Her unhappiness with her marriage caused Aphrodite to seek out companionship from others, most frequently Ares, but also Adonis.

Her father ’ s marriage to Julia was his third marriage.

Her mother ’ s marriage to Agrippa was her second marriage, as Julia the Elder was widowed from her first marriage, to her paternal cousin Marcus Claudius Marcellus and they had no children.

Her marriage to Claudius was not based on love, but on power.

Her husband died, apparently in the early years of her marriage, leaving her with two children, Athalaric and Matasuntha ( c. 517 – after 550 ), wife c. 550 of Germanus.

Her son only venerated Ares and was fully devoted to war, neglecting love and marriage.

Her first marriage, at the age of fifteen, was to the son of her father's rival in Italy, Lothair II, the nominal King of Italy ; the union was part of a political settlement designed to conclude a peace between her father and Hugh of Provence, the father of Lothair.

Her only child, son Terry Melcher, resulted from this marriage.

* Her fourth and last marriage was to Barry Comden ( born 1935 – died 2009 ), who was roughly a decade younger, from April 14, 1976 until 1981.

Her parents ' marriage had been arranged by Dangereuse with her paternal grandfather, the Troubadour.

Her older half-sister, Mary, had lost her position as a legitimate heir when Henry annulled his marriage to Mary's mother, Catherine of Aragon, in order to marry Anne and sire a male heir to ensure the Tudor succession.

Her family stopped speaking to her ; his family connection was bruised, as his children felt his marriage was a repudiation of their mother.

Her one route of social mobility out of her working-class origin was through the traditional way of marriage.

Her father Thomas refused marriage because of Stephenson's lowly status as a miner.

Her scheduled marriage is mentioned in the text as the third union between Stilicho's family and the Theodosian dynasty, following those of Stilicho to Serena and Maria, their daughter, to Honorius.

Her chief function was as the goddess of women and marriage.

Her father Jobst initially opposed a marriage despite Kepler's nobility ; though he had inherited his grandfather's nobility, Kepler's poverty made him an unacceptable match.

Her 1951 marriage to Charles Dye ended in divorce a year later, but during that time, one of her stories was published under Dye's name.

Her third and longest-lasting marriage ( 1936 – 1950 ) was to the British Anthropologist Gregory Bateson with whom she had a daughter, Mary Catherine Bateson, who would also become an anthropologist.

Her fairytale marriage to Brad Silver comes crashing down when she realizes that he's unfaithful to her, leading her to reconsider choosing him over Katchoo.

Her father then reveals that his wedding with her mother, which Mary had always seen as the perfect marriage, was actually arranged and only became a loving relationship months later, leaving Mary feeling very confused.

Her sister Mary's marriage to Philip brought great contempt to the country, for many of her subjects despised Spain and Philip and feared that he would try to take complete control.

In the 1980s, Greenaway's cinema flowered in his best-known films, The Draughtsman's Contract ( 1982 ), A Zed & Two Noughts ( 1985 ), The Belly of an Architect ( 1987 ), Drowning by Numbers ( 1988 ), and his most successful ( and controversial ) film, The Cook, the Thief, His Wife & Her Lover ( 1989 ).

Her 1986 Academy Award nomination for Aliens is considered as a landmark in the recognition of science fiction, action, and horror genres, as well as a major step in challenging the gender role in cinema.

Her writing and teaching are focused at the moment primarily on phenomenology, psychoanalysis, photography, and time-based visual art, but she continues to write about and teach courses on cinema, and she has a developing interest in painting.

Her looks, evocative of the indigenous peoples of Mexico, allowed her to carve a niche for herself in the Mexican cinema.

Her dreams of becoming a concert violinist were cut short when she injured her wrist, but by 1922 she was employed as a violinist in a pit band accompanying silent films at a cinema in Berlin – her first job, from which she was fired after only four weeks.

Her journalism led a change in the writing of cinema criticism.

It houses a number of restaurants, the Theatre Royal and Her Majesty's Theatre, a cinema complex, and New Zealand House.

Her next film, The Goddess ( Shennü, 1934 ; dir: Wu Yonggang ), is often hailed as the pinnacle of Chinese silent cinema ; Ruan sympathetically portrayed a prostitute bringing up a child.

Her contributions to the film industry have garnered her numerous achievements ( including nine nominations and six Filmfare Awards ), making her a leading actress in Hindi cinema.

Her career spans four decades in English language as well as French and Italian cinema.

Her first close interaction with cinema came when German director Joe May chose to adapt one of von Harbou's writings, titled Die heilige Simplizia ; from that moment forward, " Her fiction output slowed down.

Her grandfather, G. B. Samuelson, was a pioneer of British cinema.

Her contribution to Spanish cinema culminated in her being awarded the Gold medal by the Spanish Academy of Cinematographic Arts and Sciences in 2006.

Her 2009 release, Blue, was one of the most expensive movies of Indian cinema.

Her works La Belle Bête ( 1959 ), Une Saison dans la vie d ' Emmanuel ( 1965 ) and Le Sourd dans la ville ( 1979 ), have been adapted for the cinema.

Her debut in Tamil cinema came with Azhagiya Theeye and her first role in Kannada cinema was in Gaja.

Her hobbies include walking, picking wild mushrooms and cinema.

Her four decades of meritorious work in the Pakistani cinema brought her numerous laurels from virtually everywhere.

Her father Giovanni Russo was a policeman, and her mother Giuseppina Gherardini, worked as a cashier at the cinema " Olimpia ".

Her artistic work includes video installations, body performances, expanded cinema, computer animations, photography, sculptures and publications covering contemporary arts.

Her first Hindi film Hum Ho Gaye Aapke flopped, and she decided to continue working in Tamil cinema.

Her work includes films with parallel cinema directors like Shyam Benegal, Govind Nihalani and Mrinal Sen as well as forays into the more commercial Hindi film industry cinema of Mumbai.