Robert Johnson, a Jungian writer, calls this “stirring the oatmeal” love, and describes it as: “…a willingness to share ordinary human life, to find meaning in the simple, unromantic tasks: earning a living, living within a budget, putting out the garbage, feeding the baby in the middle of the night. To ‘stir the oatmeal’ means to find the relatedness, the value, even the beauty in simple ordinary things, not to eternally demand a cosmic drama, an entertainment or an extraordinary intensity in everything. Like the rice hulling of the Zen monks, the spinning wheel of Gandhi, the tent making of Saint Paul, it represents the discovery of the sacred in the midst of the humble and ordinary.”
It was hard to imagine loneliness here. Just as it was impossible to imagine where in this crowded domestic arrangement you might find the happier twin sister of loneliness: privacy. Mai and her mother lived in constant closeness with so many people. I was struck—not for the first time in my years of travel—by how isolating contemporary American society can seem by comparison. Where I come from, we have shriveled down the notion of what constitutes “a family unit” to such a tiny scale that it would probably be unrecognizable as a family to anybody in one of these big, loose, enveloping Hmong clans. You almost need an electron microscope to study the modern Western family these days. What you’ve got are two, possibly three, or maybe sometimes four people rattling around together in a giant space, each person with her own private physical and psychological domain, each person spending large amounts of the day completely separated from the others.

In this age of media mayhem, it’s no surprise that one of the first signs of commitment tends to be a public announcement on some form of social media. You’ve seen them: the infamous couple’s selfie, the heartfelt note for all to see, and the hashtags like “me and my baby.” These public displays are usually a pretty good sign that things are going well and that you’re both comfortable enough to broadcast your affection to the world. Such public displays can only mean “we’re committed and we want everyone to know.”
If there’s one trait that goes hand-in-hand with happiness, it’s optimism. People who think positively are less likely to feel depressed, more productive at work, and generally healthier than their doom-and-gloom counterparts. That said, it’s important to be both optimistic and realistic instead of just blindly positive. (In fact, forcing ourselves to feel over-the-top positive may do more harm than good, especially for those of us more prone to cynical thinking.) People with a healthy combination of optimism and realism don’t let unhappy thoughts bring them down, but they use their realistic outlook to make smart decisions and actions. Talk about the best of both worlds.
Delectably sweet, Melt sees Samantha moving to D.C. with her daughter, Lennon, after getting out of a long relationship. The last thing she needs is to get into another relationship, but when she runs into Jake Brady, who owns booming ice cream truck business that mixes alcohol with ice cream, she finds her walls melting. While they initially get off to a rocky start, Jake is determined to show her and her daughter that he’s in it for the long haul.
Although Young Romance was released by Prize comics, it should be noted that there was some resistance on the part of the publishers. Kirby tells, Evenier, “Mike [Bleiet] and Teddy [Epstein, the people who ran Prize] didn’t have much faith in Young Romance.” As a result, Simon and Kirby agreed to forgo upfront payment and were paid on the back end only if the book was a success. Of course, Simon was also able to negotiate for 50% of the profits from the book (and its follow up, Young Love). Simon explained to Evanier:

8One of the consequences of this system is that category romances are highly conventional. All category romance novels share the overall conventions of the romance genre,6 but within this encompassing generic framework each category romance also incorporates the conglomerate of conventions that characterize the line in which it is published. As a result, conventionality is pivotal to nearly every aspect of the category romance story and text. These conventions are, moreover, strongly enforced by editors and publishers, who act as gatekeepers guarding the genre and line profiles. Narratives that do not incorporate the various conventions are simply not published in the category romance system.7 The strong conventionality that consequently marks the category romance novel is often interpreted as a characteristic that renders the category romance an aesthetically inferior form, and it is frequently cited as one of the main reasons for the format’s low cultural status.8
Spend more time with your loved ones. Spending more time with the people you love – and the people who make you happy – is guaranteed to make you feel happier. If you’re feeling just a little bit down in the dumps, call up a good friend or family member instead of wallowing, and plan something fun to do later. You may feel like your mopey mood will drag people down, but instead, being with your close friends will lift you up and make you feel happier.
3This lack of critical attention paid to the romance novel in general and its material characteristics in particular may be a consequence of the widespread cultural prejudice that all romance novels are essentially the same. Although academics are generally taught to be critical of cultural stereotypes, in the case of the popular romance novel the academy seems to overwhelmingly buy into – and frequently even be at the origin of – the ingrained stereotypes of conventionality, formula and simplicity that surround the genre. As a result, the popular romance genre is largely ignored by academics, who deem books that are supposedly all the same unworthy of their critical attention. Somewhat surprisingly, a similar mechanism plays out within the developing field of popular romance studies with regard to the genre’s materiality.2 Underlying this disregard is, I believe, the tacit assumption that the romance novel’s materiality, which even more than other aspects of the genre is imbued with stereotypes and conventions, is a relatively simplistic and straightforward aspect of the genre that is free of the interpretative complexities romance scholars now regularly (and, notably, against the cultural grain) uncover in the genre’s texts.
I think it means that someone is there for you no matter what.it should not matter what time of day it is or what the issue is if you need them they should be there.also they are the person that no matter what comes up you invite them to go with you they are your other half.you don't have to wonder who they are with you should be able to tell everyone that he is my guy. No waiting t I see who you will spend your free time with it is already understood.
Ditto if someone says, “I want to make a baby with you,” with no other evidence of commitment like, say, marriage. An even worse indicator of commitment is if someone says to you, “I’d like you to have my baby.” Context matters a lot here. It may sound silly, but this is, in fact, a relatively common behavior in some teenage groups, in which males say some version of this to females they are interested in. Some may be flattered and impressed, but even in these examples, it would be a lot more impressive if someone said, “I want to raise a child with you.” That statement contains a greater amount of information, especially if it’s accurate, but that’s the essence of commitment, which is about wanting and planning a future.
38Such a manifest material performance of the novel’s generic identity is functionally important not only to the vast public of non-readers, but also to the book’s target audience of self-identified category romance readers. Like the public, the romance reader recognizes the stereotype-driven public code as signaling the romance generic identity. This generic identification of the novel triggers, as has been established by Janice Radway’s seminal study of romance readers, a set of generic expectations on the part of the reader. When the text meets these generic expectations – as the strongly conventional, editorially carefully controlled category romance specifically aims to do – the reader is satisfied. This interplay between the creation of generic expectations, the fulfilling of these expectations and the resulting reader satisfaction is of vital commercial importance to the category romance novel, as it provides the core impetus for the reader to want to repeat the reading experience by reading – that is, buying – other category romance novels.

Building trust is another key for how to feel happy and good, as it stimulates oxytocin. Maybe there’s someone you want to trust, but you can’t bridge the divide. It’s good to know you can build trust with a long series of very small interactions that help you feel better along the way. Individuals or groups with an unfortunate history cannot always wipe the slate clean all at once. Intermediate steps build trust gradually. The stepping stones can be placed so close together that neither party risks a big betrayal. Each step need only create positive expectations about the next step rather than resolve the whole problem. Each small experience of trust stimulates the good feeling of oxytocin, which connects neurons that help trigger more.
If you are a person who likes everything neat, let junk pile up for six weeks as a surprising way to feel happy and good. But if you are a person who hates order and loves chaos, put things away as soon as you use them for six weeks. Color outside the lines if that’s new for you, but if you already pride yourself on that, courageously stay inside the lines. It might feel awful on Day One, but forty-four days later it will feel curiously safe.

8 This negative appreciation of strong (generic) conventionality is something that affects (the cultural status of) all so-called genre fiction, but that is particularly strongly associated with the popular romance genre, which is, as Ken Gelder has noted, often considered the most conventional and conservative genre of popular fiction (43). For more on the connections between genre, conventionality and popular fiction, see John Cawelti’s Adventure, Mystery, and Romance: Formula Stories as Art and Popular Culture (particularly the first two chapters).
Moore's buddy Matt Chisholm chimes in to tell me about a similar hack, a JavaScript app he wrote with Moore that works on Friendster. It mines for information about anyone who looks at his profile and clicks through to his Web site. "I get their user ID, email address, age, plus their full name. Neither their full name nor their email is ever supposed to be revealed," he says.
So of course the Hmong fall in love. Of course they feel preference for one person over another person, or miss a beloved one who has died, or find that they inexplicably adore somebody’s particular smell, or laugh. But perhaps they don’t believe that any of that romantic love business has very much to do with the actual reasons for marriage. Perhaps they do not assume that those two distinct entities (love and marriage) must necessarily intersect—either at the beginning of the relationship or maybe ever at all. Perhaps they believe that marriage is about something else altogether.
20The relative state of dress or undress of the cover models is another coded element of the clinch. Although in the past this code seems to have been stricter than it is today,12 as a rule of thumb we can still assume that the more flesh is visible on the cover, the more sexually explicit the love scenes in the narrative are. The style in which the clinch image is drawn or photographed as well as the fashion and hairstyle worn by the cover models – all of which are cover elements that have been subjected to significant evolutions over the course of last three decades – are yet other coded parameters of the clinch that provide the experienced romance reader with additional information about the individual characteristics of the narrative – in this case, the date of publication. All of these parameters – time of publication, level of sensuality and subgenre – in fact serve to specify and singularize the text in the eyes of the romance reader. They function as important parameters of (narrative) differentiation within the romance genre’s system and thus give the romance reader significant information about the particular qualities of the text.

30Although the romance reader is obviously aware of the scene’s strong conventionality and, like the public, interprets it as another element inscribing the novel in the popular romance genre, as a member of the romance genre’s interpretative community she also has the ability to develop a different interpretation of this scene. In fact, when the romance reader reads this scene as a romance reader – that is, using the interpretative strategies particular to the genre – she is able to gain crucial new knowledge about the text and its specific, individual poetic properties. This is due to the fact that in the eyes of the experienced category romance reader the preview scene functions as a conceptual prefiguration of the creative interplay between conventionality and variation that is pivotal to the category romance’s poetic functioning. This creative dynamic goes unnoticed by the public (and most of the genre’s critics) because of their one-dimensional assessment of the genre’s strong conventionality as only creating a pervasive sense of repetition and similarity between individual romance texts. However, this interpretation of conventionality fails to recognize how the web of conventions also creates a context in which every minute variation upon the convention stands out.14 This kind of variation – the brief deviation from the norm, the minor adaptation of the convention – represents a fundamental pillar of the category romance’s poetic functioning and of the aesthetic pleasure the romance offers its readers. This particular creative dynamic is prefigured in the strongly conventional preview scene, which illustrates for the romance reader precisely how the author deals with the central creative task of the category format of fusing various sets of conventions with the appropriate amount of creative variation. Since a thorough knowledge of the genre’s (and the line’s) conventions is necessary to develop this interpretation, only generically initiated romance readers pick up on this dynamic and read the preview scene as something other than a pure reconfirmation of the novel’s clichéd generic identity.
The characteristics of someone in romantic love “…include focused attention on the preferred individual, rearrangement of priorities, increased energy, mood swings, sympathetic nervous system responses including sweating and a pounding heart, emotional dependence, elevated sexual desire, sexual possessiveness, obsessive thinking about him or her, craving for emotional union with this preferred individual, affiliative gestures, goal oriented behaviors, and intense motivation to obtain and retain this particular mating partner.” (Fisher et al, 2010, p.56).
It bears repeating that you will not feel happy on Day One. Maintain realistic expectations. Nibbling on carrot sticks will not feel as good as licking an ice cream cone on Day One, and it may not seem that this could change with repetition. Doing homework will not feel as good as watching a movie on Day One, and it’s hard to imagine that changing either. Stick to your plan and you will connect carrot sticks or studying to your happy chemicals. You can learn how to feel good when you do what’s good for you.

2. Remember your body. Take a twenty-minute walk outside to boost your energy and dissolve stress. Don’t let yourself get too hungry. Get enough sleep. Manage pain. When you’re anxious, it’s easy to stay up late and eat ice cream -- and that’s going to make you feel worse in the long run. It's very tempting to run yourself ragged trying to deal with a crisis, but in the long run, you just wear yourself out.


Feel more compassion. Tenzin Gyatso, the 14th Dalai Lama, once said, “If you want others to be happy, practice compassion; if you want to be happy, practice compassion.” You may think that feeling compassion for others has nothing to do with your own level of happiness, but in fact, being able to feel compassion for a friend or stranger in a difficult situation can make you a more whole, self-aware, and grateful person. If you’re so busy obsessing over your own struggles and never look around to see how other people are feeling, you’re bound to be less happy than a truly compassionate person.[3]
Humans have this insatiable need to live for something greater than themselves. Take the time to appreciate and trust that your life is being guided by something greater than yourself. Understand that every stage of your life is part of a stunning master plan that will work for the greater good of those around you. How can you not feel beyond happy when you embrace the idea you are contributing to the greater good?!
Commitment, on the other hand, is a decision. Based on some combination of feelings and logic, we make a decision about our future plans. We are used to doing this, and we recognize that it’s possible to make both good and bad decisions. Earlier today, for instance, I decided to put honey mustard and swiss cheese onto a panini with arugula. That was a great call. Last night, I decided to stay awake till 2am. Probably not the best. Last month, I decided to act on feelings of love. A year ago, I decided to be single. Some decisions affect your life more than others.
These days with the limits on the amount of personal privacy any of us has, passwords and PIN numbers might mark the final frontier of the few things we have entire control over. So deciding to share this extremely private information is not to be taken lightly or with casual friendships. While experts admit that sharing passwords can strengthen relationships, this is a sign of commitment because it demonstrates ultimate trust. So unless you’re in a committed relationship, it’s still best practice to keep your passwords and PIN numbers private.
All I can say is Wow! I absolutely couldn't put this book down. I have read all of Debora's books so far and I absolutely love the characters. The stories Debora writes are so enthralling, and she keeps you on the edge of her seat, wondering what will happen next. I laughed out loud at parts, and also cried at parts of the story. What a wonderful story, and of course, no surprise to me, since I didn't expect anything less! My only wish is that I could have these marvelous people in my neighborhood - or in my family!
Happy Labor Day 30 April - 6 May 2019 11:59 GMT+8 For the up comin...g labor day we have the event with nice reward! 【How To Join?】 1: [Like] this event post (Count only "Like" other react will not count) 2: [Comment] Character Name +ID No. (Can see in game profile left corner menu) +Server + What do you want to do in this labor day? • Example: Character Name: Mana ID: 123456 Server: S10 This labor day : I'll have a trip to the beach with my family. (*Notice : Please don't tell ID and Password!) Rewards : Condition 1 If “likes” of this post reach the specific amouny below (include all 3 fanpage EN+CN+TH ), ALL PLAYERS will receive rewards! - Like reach 100-199 get Diamonds*300,Aura pill*100, Mount Orb*100 - Like reach 200-299 get Diamonds*600,Aura pill*200, Mount Orb*200 - Like reach 300+ get Diamonds*1000,Aura pill*500, Mount Orb*300 Condition 2 random 20 lucky player to get reward - 10-Draws Tickets*1, Lv. 7 Gem Choice Pack*5 【Event Rules】 1. Only players that follwing the process 2. This event count like&share from 3 fanpage (EN+CN+TH) the lucky players will random from 3 page. 3. The rewards will be announced within 7 working days after the event ends. 4. If comment the incorrect character name reward will voided. 5. The rewards will be sent within 3 working days after announced by in game mail 6. Each character can get only one reward. 7. Any participation after the event ends will not be accepted. 8. Official reserves the right of final decision and interpretation in case of dispute. 9. Official reserves the right to make any changes to the event without prior notice. See More
The rationale: No matter how much you feed your mind, it’s difficult to make an actual change in your life if your body stays the same. Your mind and body are one unit. What is happening to one influences the other. Whether you feel uncertain or fantastic, your physiology changes. When you are feeling physically strong and powerful, your mind follows suit. Changing how your body works can change your mind and your general worldview.
17The clinch image carries a double semiotic code and has the potential to be interpreted differently by the public and the romance reader. To the public at large, the clinch image likely signifies simply the genre identity of the popular romance. This interpretation is based on the strong semantic connection between this image and the popular romance genre that exists in our culture as a result of the incessant reformulation of this type of image on the front cover of category romance novels since the 1970s.10 As a visually striking and instantly recognizable image with only a limited range of potential variations, the clinch quickly attained an iconic status and has become the cover design shorthand par excellence for popular romance. Although the constant reformulations of the image on a seemingly endless string of category romance front covers reinforce and perpetuate a number of cultural stereotypes about the romance genre, including interpretations of the genre as formulaic, overly sexualized and more than a little ridiculous, the category romance is steadfast in its love for the clinch cover.11
On average, men were happier if they received confessions of love before a relationship turned sexual, while women were happier if first declarations of love came after sexual intimacy in the relationship. It seems that, consciously or unconsciously, guys take a pre-sex "I love you" to mean "I'm ready to sleep with you," while women worry it's a move to get them into bed.
His idea is as simple - and as simplistic - as HTML. The lovelorn use Vuong's trademarked Identification Coding System to convert their every physical, intellectual, and psychological attribute into a string of characters. Then they post the code on their Web sites. SocialGridsters can surf Google for their ideal mate by typing in their most-wanted combination of codes. They can customize their searches to locate people of a particular height, religion, educational background, even level of risk tolerance. In Vuong's world humans become fully searchable, utterly logical, machine-readable data. It's an eccentric courtship strategy but it suits Vuong perfectly. "My ideal date is to go somewhere with our laptops and do work," he says with a grin.
30Although the romance reader is obviously aware of the scene’s strong conventionality and, like the public, interprets it as another element inscribing the novel in the popular romance genre, as a member of the romance genre’s interpretative community she also has the ability to develop a different interpretation of this scene. In fact, when the romance reader reads this scene as a romance reader – that is, using the interpretative strategies particular to the genre – she is able to gain crucial new knowledge about the text and its specific, individual poetic properties. This is due to the fact that in the eyes of the experienced category romance reader the preview scene functions as a conceptual prefiguration of the creative interplay between conventionality and variation that is pivotal to the category romance’s poetic functioning. This creative dynamic goes unnoticed by the public (and most of the genre’s critics) because of their one-dimensional assessment of the genre’s strong conventionality as only creating a pervasive sense of repetition and similarity between individual romance texts. However, this interpretation of conventionality fails to recognize how the web of conventions also creates a context in which every minute variation upon the convention stands out.14 This kind of variation – the brief deviation from the norm, the minor adaptation of the convention – represents a fundamental pillar of the category romance’s poetic functioning and of the aesthetic pleasure the romance offers its readers. This particular creative dynamic is prefigured in the strongly conventional preview scene, which illustrates for the romance reader precisely how the author deals with the central creative task of the category format of fusing various sets of conventions with the appropriate amount of creative variation. Since a thorough knowledge of the genre’s (and the line’s) conventions is necessary to develop this interpretation, only generically initiated romance readers pick up on this dynamic and read the preview scene as something other than a pure reconfirmation of the novel’s clichéd generic identity.
Slow movement is an essential variation on this theme. Tai chi and Qi Gong are so slow that you may think they’re not real exercise. But super-slow movement is more of a workout than it seems. It forces you to use muscles evenly, activating the weaker muscles instead of letting the dominant ones take over. Both are great exercise methods for how to feel good in your body and mind. Commit to doing something that doesn’t look like “real exercise” for forty-five days, and you will feel the difference. 
During this time (and unless you married your high school sweetheart, you’ve certainly experienced some iteration of it before), you want to minimize pain and discomfort. So it helps for both of you to understand that commitment is not a part of love. It’s not a requirement of love. Your love won’t end just because your commitment does. Your love will probably subside in a reasonable amount of time, into a manageable piece of your heart and mind, which might at times re-ignite, and also might not.
Well a pheromone are chemicals that is in sweat or a bodily fluid that attracts the other gender in a way.  They are natural chemicals substances that trigger a specific mating response from the opposite sex. All pheromones are specific to your species, a cat can only respond to another’s cats pheromone, so obviously only humans can respond to each others pheromone. Pheromones don’t have a specific odor, an organ that sends messages to the brain is what’s sensing all these chemicals.  Many mammals like dogs and cat deposit their chemicals at “their territory”. When these chemicals vaporize it’s like a signal to the other members in that species that its occupied. Not only do pheromones help you with falling in love, but their are various types of chemicals that help you fall in love.
At the core of the Dating Syndicate is a relatively untested open source protocol called FOAF (friend of a friend). This is a flavor of XML file that holds data on a person's attributes: body type, interests, friends, and assorted other personal information. Like all XML file types, FOAF files are platform-independent, although Filkins plans to keep all the Dating Syndicate FOAF files on a secure server to ensure user privacy.
One of the most beautiful pictures of this combination came through at the very end of the movie “The Passion” when Jesus was hanging on the cross and gave up the spirit. He was literally, there was a transactional love there. He was literally assuming the guilt of every sin you ever committed on himself and dying on your behalf. But then the camera goes up and looks down, and I don’t know if you can see it, but that is a giant teardrop falling from heaven to earth and that is a beautiful scene, communicating right there both the committed love, which drove Christ to the cross. “For God so loved the world, he gave his only be gotten Son.”
39However, this ostensibly homogeneous generic identity is thoroughly complicated in what I have called the secondary codification of the category’s materiality – a genre-specific code that only readers familiar with the genre detect and decipher. Via these coded elements, the category romance’s materiality suggests a more refined and singular interpretation of its text that is essentially designed to indicate how the novel is different from its generic colleagues. This hidden layer of the semiotic code not only enables the romance reader to develop a secondary set of textual expectations, but also thoroughly complicates the homogeneous image of the genre that is painted in the primary (public) layer of the book’s material codification. Instead of further supporting the stereotype-based public interpretation of generic standardization, this (hidden) secondary layer of the material code consistently signals ways in which the romance novel develops a more specific identity. As illustrated in the analyses above, the degree of specificity of this identity increases gradually. Whereas the front cover is often still concerned with suggesting shared identity traits, such as subgenre, level of sensuality and line identity, the first page inside the book resolutely focuses on the text’s singularity by showcasing the manifestation of authorial voice in the narrative text.
Then you have to look at whether you can realistically live with this difference in light of the rest of who he is and everything else that's good about your relationship, Ida. You don't have to, but if he's the one you want to be with and he's not willing to change on this point - and it's a big one- you have to look at the reality of what this means to you and how long you can accept his terms on this. Pretending you can when you can't never works out. Getting to the bottom of why you feel so strongly on your own point might. Sometimes the reasons we have to have something are more about our programming than our own reality. Hope this helps!
Love comics were not only good for the wallets of comic companies. They also helped alleviate some of the growing public concern against comics. The January 31, 1949, edition of The New York Times pronounced that the anti-comics drive was waning and that romance comics (called “love” type comics in the article) were replacing crime comics on the newsstands.
Although some Romance languages like Spanish, French, Italian and Portuguese are national languages and spoken around the world, others are languages (or "dialects") spoken in different European countries which are related to the national languages, but with distinct grammars and cultural identities. These include Catalan and Galician from Spain, Occitan and Provençal from France, Walloon from Belgium, Rhaeto-Romance from Switzerland and Sardinian from Italy. See the complete Romance Language list below for moe details.
People seem to have a pretty good understanding of what love feels like, and we do a good job respecting love as an important feeling. But our culture sends a pretty contradictory message about what commitment is. We say marriage requires love and commitment, and yet somehow “love is all you need” prevails as a logical sentiment. Our collective divorce rate speaks for our confusion.
Whining is generally considered a bad thing—and yeah, it can get pretty annoying if you’re on the receiving end. Done effectively, however, it can actually benefit our mental health. So what exactly makes complaining effective? When voicing a concern leads to results, which in turn lead to a better mood and self-esteem andfeeling empowered, it’s effective. In other words, complaining done right involves identifying a problem and taking positive action to address it, not just getting stuck in a loop-de-loop of complaints.
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