaches based on filmmaking.

En el periodo de entreguerras Ortega y Gasset se propuso construir una nueva modernidad en la que el amor habría desaparecido. Ortega establecía un estrecho vínculo entre la modernidad y la regulación de la emoción amorosa, y entre esta y las relaciones de género. La centralidad del amor en el proyecto orteguiano de rectificación de la modernidad explica la abundancia de sus escritos sobre el tema, muchos de ellos dirigidos de forma más o menos velada a Victoria Ocampo. No existen apenas estudios sobre los escritos de Ortega en torno al amor y ninguno desde la perspectiva de género. El presente artículo se inscribe además en el creciente interés dentro de los estudios de género por el tema del amor., In the inter-war period, Ortega y Gasset set out to construct a new modernity in which love disappeared. He established a close link between modernity and the regulation of amorous emotion, and between the latter and gender relations. The centrality of love in Ortega's project of rectifying modernity explains the abundance of his writings on the subject, many of these addressed, somewhat veiled, to Victoria Ocampo. There are hardly any studies on Ortega's writings on love and none at all from a gender perspective. This article is also in keeping with the growing interest in the topic of love in the field of gender studies.

In the inter-war period, Ortega y Gasset set out to construct a new modernity in which love disappeared. He established a close link between modernity and the regulation of amorous emotion, and between the latter and gender relations. The centrality of love in Ortega’s project of rectifying modernity explains the abundance of his writings on the subject, many of these addressed, somewhat veiled, to Victoria Ocampo. There are hardly any studies on Ortega’s writings on love and none at all from a gender perspective. This article is also in keeping with the growing interest in the topic of love in the field of gender studies., Resumo: No período Entreguerras, Ortega y Gasset partiu para construir uma nova modernidade na qual o amor teria desaparecido. Ortega estabeleceu uma estreita ligação entre a modernidade e a regulação da emoção amorosa, e entre esta última e as relações de gênero. A centralidade do amor no projeto de retificação da modernidade de Ortega explica a abundância de seus escritos sobre o assunto, muitos deles dirigidos de forma mais ou menos velada a Victória Ocampo. Quase não há estudos sobre os escritos de Ortega sobre o amor e nenhum sobre uma perspectiva de gênero. Este artigo também faz parte do crescente interesse pelos estudos de gênero sobre a temática do amor., Resumen: En el periodo de entreguerras Ortega y Gasset se propuso construir una nueva modernidad en la que el amor habría desaparecido. Ortega establecía un estrecho vínculo entre la modernidad y la regulación de la emoción amorosa, y entre esta y las relaciones de género. La centralidad del amor en el proyecto orteguiano de rectificación de la modernidad explica la abundancia de sus escritos sobre el tema, muchos de ellos dirigidos de forma más o menos velada a Victoria Ocampo. No existen apenas estudios sobre los escritos de Ortega en torno al amor y ninguno desde la perspectiva de género. El presente artículo se inscribe además en el creciente interés dentro de los estudios de género por el tema del amor.

Este trabajo tiene como objetivo principal analizar cómo reaccionan los personajes masculinos ante el rechazo de una mujer en las películas románticas y si, en esos mismos filmes, se reproducen los mitos del amor romántico. Para ello, se hace una revisión de los mitos, especialmente los relacionados con el amor romántico, y de las implicaciones sociales que puede tener que el cine reproduzca ciertos valores y creencias. Siguiendo el análisis textual cualitativo y de contenido desarrollado por F. Casetti y F. d. Chio (1999, p.236), seleccionamos cinco películas como objeto de estudio, las cuales debían de cumplir ciertos requisitos, como pertenecer al género cinematográfico de comedia romántica, haber sido realizadas en los últimos 30 años, ser exitosas y cumplir con ciertas cualidades narrativas de interés. Así, fueron escogidas y analizadas las siguientes: Atrapado en el tiempo (Groundhog Day, 1993), 10 razones para odiarte (10 Things I Hate About You, 1999), Love actually (2003), El Diario de Noah (The Notebook, 2004) y Crazy, stupid, love (2011). A través de ellas, comprobaremos si el cine sigue perpetuando y reforzando los estereotipos presentes en la sociedad en la que vivimos o si, por el contrario, estos han sido superados y los mitos del amor romántico ya son cosa del pasado., The main goal of this work is to analyze how male characters react to women’s rejection in romantic films and whether, in those same films, the myths of romantic love are present. To this end, we have carried out a review on myths, especially on those related to romantic love, and on the social implications of cinema’s portrayal of certain values and beliefs. Following the textual qualitative and content analysis developed by F. Casetti and F. d. Chio (1999, p.236), we selected five films as objects of study, which had to comply with certain requirements, such as belonging to the romantic comedy film genre, having been released in the last 30 years, having been successful and fulfilling certain narrative qualities. Therefore, we have selected and analyzed Groundhog Day (1993), 10 Things I Hate About You (1999), Love actually (2003), The Notebook (2004) and Crazy, stupid, love (2011). Our aim is to verify if cinema continues to perpetuate and reinforce the stereotypes of this society we live in or if, instead, these have been overcome and the myths of romantic love belong to the past.

Understanding the importance of breaking away from stereotypes surrounding romantic love, and because such ideals are so strongly present in the audiovisual world, we examine whether students studying a Degree in Audiovisual Communication are perpetuating these myths or not. We administered a questionnaire to evaluate romantic beliefs and the justification of gender violence to a sample of 149 students enrolled on the Degree in Audiovisual Communication taught at UCM. Our results show a clear rejection of gender violence and that, in general, the myths of romantic love are not being perpetuated among the students. However, variables such as the type of school attended, family, or age of the student could negatively influence the continuance of certain myths, principally with regard to the omnipotence or durability of love., Asumiendo la importancia de romper con los estereotipos del amor romántico, y siendo el mundo audiovisual donde estos ideales están muy presentes, analizamos si alumnos/as del Grado Comunicación Audiovisual perpetúan o no estos mitos. Aplicamos un cuestionario para evaluar las creencias amorosas y la justificación de la violencia de género a una muestra de 149 alumnos/as del Grado de CAV de la UCM. Nuestros resultados muestran un claro rechazo a la violencia de género y, en general, no se perpetúan los mitos del amor romántico entre el alumnado. Sin embargo, variables como el tipo de colegio, la familia o la edad del alumno/a pueden estar influyendo negativamente en el mantenimiento de algunos mitos en torno principalmente a la omnipotencia o la perdurabilidad del amor.

Affective relationships are inseparable from time, which can be of two types, objective, real or historical and subjective. I am going to deal here with the first, insofar as it is the one that historically models love and configures its existence, its attitudes and its practices. Three dimensions are analyzed – the conception of social time in modernity, the history of love, and love in modernity – starting from a sociology of love combined with comprehensive or interpretive Weberian sociology. I will try to reveal the “correspondences in meaning” or the “elective affinities” existing between love and time. In this sense, my starting hypotheses are (1st) that the love story in the West is the result of three processes – the construction of a temporal narrative, an utopia and a tension between passion and marriage – and (2nd) that in modernity there have been two types of love - romantic and confluent. Finally, the article will conclude that the two modern ways of loving do not have time, since, due to the push of the individualization society, the temporal narrative that connected the past, the present and the future and that was traditionally built by love romantic has been broken; and to the extent that the fragile confluent love does not seem to have time to mature.

This article defines the Spanish family in the context of the “Mediterranean model” and the “individualization society”. The former is characterised by strong social interrelationships between family members and their emotional ties, while the latter is defined by the separateness of citizens and by institutionalising the basis of society in individuals rather than in the family. The work also describes how modern forms of love, both romantic and confluent, are institutionalized in this society, discussing if they coexist or not, how they exist, and which is the dominant form. Finally, it analyzes the degree of strength or fragility of the family institution and the affective relationships that sustain it. The work concludes that the Spanish family is balancing between the strong resistance to disappear as an institution and its eclipse, crisis, or complete end. This is because, although the Spanish family still retains a large part of its former functions, at the same time as divorce is on the increase and family members are decreasing, it is increasingly ephemeral and a plurality of family forms have emerged that have broken with the traditional dominant model of lifelong romantic marriage. Moreover, the Spanish family is also among the “familist” model and the individual, while the way of loving fluctuates between the traditional patriarchal and the democratic, individual, and communitary. Thus, the thesis I propose qualifies and questions the majority of theoretical works on love and the Spanish family, which argue that the family is inscribed in the “Mediterranean model”. As will be seen, the romantic relationships that have been institutionalised in the Spanish family are more paradoxical, insofar as they are still inscribed in that model, but they are rapidly approaching those of Northern Europe.

La investigación explora la relación entre sexismo y la distorsión en mitos del amor romántico en adolescentes que residen en Centros de Acogida de Menores en Valencia (España). El diseño de investigación fue descriptivo transversal con una muestra de 147 adolescentes. Los resultados reflejan una relación estadísticamente significativa que indica que, a mayor sexismo en los y las adolescentes, mayores son las distorsiones románticas. Se identificaron mayores niveles de sexismo hacia las mujeres y mitos del amor romántico en chicos, mientras que las mujeres mostraron mayores puntuaciones en las actitudes sexistas hacia los hombres. Se concluye que la vivencia de situaciones de violencia familiar no tiene un efecto significativo en la adopción de actitudes y creencias sexistas y románticas idealizadas en adolescentes institucionalizados., This study explores the relationship between sexism and the distortion of romantic love myths in adolescents living in residential childcare in Valencia (Spain). Research design was cross-sectional and descriptive with a sample of 147 adolescents. Results reflected a positive, statistically significant, relationship between sexism and romantic distortions. Boys exhibited higher levels of sexism towards women and romantic love myths, while girls showed higher scores of sexism attitudes towards men. It was concluded that having experienced family violence does not have a significant effect in adoption of sexist attitudes and false romantic beliefs in institutionalised adolescents.

The malaise of women in Spain in the 1960s, echoing Betty Friedan, is the melancholy emotion that diagnoses the lack of meaning they suffered due to the unfulfilled promise of romantic love. The thesis is that feminine sadness in the late francoist developmentalism was induced within a temporal structure of a vitalist character, defined by the acceleration of time in the realisation of individual desire for the loved object. Women’s bodies went from a desiring drive, through the experience of subjectivation produced by romantic love, to a strangeness of the love object. Based on the emotional episteme in which I situate the analysis of subjectivity, malaise as emotional suffering had a cognitive content that gave rise to new body practices of estrangement towards men, that years later made intelligible the feminist narrative of “personal is political”., El malestar de las mujeres en España en los años 60, evocando a Betty Friedan, es la emoción melancólica que diagnostica la ausencia de sentido que sufrieron debido a la promesa incumplida del amor romántico. La tesis es que la tristeza femenina en pleno desarrollismo tardofranquista se indujo dentro de una estructura temporal de carácter vitalista, definida por la aceleración del tiempo en la realización del deseo individual hacia el objeto amado. El cuerpo de las mujeres transitó de una pulsión deseante, por la experiencia de subjetivación que produce el amor romántico, hacia un extrañamiento del objeto amoroso. Desde la episteme emocional en la que sitúo el análisis sobre la subjetividad, el malestar como sufrimiento emocional tuvo un contenido cognitivo que dio lugar a nuevas prácticas corporales de extrañamiento hacia los hombres, que hizo inteligible, años más tarde, la narrativa feminista sobre “lo personal es político”.

The essay reads as a culture text (Barthes, 1971) the recent publication of two narrative fictions that experiment with the novel genre and problematize heartbreak as a process and as a conflict. The corpus is made up of Preparación para el amor by Leticia Obeid (2015) and La preparación para la aventura amorosa de Francisco Bitar by Francisco Bitar (2021). The analysis focuses on the way in which the stories plot affective violence as a specific type of gender violence (Martín Sánchez, 2015) and its relationships with the paradigm ̶ in crisis ̶ of masculinity as a device of power (Fabbri, 2021)., El ensayo lee como texto de la cultura (Barthes, 1971) la reciente publicación de dos ficciones narrativas que experimentan con el género novela y problematizan el desamor como proceso y como conflicto. El corpus está conformado por Preparación para el amor de Leticia Obeid (2015) y La preparación para la aventura amorosa de Francisco Bitar (2021). El análisis focaliza en el modo en que los relatos traman la violencia afectiva como un tipo específico de violencia de género (Martín Sánchez, 2015) y sus relaciones con el paradigma ̶ en crisis ̶ de la masculinidad como dispositivo de poder (Fabbri, 2021).

Although the classic tales have accompanied us for decades —if not centuries—, collaborating with the entertainment of literature, but also with its possible teachings and morals; they have also been a personal and social stereotypical model that has influenced our social, cultural and ideological coexistence for a period already quite extended. However, times change. Nowadays it is possible to reread the same texts in order to take advantage of the search for a basic objective: equality and equity between men and women in favor of a just and, therefore, equitable society. The purpose is not to destroy literature, but to open your eyes to reread them —and enjoy them—from another perspective, Si bien los cuentos clásicos nos han acompañado por décadas —si no siglos—, colaborando con la entretención propia de la literatura, pero también con sus posibles enseñanzas y moralejas, han sido, asimismo, un modelo estereotípico personal y social que ha influido en nuestra convivencia social, cultural e ideológica por un período bastante extendido. Sin embargo, los tiempos cambian. Hoy en día es posible realizar relecturasde los mismos textos con la finalidad de sacar provecho en la búsqueda de un objetivo básico: la igualdad y equidad entre hombres y mujeres en favor de una sociedad justa y, por tanto, equitativa. La finalidad no es destruir la literatura, sino abrir los ojos para volver a leerlos —y disfrutar de ellos—desde otra perspectiva

Este trabajo tiene como objetivo principal analizar cómo reaccionan los personajes masculinos ante el rechazo de una mujer en las películas románticas y si, en esos mismos filmes, se reproducen los mitos del amor romántico. Para ello, se hace una revisión de los mitos, especialmente los relacionados con el amor romántico, y de las implicaciones sociales que puede tener que el cine reproduzca ciertos valores y creencias. Siguiendo el análisis textual cualitativo y de contenido desarrollado por F. Casetti y F. d. Chio (1999, p.236), seleccionamos cinco películas como objeto de estudio, las cuales debían de cumplir ciertos requisitos, como pertenecer al género cinematográfico de comedia romántica, haber sido realizadas en los últimos 30 años, ser exitosas y cumplir con ciertas cualidades narrativas de interés. Así, fueron escogidas y analizadas las siguientes: Atrapado en el tiempo (Groundhog Day, 1993), 10 razones para odiarte (10 Things I Hate About You, 1999), Love actually (2003), El Diario de Noah (The Notebook, 2004) y Crazy, stupid, love (2011). A través de ellas, comprobaremos si el cine sigue perpetuando y reforzando los estereotipos presentes en la sociedad en la que vivimos o si, por el contrario, estos han sido superados y los mitos del amor romántico ya son cosa del pasado., The main goal of this work is to analyze how male characters react to women’s rejection in romantic films and whether, in those same films, the myths of romantic love are present. To this end, we have carried out a review on myths, especially on those related to romantic love, and on the social implications of cinema’s portrayal of certain values and beliefs. Following the textual qualitative and content analysis developed by F. Casetti and F. d. Chio (1999, p.236), we selected five films as objects of study, which had to comply with certain requirements, such as belonging to the romantic comedy film genre, having been released in the last 30 years, having been successful and fulfilling certain narrative qualities. Therefore, we have selected and analyzed Groundhog Day (1993), 10 Things I Hate About You (1999), Love actually (2003), The Notebook (2004) and Crazy, stupid, love (2011). Our aim is to verify if cinema continues to perpetuate and reinforce the stereotypes of this society we live in or if, instead, these have been overcome and the myths of romantic love belong to the past.

The malaise of women in Spain in the 1960s, echoing Betty Friedan, is the melancholy emotion that diagnoses the lack of meaning they suffered due to the unfulfilled promise of romantic love. The thesis is that feminine sadness in the late francoist developmentalism was induced within a temporal structure of a vitalist character, defined by the acceleration of time in the realisation of individual desire for the loved object. Women’s bodies went from a desiring drive, through the experience of subjectivation produced by romantic love, to a strangeness of the love object. Based on the emotional episteme in which I situate the analysis of subjectivity, malaise as emotional suffering had a cognitive content that gave rise to new body practices of estrangement towards men, that years later made intelligible the feminist narrative of “personal is political”., El malestar de las mujeres en España en los años 60, evocando a Betty Friedan, es la emoción melancólica que diagnostica la ausencia de sentido que sufrieron debido a la promesa incumplida del amor romántico. La tesis es que la tristeza femenina en pleno desarrollismo tardofranquista se indujo dentro de una estructura temporal de carácter vitalista, definida por la aceleración del tiempo en la realización del deseo individual hacia el objeto amado. El cuerpo de las mujeres transitó de una pulsión deseante, por la experiencia de subjetivación que produce el amor romántico, hacia un extrañamiento del objeto amoroso. Desde la episteme emocional en la que sitúo el análisis sobre la subjetividad, el malestar como sufrimiento emocional tuvo un contenido cognitivo que dio lugar a nuevas prácticas corporales de extrañamiento hacia los hombres, que hizo inteligible, años más tarde, la narrativa feminista sobre “lo personal es político”.

The romantic western, heterosexual couple´s love is a social and cultural construction, which has altered in significance and terms between different time periods, places and social or economic groups. The new, modernized ideal of “romantic love” has in earlier research been exclusively linked to the European bourgeois class during the 19th century and their economic and social progress. The modernizing processes in the Western society during this period has also been said to both form and be affected by the romantic ideal of love during the 19th century. Two of the most important processes of modernization in the western society at the time was the secularization and individualization of structures and lives. In this study I explore these modern values and their expressions through and within the romantic love concept typical for the 19th century, within a social and economic group that has not yet been explored in this context; the working class. Through a collection of love letters written by two workers in Sweden during the 1890s I investigate expressions which contain a secular or individualized understanding of love and if and how these expressions differed from the modernity expressed in love letters within the upper-class pairs of the time. My purpose is thus to contribute with a more nuanced and representative account of the origin and practice of the modernized understanding of love, than earlier research has done. In my study I show that the working-class couple in fact seemed to inhabit a more modernized view of love then the contemporary couples from higher parts of society. This was expressed through a lack of Godly love and the absence of religious guilt or conflict related to the worldly love for another person in the letters. The working-class couple also expressed a more modernized understanding of love through a more intense and active need for reflexivity, reciprocity, and confirmation in the building of their relationship. Accept from the

The romantic western, heterosexual couple´s love is a social and cultural construction, which has altered in significance and terms between different time periods, places and social or economic groups. The new, modernized ideal of “romantic love” has in earlier research been exclusively linked to the European bourgeois class during the 19th century and their economic and social progress. The modernizing processes in the Western society during this period has also been said to both form and be affected by the romantic ideal of love during the 19th century. Two of the most important processes of modernization in the western society at the time was the secularization and individualization of structures and lives. In this study I explore these modern values and their expressions through and within the romantic love concept typical for the 19th century, within a social and economic group that has not yet been explored in this context; the working class. Through a collection of love letters written by two workers in Sweden during the 1890s I investigate expressions which contain a secular or individualized understanding of love and if and how these expressions differed from the modernity expressed in love letters within the upper-class pairs of the time. My purpose is thus to contribute with a more nuanced and representative account of the origin and practice of the modernized understanding of love, than earlier research has done. In my study I show that the working-class couple in fact seemed to inhabit a more modernized view of love then the contemporary couples from higher parts of society. This was expressed through a lack of Godly love and the absence of religious guilt or conflict related to the worldly love for another person in the letters. The working-class couple also expressed a more modernized understanding of love through a more intense and active need for reflexivity, reciprocity, and confirmation in the building of their relationship. Accept from the

This study aimed to find out the beliefs about love and intimate relationships held by a group of young people from the Community of Madrid. It also explored the possible relationship between these beliefs and gender inequality in the heterosexual couple. The research was based on a qualitative methodological approach and the information was collected using the focus group technique. 34 students from the University of Alcalá participated, aged between 18 and 34 years (M = 21.32; SD = 3.12). The results show that men’s and women’s beliefs are different and seem to be related to traditional gender mandates. The visibility of the imaginary about love in youth can favor the implementation of preventive programs capable of confronting unequal beliefs and promoting relational models based on equality, respect and non-violence., O objetivo deste estudo foi conhecer as crenças sobre o amor e as relações íntimas de um grupo de jovens da Comunidade de Madrid, explorando as possíveis relações entre essas crenças e a desigualdade de gênero no campo do casal heterossexual. A pesquisa tem uma abordagem metodológica qualitativa e as informações foram coletadas por meio da técnica de grupo focal. Participaram 34 alunos da Universidade de Alcalá, com idades compreendidas entre os 18 e os 34 anos (M = 21.32; DT = 3.12). Os resultados mostram que as crenças de homens e mulheres são diferentes e parecem estar relacionadas aos mandatos tradicionais de gênero. A visibilidade do imaginário sobre o amor na juventude pode favorecer a implementação de programas preventivos que enfrentem crenças desiguais e promovam modelos relacionais baseados na igualdade, respeito e não violência., El objetivo de este estudio ha sido conocer las creencias sobre el amor y sobre las relaciones íntimas que tiene un grupo jóvenes de la Comunidad de Madrid, así como explorar la posible relación entre estas creencias y la desigualdad de género en el ámbito de la pareja. La investigación se ha basado en un enfoque metodológico cualitativo y la información se ha recogido mediante la técnica de grupos focales. Participaron 34 estudiantes de la Universidad de Alcalá, con edades comprendidas entre los 18 y los 34 años (M = 21.32; DT = 3.12). Los resultados muestran que las creencias que tienen los hombres y las mujeres son distintas y parecen estar relacionadas con los mandatos de género tradicionales. La visibilización del imaginario sobre el amor en la juventud puede favorecer la puesta en marcha de programas preventivos que confronten las creencias desigualitarias y fomenten modelos relacionales basados en la igualdad, el respeto y la no violencia.

Este trabajo tiene como objetivo principal analizar cómo reaccionan los personajes masculinos ante el rechazo de una mujer en las películas románticas y si, en esos mismos filmes, se reproducen los mitos del amor romántico. Para ello, se hace una revisión de los mitos, especialmente los relacionados con el amor romántico, y de las implicaciones sociales que puede tener que el cine reproduzca ciertos valores y creencias. Siguiendo el análisis textual cualitativo y de contenido desarrollado por F. Casetti y F. d. Chio (1999, p.236), seleccionamos cinco películas como objeto de estudio, las cuales debían de cumplir ciertos requisitos, como pertenecer al género cinematográfico de comedia romántica, haber sido realizadas en los últimos 30 años, ser exitosas y cumplir con ciertas cualidades narrativas de interés. Así, fueron escogidas y analizadas las siguientes: Atrapado en el tiempo (Groundhog Day, 1993), 10 razones para odiarte (10 Things I Hate About You, 1999), Love actually (2003), El Diario de Noah (The Notebook, 2004) y Crazy, stupid, love (2011). A través de ellas, comprobaremos si el cine sigue perpetuando y reforzando los estereotipos presentes en la sociedad en la que vivimos o si, por el contrario, estos han sido superados y los mitos del amor romántico ya son cosa del pasado., The main goal of this work is to analyze how male characters react to women’s rejection in romantic films and whether, in those same films, the myths of romantic love are present. To this end, we have carried out a review on myths, especially on those related to romantic love, and on the social implications of cinema’s portrayal of certain values and beliefs. Following the textual qualitative and content analysis developed by F. Casetti and F. d. Chio (1999, p.236), we selected five films as objects of study, which had to comply with certain requirements, such as belonging to the romantic comedy film genre, having been released in the last 30 years, having been successful and fulfilling certain narrative qualities. Therefore, we have selected and analyzed Groundhog Day (1993), 10 Things I Hate About You (1999), Love actually (2003), The Notebook (2004) and Crazy, stupid, love (2011). Our aim is to verify if cinema continues to perpetuate and reinforce the stereotypes of this society we live in or if, instead, these have been overcome and the myths of romantic love belong to the past.

Affective relationships are inseparable from time, which can be of two types, objective, real or historical and subjective. I am going to deal here with the first, insofar as it is the one that historically models love and configures its existence, its attitudes and its practices. Three dimensions are analyzed – the conception of social time in modernity, the history of love, and love in modernity – starting from a sociology of love combined with comprehensive or interpretive Weberian sociology. I will try to reveal the “correspondences in meaning” or the “elective affinities” existing between love and time. In this sense, my starting hypotheses are (1st) that the love story in the West is the result of three processes – the construction of a temporal narrative, an utopia and a tension between passion and marriage – and (2nd) that in modernity there have been two types of love - romantic and confluent. Finally, the article will conclude that the two modern ways of loving do not have time, since, due to the push of the individualization society, the temporal narrative that connected the past, the present and the future and that was traditionally built by love romantic has been broken; and to the extent that the fragile confluent love does not seem to have time to mature.

This article defines the Spanish family in the context of the “Mediterranean model” and the “individualization society”. The former is characterised by strong social interrelationships between family members and their emotional ties, while the latter is defined by the separateness of citizens and by institutionalising the basis of society in individuals rather than in the family. The work also describes how modern forms of love, both romantic and confluent, are institutionalized in this society, discussing if they coexist or not, how they exist, and which is the dominant form. Finally, it analyzes the degree of strength or fragility of the family institution and the affective relationships that sustain it. The work concludes that the Spanish family is balancing between the strong resistance to disappear as an institution and its eclipse, crisis, or complete end. This is because, although the Spanish family still retains a large part of its former functions, at the same time as divorce is on the increase and family members are decreasing, it is increasingly ephemeral and a plurality of family forms have emerged that have broken with the traditional dominant model of lifelong romantic marriage. Moreover, the Spanish family is also among the “familist” model and the individual, while the way of loving fluctuates between the traditional patriarchal and the democratic, individual, and communitary. Thus, the thesis I propose qualifies and questions the majority of theoretical works on love and the Spanish family, which argue that the family is inscribed in the “Mediterranean model”. As will be seen, the romantic relationships that have been institutionalised in the Spanish family are more paradoxical, insofar as they are still inscribed in that model, but they are rapidly approaching those of Northern Europe.

La investigación explora la relación entre sexismo y la distorsión en mitos del amor romántico en adolescentes que residen en Centros de Acogida de Menores en Valencia (España). El diseño de investigación fue descriptivo transversal con una muestra de 147 adolescentes. Los resultados reflejan una relación estadísticamente significativa que indica que, a mayor sexismo en los y las adolescentes, mayores son las distorsiones románticas. Se identificaron mayores niveles de sexismo hacia las mujeres y mitos del amor romántico en chicos, mientras que las mujeres mostraron mayores puntuaciones en las actitudes sexistas hacia los hombres. Se concluye que la vivencia de situaciones de violencia familiar no tiene un efecto significativo en la adopción de actitudes y creencias sexistas y románticas idealizadas en adolescentes institucionalizados., This study explores the relationship between sexism and the distortion of romantic love myths in adolescents living in residential childcare in Valencia (Spain). Research design was cross-sectional and descriptive with a sample of 147 adolescents. Results reflected a positive, statistically significant, relationship between sexism and romantic distortions. Boys exhibited higher levels of sexism towards women and romantic love myths, while girls showed higher scores of sexism attitudes towards men. It was concluded that having experienced family violence does not have a significant effect in adoption of sexist attitudes and false romantic beliefs in institutionalised adolescents.

The essay reads as a culture text (Barthes, 1971) the recent publication of two narrative fictions that experiment with the novel genre and problematize heartbreak as a process and as a conflict. The corpus is made up of Preparación para el amor by Leticia Obeid (2015) and La preparación para la aventura amorosa de Francisco Bitar by Francisco Bitar (2021). The analysis focuses on the way in which the stories plot affective violence as a specific type of gender violence (Martín Sánchez, 2015) and its relationships with the paradigm ̶ in crisis ̶ of masculinity as a device of power (Fabbri, 2021)., El ensayo lee como texto de la cultura (Barthes, 1971) la reciente publicación de dos ficciones narrativas que experimentan con el género novela y problematizan el desamor como proceso y como conflicto. El corpus está conformado por Preparación para el amor de Leticia Obeid (2015) y La preparación para la aventura amorosa de Francisco Bitar (2021). El análisis focaliza en el modo en que los relatos traman la violencia afectiva como un tipo específico de violencia de género (Martín Sánchez, 2015) y sus relaciones con el paradigma ̶ en crisis ̶ de la masculinidad como dispositivo de poder (Fabbri, 2021).

Although the classic tales have accompanied us for decades —if not centuries—, collaborating with the entertainment of literature, but also with its possible teachings and morals; they have also been a personal and social stereotypical model that has influenced our social, cultural and ideological coexistence for a period already quite extended. However, times change. Nowadays it is possible to reread the same texts in order to take advantage of the search for a basic objective: equality and equity between men and women in favor of a just and, therefore, equitable society. The purpose is not to destroy literature, but to open your eyes to reread them —and enjoy them—from another perspective, Si bien los cuentos clásicos nos han acompañado por décadas —si no siglos—, colaborando con la entretención propia de la literatura, pero también con sus posibles enseñanzas y moralejas, han sido, asimismo, un modelo estereotípico personal y social que ha influido en nuestra convivencia social, cultural e ideológica por un período bastante extendido. Sin embargo, los tiempos cambian. Hoy en día es posible realizar relecturasde los mismos textos con la finalidad de sacar provecho en la búsqueda de un objetivo básico: la igualdad y equidad entre hombres y mujeres en favor de una sociedad justa y, por tanto, equitativa. La finalidad no es destruir la literatura, sino abrir los ojos para volver a leerlos —y disfrutar de ellos—desde otra perspectiva

Understanding the importance of breaking away from stereotypes surrounding romantic love, and because such ideals are so strongly present in the audiovisual world, we examine whether students studying a Degree in Audiovisual Communication are perpetuating these myths or not. We administered a questionnaire to evaluate romantic beliefs and the justification of gender violence to a sample of 149 students enrolled on the Degree in Audiovisual Communication taught at UCM. Our results show a clear rejection of gender violence and that, in general, the myths of romantic love are not being perpetuated among the students. However, variables such as the type of school attended, family, or age of the student could negatively influence the continuance of certain myths, principally with regard to the omnipotence or durability of love., Asumiendo la importancia de romper con los estereotipos del amor romántico, y siendo el mundo audiovisual donde estos ideales están muy presentes, analizamos si alumnos/as del Grado Comunicación Audiovisual perpetúan o no estos mitos. Aplicamos un cuestionario para evaluar las creencias amorosas y la justificación de la violencia de género a una muestra de 149 alumnos/as del Grado de CAV de la UCM. Nuestros resultados muestran un claro rechazo a la violencia de género y, en general, no se perpetúan los mitos del amor romántico entre el alumnado. Sin embargo, variables como el tipo de colegio, la familia o la edad del alumno/a pueden estar influyendo negativamente en el mantenimiento de algunos mitos en torno principalmente a la omnipotencia o la perdurabilidad del amor.

Bakalářská práce se zabývá tématem "Láska jako sjednocení". Na vybraných autorech (Nozick, Delaney, Solomon) a jejich nejznámějších textech představím koncept lásky jako vytváření zásadního svazku my. Po představení celého konceptu jsou prozkoumány námitky, které proti tomuto konceptu byly vzneseny. V závěrečných kapitolách argumentuji, jestli je svazek my udržitelný, či nikoli., The bachelor thesis deals with the topic "Love as union". On selected authors (Nozick, Delaney, Solomon) and their the most famous texts, I will introduce the concept of love as the creation of a fundamental union. After the introduction of the whole concept, the objections that were raised against this concept are examined. In the final chapters, I argue wheter bond we is sustainable or not., Fakulta filozofická, Obhajoba proběhla standardně. Studentka představila svoji bakalářskou práci na téma Láska jako sjednocení a zodpověděla otázky z posudků., Dokončená práce s úspěšnou obhajobou

El cine de animación es uno de los elementos, de la cultura visual, con un impacto en la confección de la identidad y personalidad de quienes pertenecen a la infancia. Por un lado, se cuenta con Disney en el territorio occidental y, por otro lado, con Studio Ghibli en el sector oriental, como estudios cinematográficos de animación punteros en la industria. Ambas se centran en los mismos temas, pero difieren en la manera de abordarlos. Además, se seleccionan para esta investigación por el gran alcance mediático que ambas suponen. Por ello, se considera sumamente necesario analizar, crítica y cualitativamente, ambas compañías cinematográficas para manifestar los mensajes que calan en el subconsciente de quienes consumen los filmes tras un visionado pasivo de estos. Esta investigación se centra en el cine entendido como arte, concretamente en el de animación occidental (Disney) y oriental (Studio Ghibli). De esta manera, las conclusiones más destacadas se posicionan en la diferencia en cuanto al tratamiento del feminismo y amor romántico. Mientras que en la productora occidental perduran estereotipos y roles de género anclados en el patriarcado, la compañía oriental defiende un cambio de paradigma desde posicionamientos menos excluyentes. Asimismo, también hay una diferencia en el tratamiento del medio ambiente. Disney arremete contra este mientras que Studio Ghibli se esfuerza en preservarlo., The animated cinema is one of the elements of visual culture, with an impact on the preparation of the identity and personality of those who belong to childhood. On the one hand, it has Disney in the western territory and, on the other hand, with Studio Ghibli in the eastern sector, as leading animation film studios in the industry. Both focus on the same themes, but differ in how they are addressed. In addition, they are selected for this research due to the great media coverage that both entail. For this reason, it is considered extremely necessary to analyze, critically and qualitatively, both film companies to express the messages that permeate the subconscious of those who consume the films after their passive viewing. This research focuses on cinema understood as art, specifically that of Western (Disney) and Eastern (Studio Ghibli) animation. In this way, the most outstanding conclusions are positioned in the difference regarding the treatment of feminism and romantic love. While stereotypes and gender roles anchored in patriarchy persist in the western production company, the eastern company defends a paradigm shift from less exclusive positions. Likewise, there is also a difference in the treatment of the environment. Disney lashes out at it while Studio Ghibli strives to preserve it.

El cine de animación es uno de los elementos, de la cultura visual, con un impacto en la confección de la identidad y personalidad de quienes pertenecen a la infancia. Por un lado, se cuenta con Disney en el territorio occidental y, por otro lado, con Studio Ghibli en el sector oriental, como estudios cinematográficos de animación punteros en la industria. Ambas se centran en los mismos temas, pero difieren en la manera de abordarlos. Además, se seleccionan para esta investigación por el gran alcance mediático que ambas suponen. Por ello, se considera sumamente necesario analizar, crítica y cualitativamente, ambas compañías cinematográficas para manifestar los mensajes que calan en el subconsciente de quienes consumen los filmes tras un visionado pasivo de estos. Esta investigación se centra en el cine entendido como arte, concretamente en el de animación occidental (Disney) y oriental (Studio Ghibli). De esta manera, las conclusiones más destacadas se posicionan en la diferencia en cuanto al tratamiento del feminismo y amor romántico. Mientras que en la productora occidental perduran estereotipos y roles de género anclados en el patriarcado, la compañía oriental defiende un cambio de paradigma desde posicionamientos menos excluyentes. Asimismo, también hay una diferencia en el tratamiento del medio ambiente. Disney arremete contra este mientras que Studio Ghibli se esfuerza en preservarlo., The animated cinema is one of the elements of visual culture, with an impact on the preparation of the identity and personality of those who belong to childhood. On the one hand, it has Disney in the western territory and, on the other hand, with Studio Ghibli in the eastern sector, as leading animation film studios in the industry. Both focus on the same themes, but differ in how they are addressed. In addition, they are selected for this research due to the great media coverage that both entail. For this reason, it is considered extremely necessary to analyze, critically and qualitatively, both film companies to express the messages that permeate the subconscious of those who consume the films after their passive viewing. This research focuses on cinema understood as art, specifically that of Western (Disney) and Eastern (Studio Ghibli) animation. In this way, the most outstanding conclusions are positioned in the difference regarding the treatment of feminism and romantic love. While stereotypes and gender roles anchored in patriarchy persist in the western production company, the eastern company defends a paradigm shift from less exclusive positions. Likewise, there is also a difference in the treatment of the environment. Disney lashes out at it while Studio Ghibli strives to preserve it.

À de rares exceptions près dans son histoire, la sociologie a négligé l’étude de l’amour jusqu’à l’apparition, en 1982, de l’ouvrage de N. Luhmann sur L´amour passion. Depuis lors sont apparus de nombreux travaux, théoriques et empiriques, ainsi que d’importantes monographies sur ce sujet. Cette problématique des émotions amoureuses a pu ainsi prendre une place centrale dans notre discipline. En suivant, précisément, les lignes tracées par la sociologie, et à partir de quelques-uns des travaux sociologiques les plus récents qui ont analysé l’amour dans la société espagnole, j’essaie de montrer comment ils y sont institutionnalisés, formalisés ou « familiarisés » ; des manières modernes d’aimer, c’est-à-dire romantiques et confluentes ; comment ces deux types d’amour coexistent et comment ils le font ; quels sont leurs degrés de priorité première et secondaire ; enfin, j’essaierai d’expliquer, à travers les différentes visions de l’amour romantique et de l’amour confluent, les causes de cette situation. Comme nous le verrons, les deux manières modernes d’aimer sont présentes et coexistent actuellement dans la société espagnole : l’amour romantique est encore majoritaire, alors que l’amour confluent progresse sans pour autant s’institutionnaliser, selon les différentes conceptions du temps sous-jacentes à ces deux formes d’amour., Despite certain historical exceptions, sociology for the most part neglected the study of love until the publication, in 1982, of Love as Passion by Niklas Luhmann. Since then, many works, theoretical and empirical, and important monographs have been published on the subject, and now, finally, this emotion has taken a central place in our discipline. By following precisely the lines drawn by sociology, and starting from some of the most recent sociological, theoretical, and empirical works that have analyzed love in Spanish society, I try to explain how they are there institutionalized, formalized, or “familiarized”; modern ways of loving, that is to say romantic and confluent forms; how these two types of love coexist; what their priorities are; and, finally, I will try to explain, through the different visions of romantic love and confluent love, the causes of this situation. As we will see, this article concludes that the two modern ways of loving are currently present and coexist in Spanish society, that the romantic form is predominant, while confluent love has progressed without becoming institutionalized, according to the different conceptions of the time underpinning these two forms of love.

Falling in love is one of all the great feelings in the world. Humans are not the only one among the huge diversity of species to fall for it. Combine bonding, the two-by-two partnering of creatures have been seen across the fauna. To fall in love and be enamored allows an individual to depict himself charmingly alive. Most folks will reminisce at least one time in their lives of experiencing “butterflies in their stomach”, or a sense of ‘losing oneself’ into a deep ocean of affectionate feelings for someone. We tend to encounter ourselves into being obsessional and few might have delineated their feelings as going mad for that person. Though all these descriptions appear to be magnifying the words or phrases which we come across in daily life, there appears to have some hidden facts to these thoughts and behaviors. Have you ever thought, from where would be these sensations, obsessional thoughts and sometimes out of character acts arising from? Are there any particular physiological changes occurring in our body which are answerable to the arousal of these feelings? The knowledge available to biologists have advanced vastly within the previous few decades and are using that information in deciphering the Physiology involved in both combined bonding and being in love. This review could prove engrossing and to converse about the physiological basis of affection, specially metamorphology of love in various phases of life, biological basis, neurochemistry, the neuronal circuits of affection and finally concerning over the myth of ‘ Everlasting Love’.

Falling in love is one of all the great feelings in the world. Humans are not the only one among the huge diversity of species to fall for it. Combine bonding, the two-by-two partnering of creatures have been seen across the fauna. To fall in love and be enamored allows an individual to depict himself charmingly alive. Most folks will reminisce at least one time in their lives of experiencing “butterflies in their stomach”, or a sense of ‘losing oneself’ into a deep ocean of affectionate feelings for someone. We tend to encounter ourselves into being obsessional and few might have delineated their feelings as going mad for that person. Though all these descriptions appear to be magnifying the words or phrases which we come across in daily life, there appears to have some hidden facts to these thoughts and behaviors. Have you ever thought, from where would be these sensations, obsessional thoughts and sometimes out of character acts arising from? Are there any particular physiological changes occurring in our body which are answerable to the arousal of these feelings? The knowledge available to biologists have advanced vastly within the previous few decades and are using that information in deciphering the Physiology involved in both combined bonding and being in love. This review could prove engrossing and to converse about the physiological basis of affection, specially metamorphology of love in various phases of life, biological basis, neurochemistry, the neuronal circuits of affection and finally concerning over the myth of ‘ Everlasting Love’.

The present research aimed to identify the relationship between myths of romantic love and gender violence during dating in young students of the University of Azuay. A cross-sectional and experimental study with a descriptive and correlational scope was carried out. The participants were 166 students, who were in a romantic relationship during the investigation and who were in their second year of studies at the Faculties of Science and Technology, and Philosophy, Letters and Education Sciences. The evaluation was carried out through the “Scale of myths about love” and the “Questionnaire on Couple Violence” (CUVINO). The data were analyzed using the SPSS 25 statistical program, and the tables and graphs edition in Excel 2019. The results were presented using measures of central tendency and dispersion; the behavior of the data according to the Kolmogorov Smirnov test was non-normal (p <.05), so non-parametric tests were used, the test of comparison of means for two groups U-Mann Whitney and the H-Kruskal Wallis test for more of two groups; In addition, the Spearman Rho correlation coefficient was used. After using the aforementioned methods, the results showed that, although there was no statistically significant correlation between the myths of romantic love and gender violence in dating, the internalization of myths was present in the majority of the participants at different levels; and a low percentage of the sample had been a victim of dating violence, which corroborated the hypothesis raised., La presente investigación tuvo como objetivo identificar la relación entre los mitos del amor romántico y la violencia de género durante el noviazgo en estudiantes de la Universidad del Azuay. Se realizó un estudio experimental transversal con alcance descriptivo correlacional. Participaron 166 estudiantes, que se encontraban en una relación amorosa y que cursaban segundo año de las carreras pertenecientes a la Facultad de Ciencia y Tecnología, y a la de Filosofía, Letras y Ciencias de la Educación. La evaluación se realizó mediante la “Escala de mitos sobre el amor” y el “Cuestionario de Violencia entre Novios” (CUVINO). Los datos se analizaron mediante el programa estadístico SPSS 25, y la edición de tablas y gráficos en Excel 2019. Los resultados se presentaron mediante medidas de tendencia central y dispersión; el comportamiento de datos según la prueba Kolmogorov Smirnov resultó no normal, por lo que se emplearon pruebas no paramétricas; la prueba de comparación de medias para dos grupos U-Mann Whitney y la prueba H-Kruskal Wallis para más de dos grupos, además se empleó el coeficiente de correlación Rho de Spearman. El análisis de resultados no evidenció una correlación significativa estadísticamente entre los mitos del amor romántico y la violencia de género en el noviazgo, sin embargo, la interiorización de los mitos estuvo presente en la mayoría de la población estudiada en diversos grados; y un bajo porcentaje de la muestra había sido víctima de violencia en el noviazgo, por lo que se corrobora la hipótesis planteada.