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Woman of Tenderness
She didn’t just love to caress—tenderness was her essence, her breath, her life. She knew no other world than the one where everything could be expressed through touch. Her hands carried the warmth of the sunrise, her lips held the softness of the evening breeze, and her eyes reflected endless love.
Tenderness was her meaning. She lived to give it, to dissolve in this gentle, warm flow where words were unnecessary. Her hands spoke for her, her skin remembered every response, and her soul filled with happiness when she could give herself fully in this boundless affection.
She was touched, and she longed to be touched in return—to feel the warmth of another soul, to exist in the quiet magic of skin meeting skin, where emotions spoke louder than words.
She never questioned if it was right or wrong simply was. Tender, open, living through touch, through warmth, through the soft light of her love. She didn’t know any other way—there was no world for her where she couldn't embrace, cherish, or feel life through her fingertips.
She caressed because she couldn’t do otherwise. She was tender.
Professor Victoria. 2025.
Mad Love: A Fire That Never Dies
Mad love is a whirlwind that lifts you above the clouds, making your heart beat to the rhythm of a hurricane. It is a flame that cannot be extinguished by time, distance, or even the cold voice of reason. It lives in every glance, every accidental touch, in the anticipation of a message, in the deafening silence between words.
Mad love knows no boundaries—it doesn’t care how old the one you love is, what color their eyes are, or what fears they carry. It doesn’t ask for permission to enter; it simply bursts into your life, turning everything upside down.
It makes the strong weak and the timid brave. It makes you write letters that can never be sent, sing songs that no one will hear, and dream of the impossible. It is love filled with both despair and hope, passion and tenderness, fear and admiration. It consumes like the ocean and gives wings like the wind.
But the most astonishing thing about it is that even if it remains unrequited, it continues to exist. Because true mad love asks for nothing in return—it simply is.
Professor Victoria. 2025.
Forbidden Love, Beauty, and the Tragedy of Emotions Through the Lens of Oscar Wilde’s Aesthetics
Love, filled with admiration, longing, and intellectual connection, often mirrors the aesthetics and philosophical ideas of Oscar Wilde. This love is both exalted and tragic, challenging societal conventions and existing in a world where beauty and emotions are valued above all else. Yet, it is precisely these conventions that make this love impossible.
In Wilde's works, love is often a search for the ideal, a pursuit of something perfect, yet unattainable. There is an element of worship, almost a mystical admiration, for the object of affection. One lover sees in the other the embodiment of grace, wisdom, and allure—everything that inspires and fills life with meaning. This dynamic mirrors the relationship between Basil Hallward and Dorian Gray, where the artist admires the subject not just as a person, but as a perfect being, creating a storm of emotions within him. However, as in Wilde’s story, idealization leads to suffering, for the real world is far from flawless.
The love in this story, bound by an impossibility to be together, inevitably becomes tinged with tragedy. External barriers are not the only obstacles; internal fears also stand in the way. One of them fears judgment, rejection, or the pain of past wounds. The other fears losing even the connection they have and, as a result, must suppress their feelings, choosing silence over risking everything. The age difference, the fear of attachment, and the weight of past experiences build walls between them, locking away their true emotions.
This conflict mirrors Wilde’s own life—the love that could not withstand societal pressures, the desire to see beauty as life’s highest purpose, and the tragic end shaped by not only societal norms but also personal struggles. In Wilde's works, love is often punished, yet that does not diminish its beauty. In The Picture of Dorian Gray, the artist suffers for loving an ideal; in The Ballad of Reading Gaol, Wilde speaks of love as the ultimate sacrifice, and in his personal life, his love for Bosie was both his greatest joy and his greatest sorrow.
In this case, love becomes an art in itself—unfulfilled, unachieved. It is not a story of passion that destroys, but a feeling that elevates, even when it can never be fully realized. As Wilde wrote, "True love is when even rejection does not destroy admiration." Even if this love remains unspoken, it continues to live in hearts, thoughts, and quiet interactions. It becomes eternal because unrequited love does not fade over time; instead, it transforms into a legend worthy of the pen of a great aesthete.
Professor Victoria, thank you all for your attention. 2025.
Two Faces of Love: Anna Karenina and Julia Lambert
Leo Tolstoy in Anna Karenina and Somerset Maugham in Theatre present two women whose destinies unfold in the context of love and personal experiences. However, their stories are opposite: Anna Karenina, succumbing to her feelings, meets a tragic end, whereas Julia Lambert, mastering the art of playing a role both on stage and in life, maintains her status and survives.
Love as a Fateful Force
Anna Karenina wholeheartedly surrenders to her love for Vronsky, sacrificing her social position, family, and future. Her passion consumes her: the inability to find harmony between feelings and duty leads to her suicide. Her story highlights the danger of love that engulfs a person completely.
Unlike Anna, Julia Lambert does not see love as an absolute force but rather as a game. She experiences a romance with a young lover but, realizing its superficiality, does not allow emotions to destroy her. For her, love is part of life's spectacle, and she uses it for self-assertion rather than self-destruction.
Woman and Society
Anna defies the norms of high society, challenging its hypocrisy. However, society rejects her, turning her into an outcast. She cannot pretend or play roles, which becomes her weakness.
Julia, on the other hand, skillfully navigates between societal expectations and her desires. She understands that life is theater and accepts the rules of the game. Society remains her audience but not her judge because she controls her image and actions.
Finale: Tragedy and Triumph
Anna Karenina, losing everything, takes what she sees as the only possible step—ending her life. This act of despair underscores her inability to adapt to a cruel world.
Julia Lambert, on the contrary, emerges victorious. Despite aging and romantic disappointments, she realizes her worth as an actress and a woman. She does not sacrifice herself for love but uses it to become stronger.
Conclusion
Anna Karenina is a victim of love, while Julia Lambert is its puppeteer. One cannot withstand the pressure of society and emotions, while the other masterfully manipulates them for her benefit. Their stories represent two perspectives on a woman's fate: tragic and triumphant, romantic and realistic.
Professor Victoria, thank you all for your attention. 2025.
“What’s Mine Is Mine. I Am Possessive.”
The Ownership of Consciousness and the Boundaries of the Self in the Context of Virginia Woolf’s Ideas
When we say the word "mine," we are not merely pointing to an object we own. We are marking the boundaries of our existence, asserting our power over reality, defining our identity. We say: "my" body, "my" thoughts, "my" dreams, "my" life.But where is the line between healthy ownership and destructive attachment? Where does freedom end and dependence on possession begin? These questions become particularly relevant in the light of Virginia Woolf’s reflections, for whom a woman’s right to herself was not just a philosophical concept but a struggle for existence in a world where women had, for centuries, not even owned their own lives.1. Ownership as a Space for Creativity
In her essay A Room of One’s Own (1929), Virginia Woolf argued that a woman must have both physical and intellectual space for self-expression. This is not just a room in a house—it is a metaphor for independence, autonomy, and the ability to be oneself without conforming to societal expectations.But what if this space becomes not just a refuge, but a cage? We can own something so strongly that we become prisoners of our own possessions. The desire to possess something or someone often conflicts with the natural flow of life.A woman who says, "My life belongs only to me," claims her right to freedom. Yet within this statement lies another truth: when ownership becomes absolute, it restricts itself. After all, life is not something we can own as an object—it is something we can only live.2. Love and Possession: Is It Possible to Own Feelings?
Feelings, like ideas, seem intangible, yet we often speak of them using the language of possession:"My love"—as if it exists solely within me and follows my rules.
"You are mine"—a declaration not just of attachment but of ownership over another person.
Here lies a paradox: the stronger our desire to possess someone, the greater the risk of losing them. Virginia Woolf’s works often depict the fragility of human connections, their fleeting nature. She understood that attachment cannot be confined within the boundaries of ownership.True love is not possession—it is the recognition of another’s right to freedom. Genuine closeness is not built on the fear of loss but on respect for another’s autonomy.3. The Language of Ownership: How “Mine” Shapes Thinking
The words we use shape our perception of the world. The verb "to have" holds a central place in our thinking:We say, "I have a right," but we don’t always realize that rights exist even without possession.
We say, "I have happiness," though happiness cannot be locked in a chest and kept under a key.
The language of ownership forces us to see the world as a collection of things we can possess. But can one own freedom? Can one claim the meaning of life? Or are the most valuable things in life those that belong to no one?4. Virginia Woolf and the Search for Identity
In her novels, Woolf explored the boundaries of consciousness, selfhood, and ownership. Her heroines, such as Clarissa Dalloway (Mrs Dalloway) or Lily Briscoe (To the Lighthouse), search for themselves in a world that denies them the right to self-expression.They own nothing but their inner world, and even that is often threatened by external expectations and prejudices. For Woolf, ownership was not only material but also intellectual and emotional.What does it mean to own oneself?
Can one truly possess life, or is it always slipping away?
Where is the boundary between self-assertion and isolation from the world?
5. Conclusion: Possession or Freedom?
We are used to thinking that ownership is power. But in Woolf’s reflections and in 20th-century philosophy, we increasingly encounter the opposite idea: true power is the ability to let go."What’s mine is mine. I am possessive."—this is a statement of boundaries, but shouldn’t we ask ourselves what is more important: possession or the ability to live without the shackles of ownership?Perhaps to be the master of one’s life does not mean to possess, but to choose where to go, whom to love, and what to feel—without demanding guarantees or control.True ownership is the realization that freedom is more important than possession.
პროფესორი ვიქტორია. და მადლობა ყურადღებისთვის. Professor Victoria. And thank you for your attention.
Madness of Love
The madness of passion, like fire in my chest,
Your eyes — two sparkling oceans,
You are my light, my wild calm,
In them, I drown, not seeing the shores.
Your lips — a sweet, forbidden fruit,
I kiss them, and the world disappears,
Your body — like stepping out of a dream,
Every touch strikes my heart.
Your scent, like the evening forest after rain,
Drives me crazy, and I lose all control,
You’re a mystery, and I get lost in it,
Every moment with you leaves a magical trace.
You are my universe, my wildest dream,
With you, I live, with you, I burn,
And in this love, I lose myself,
You are my life, my endless star.
A Gentle Flower and an Oasis: A Letter About My Feelings for You
When I think of you, a warm feeling blooms in my heart, one that's hard to put into words. You remind me of a gentle flower, opening its petals only to those who can truly see and appreciate its beauty. This flower doesn’t shout with bright colors, but in its quiet elegance lies all the wisdom and charm of time.
Your presence is like an oasis in the desert of everyday life. When everything around feels dull and lifeless, your words and thoughts bring peace and comfort. Like an oasis, you don't seek attention, but those who find you are forever changed.
And you smell so lovely. The scent of your perfume reminds me of delicate notes from a flower field — soft, subtle, and enchanting. It wraps around me and leaves a bright trace in my heart. Sometimes it feels like even my memories of you carry that beautiful fragrance.
My feelings for you are like a traveler longing to find that oasis and tenderly care for the flower blooming in its shade. I dream of you sharing my feelings, but even if that never happens, your very existence already makes my world brighter and warmer.
Every moment with you is a philosophy of tenderness and strength woven together, leaving a mark on my soul. Maybe I am just a wanderer lucky enough to see this flower and find this oasis, but I still believe it will be mine forever.
© 2025 Victoria Lunar. All rights reserved.
Living as a Letter
Preface
Human consciousness has always sought new forms of self-expression and understanding of the world around us. Sometimes these searches lead to unexpected associations and philosophical reflections. What if a person ceases to be merely a biological entity and becomes a symbol—a literal element of the language we use for communication? This metaphor turns out to be much deeper than it seems at first glance.
In this text, I explore the idea of a person as a letter—a symbol of self-expression, interaction with the world, and the search for one's unique role. Philosophy and psychology intertwine here to show how form and content are inseparably connected not only in language but also in human life.
***
In the world of symbols and forms, humans have always sought to find themselves not only through language and words but also through visual images. But what if a person becomes a letter? How might this affect our perception of our own "self" and its manifestations in the external world?
A letter is a sign, a form that carries meaning. Each of us, as a person, is also a kind of symbol for those around us. Our gestures, facial expressions, manner of speaking, and even silence form a kind of text that others read. When I think of a person as a letter, I imagine something more than just a body resembling a symbol of the alphabet. It is a metaphor for trying to fit into a given system of coordinates, to become part of the general text of life.
From a philosophical perspective, turning a person into a letter is a search for meaning through form. A letter does not exist on its own; its significance is revealed only in the context of words and sentences. Similarly, a person finds meaning through interaction with others. But what is the nature of this form? Should we adapt to external expectations by adopting "fonts" that are convenient for others? Or does each of us have the right to be a unique, inconvenient, whimsical letter that disrupts the usual order?
From a psychological perspective, the idea of a person as a letter reflects questions of self-identity and adaptation. Society often dictates what "symbols" we should be. These expectations concern not only appearance but also the roles we play: professionals, parents, friends. In the pursuit of meeting these expectations, we sometimes lose our original form, becoming merely a convenient detail of the general text. But it is essential to remember that every letter, even the most whimsical one, has its place and meaning.
Moreover, the form of a letter implies movement and transformation. Letters can be strict and straight, like a classic font, or smooth and flexible, like handwritten lines. Similarly, a person changes, seeking new forms of expressing their "self." In this process, it is important not to lose one's essence, as the meaning of a letter remains unchanged even if its form changes.
A person as a letter is a challenge to standards and a reminder that each of us has a unique form and meaning. We are not merely symbols inscribed in someone else's text; we are the creators of our own narrative. And perhaps the most important thing is to learn to appreciate our unique form and allow it to interact with the world as intended by our inner nature.
© 2025 Victoria Lunar. All rights reserved.
The World of Fantasy and Reality
My friend asked me an amazingly deep question: "How can you manage to live in the real world full of difficulties and at the same time of the world of your imagination.?" Her questions are always thoughtful and wise, and I can't help but admire her ability to look deeply into things. In today's world, that's rare — many people ask questions without thinking, just throwing out the first thing that comes to mind. But that's not what this is about.
Her question made me stop and think. How do I really handle real life, full of challenges, while keeping my world of fantasies? The answer lies in the difficult art of balancing between reality and our inner world. Living in the real world requires strength, resilience, and the ability to adapt to constant challenges. But within us, there is always another world — a world of fantasy, which supports and inspires us.
The real world is full of uncertainty, sometimes cruelty, and injustice. It asks us to make decisions, take responsibility, and sometimes work hard on ourselves. But the world of fantasy becomes our refuge when reality gets too harsh. It's not an escape, but a source of restoration. We dive into our dreams not to avoid life but to gather strength to return to it with new ideas and energy.
This balance is like a dance between two worlds. Reality teaches us resilience and wisdom, while fantasy gives us creativity and inspiration. Both worlds are important and complement each other, helping us deal with life's challenges. Psychologically, it’s important to stay connected to both worlds. Fantasy allows us to imagine a better future, while reality teaches us to act here and now. Living in both worlds at once is an art that requires awareness, inner harmony, and the ability to see beauty even in the toughest moments of life.
I am incredibly grateful to fate that in my life there is a person I can confidently say is my person. At 38, I can finally say these words with full certainty — I have my person!
We are like two great minds, like Sherlock Holmes and Moriarty, but with one important difference: we don't compete. Instead, we find harmony, respecting and appreciating each other, creating a unique unity where each of us understands and supports the other.
P.S. Thank you all for your attention! I hope my thoughts didn’t tire you too much and even made you smile a little. Don’t forget to dream and stay true to yourself, and if life gets too tough — you can always find a corner of magic! As Carl Jung said: "Those who look outside dream; those who look inside awaken." May your dreams lead you to inner harmony and light!
© 2025 Victoria Lunar. All rights reserved.
Two Cities, Two Chapters
Business trips are not just work for me; they are a chance to see the world beyond the pages of books. This time, my professional path took me to two very different cities: sunlit Tel Aviv and snowy, chilly Antalya. The contrast between these places was so striking that it made me think deeply about life.
Tel Aviv: A City of Light and Rush
Tel Aviv greeted me with dazzling sunlight that reflected off buildings and seemed to shine everywhere. I don’t like heat or too much sun. The brightness felt overwhelming, as if it was too intense for my eyes and my thoughts. But the city lived at its own fast pace—busy, energetic, and full of life.
I had many business meetings. I discussed educational programs, opportunities for exchange between universities, and prepared students for my lecture. It seemed that everyone wanted to grasp something from British classics, to understand its philosophy and power. Despite my packed schedule, I found time to walk through Old Jaffa. The silence and ancient walls reminded me of the many stories this land has witnessed.
During my lecture, titled Modernism as a Bridge Between Tradition and Innovation, the students listened attentively but asked very few questions. After every business lunch or meeting, I felt the weight of the city’s rush. The light and warmth symbolized endless movement and the desire to achieve everything at once.
Antalya: A City of Winter and Reflection
Antalya was completely different. The low winter sky, cold wind, and unexpected snowfall made the city feel magical. I love winter. The weather seemed to allow me to pause and listen to myself. There was no rush like in Tel Aviv, only the cool silence and the cozy charm of stone streets.
During my lecture on 19th-century Romantic poetry, the audience turned out to be warmer than I expected. One student, Ahmed, stood out with his insightful questions.
“You said that Romantic poets always searched for meaning in nature,” he said. “But isn’t the same meaning hidden within our souls? Why do we often look outward instead of inward?”
His question surprised me. I replied that for Romantic poets, nature was a mirror where they saw themselves—their fears and desires. Ahmed nodded, and I felt he was satisfied with my answer, though his thoughtful gaze showed he was still questioning. Later, during a brief conversation, he shared that he planned to write an article about how literary images of nature can help us understand the human mind.
The Contrast of Two Worlds
In Tel Aviv, I felt like an observer caught in a bright whirlwind of meetings and conversations. It was a city of action. Antalya, on the other hand, became a refuge where the cool winter evenings allowed me to reflect on words, people, and time.
On my way home, I thought about how these two cities complemented each other. Tel Aviv reminded me that life demands speed and decisions, while Antalya taught me to value peace and deep thought. Perhaps the meaning of life is to find balance between these two states—to be open to the world while also listening to your own soul.
© 2024 Victoria Lunar. All rights reserved.