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Veiled Desires is the first full-length study of the film nun to trace the shifting features of her screen representation in twelve or more postwar films that span a sixty-year period. It not only situates them within the changing history of modern women religious but employs an inter-disciplinary perspective to argue that the film nun projects a complex and often vexed portrait of both traditional religious and modern female desires.
Tracy MacNish's deeply romantic sequel new novel reveals the untapped power of a woman's heart--and how fiercely she dares to protect it. . . Emeline's entire life is controlled by men. She's just been won in a wager by Jeffrey, the Duke of Eton, who keeps her under lock and key. And her cruel stepfather, Simon, wants nothing more than to dominate her entire future. What she wants is a man who'll set her free . . . and Rogan Mullen, heir to the dukedom, just may be the answer to her dreams . . . Rogan is more than eager to have Emeline in his care, but his urge to protect her grows into a yearning to possess her--body and soul. Surrendering completely to love, they cannot foresee that something very sinister threatens to destroy them, for Simon will stop at nothing to control his stepdaughter's fate . . . and only the most fervent passion can endure against such relentless odds . . . "A lushly written, richly detailed Georgian historical [that] pushes the boundaries of the genre."--Booklist
The author discusses Augustine's views on women, particularly women within Christian theology. The author also addresses how Augustine's views were based on his cultural and psychological circumstances, and how his ideas on and attitudes towards women changed.
As public space becomes saturated by corporate culture, a new generation of artists is emerging. While much interest has been generated by the recent politicization of public art, until now no single book has looked at how artists committed to reclaiming art for the public have addressed the role of the body. This book, which presents projects by seven artists, is an important document on the changing perception of the body in contemporary public art.
In this evocative, wildly romantic new novel set in Venice and London, Tracy MacNish follows one woman's journey from vengeance to extraordinary passion. . . Three years ago, Kieran Mullen was a carefree, confident beauty. One fateful night, everything changed, and she became solitary and aloof, reluctant to leave her London home even when her brother, Rogan, insists she accompany him on holiday to Venice. There, amid the wild revelries of Carnivale, Kieran is attacked by a masked villain and rescued by a charismatic stranger who offers the one thing that might free her from her haunting past: revenge. . . Matteo de Gama is a study in contradiction--a gambler and a philosopher, a reckless libertine and a most unlikely savior. When he pulls Kieran from a canal's watery depths and learns her secrets, he resolves to help her exact justice. But soon he has another mission in mind--to release the unmistakable fire buried beneath her icy beauty, and teach her the bliss that comes with trusting in her own desires, and in their fierce, abiding love. . . "A lushly written, richly detailed Georgian historical [that] pushes the boundaries of the genre with a story of love, revenge, jealousy, and secrets. . .compelling." --Booklist "This is neo old-school romance done well. . .this book was a treat to read. It was like drinking fine brandy after having had nothing but weak tea. MacNish has a strong and distinctive style." --All About Romance.com "Excellent. . .phenomenal." --The Romance Reader.com "There's nothing veiled about the emotional power and dark sensuality of MacNish's sequel to Veiled Promises. With strong characters playing out a plot that delves into the deepest parts of the human soul, this is a tale to keep you riveted." --Romantic Times "Another delectably intense and edgy tale of passion and peril, revenge and romance." --Booklist "Memorable characters and strong emotions take center stage in a powerful love story that digs deeply into character motivation." --Kathe Robin, Romantic Times
Look, but don’t touch… Leyla Karimi can’t keep her eyes off the hunky guy living in the house behind her. How could any woman resist ogling Dr. Mason Barrett, especially when he makes it so easy by parading around in his skin and skivvies? If it was only their age difference, she would have made a move a long time ago. Except Mason is more than a neighbor. He’s her baby brother’s oldest friend. It’s not like they can have a casual fling and walk away in the morning. Mason’s been doing a little lusting—okay a lot—for quite some time. When he catches Leyla peeking, it’s a sure sign she could finally be ready to heat up his nights with loving. One taste of her lips, though, and he doesn’t want a “little” of anything. He wants it all. Unwilling to jeopardize a lifetime of friendship for a one-night stand, Leyla is reluctant to throw caution to the wind. When he’s kissing her senseless, though, it’s hard to remember all the reasons why she should hold back… Warning: Contains a hot hero who doesn’t mind baring it all in the name of love, a heroine who doesn’t settle for less, a sweet romance, steamy sex in a car and more good lovin’ in bed.
Alfred Hitchcock's American films are not only among the most admired works in world cinema, they also offer some of our most acute responses to the changing shape of American society in the 1940s, 50s, and 60s. The authors of this anthology show how famous films such as Strangers on a Train, Vertigo, North by Northwest, and Rear Window, along with more obscure ones such as Rope, The Wrong Man, and Family Plot, register the ideologies and insurgencies, the normative assumptions and the cultural alternatives, that shaped these tumultuous decades. They argue that, just as these films occupy a visual landscape defined by the grand monuments of American civic life--Mt. Rushmore, the Statue of Liberty, the United Nations--they are also marked by their preoccupation with the social mores and private practices of mid-century America. Not only are big-city and suburban life the explicit subjects of films like Rear Window and Shadow of a Doubt, so are the forms of experience that emerge within these social spaces, whether the urban voyeurism examined by the former or the intertwining of banality and violence depicted in the latter. Indeed, just about every form of American life that was achieving social power at this time--the national security state; the science and art of psychoanalysis; the privileging of the free-wheeling, improvisatory self; the postwar codification and fissuring of gender roles; road-culture and its ancillary creation, the motel--is given detailed, critical, and mordant examination in Hitchcocks films. The Hitchcock who emerges is not merely the inspired technician and psychological excavator that critics of the past two generations have justly hailed; he is also a cultural critic of remarkable insight and undeniable prescience.
What is 'creativity'? And what is 'madness'? How far can we interpret an artist's work through our knowledge of his or her mental state, and how far can we infer a mental state from a work of art? When does a work of art cease to be a personal statement by the artist and become a matter of public concern? The contributions to this book attempt to answer some of these questions. They come from a wide range of disciplines and experiences - a practising psychiatrist, a practising artist suffering from reactive depression, and critics working in literature, film, music and the visual arts. The essays include discussions of the 'myth of creativity', the music of Robert Schumann, the borders of sanity in the writing of Lawrence Durrell, the 'insane truth' of Virginia Woolf, the meeting of doctor and patient in the poetry of Anne Sexton, mood disorders in the fiction of David Foster Wallace, love and madness in the poetry of Hafiz of Shiraz, and the paintings of Adolf Wolfli. Central to this discussion of creativity, madness and civilisation is the difficulty of establishing an appropriate and effective vocabulary and mindset between critics and clinical psychiatrists, which would enable them to work together in understanding mental disturbance in creative artists.
This study delineates a theory of epistolary epic that refutes historical notions of a siecle sans poesie. It argues that monophonic, epistolary texts written during the Ancien Regime both reflect and resist the classical legacy and at the same time anticipate the nineteenth-century prose poem.

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