The author explores the connections between Smiths work and mass media production; twentieth-century historical events; her romantic and Victorian predecessors; and such contemporaries as Virginia Woolf, Dorothy Parker, Aldous Huxley, and Evelyn Waugh. By presenting Smith in the cultural milieu surrounding World War II, Severin illuminates the still dark period of British womens writing from 1930 to 1960. Focusing on the complete works of Stevie Smith, Severin suggests that Smiths boundary-crossing art forms, which transgress genres and even media, represent an attempt to undo the coherence of femininity as defined in the conservative period of World War II.
This study examines the performed poetry of Charlotte Mew, Anna Wickham, Edith Sitwell, Stevie Smith, Liz Lochhead, and Jackie Kay as an alternative radical tradition of British poetry, developed to convey women's experience. Through a historical treatment in which the poets are discussed in pairs, the chapters trace how these six women used a performative poetry to deal with difficulties regarding women's representation: from simply presenting difference in the case of Mew and Wickham, to deconstructing difference in the case of Sitwell and Smith, to avoiding the recapture of cultural imagery in the case of Lochhead and Kay. Laura Severin claims that twentieth-century British women poets have been neglected by both feminist and more traditional literary critics because they cannot be read within available literary frameworks. Feminist criticism, in particular, has overlooked the value of other poetic ancestries by locating the only radical tradition of modern poetry in fractured form. At least one alternative radical tradition can be found in a narrative and performed poetry that maximizes its transgressive potential with multiple framing devices. Though a female poet always experiences difficulty in controlling both cultural imagery and her own public presentation, these framing devices work together both to deconstruct the essentialized category of woman and to recover the multiplicity of women's experience.
Six Sizzling Hot Puma Shifters, Six Sexy Stories...One low price... The Bayou Heat Collection Two includes the following six bestselling paranormal romance titles by Alexandra Ivy and Laura Wright: SEBASTIAN/ARISTIDE LIAN/ROCH HAKAN/SEVERIN Author Note: Each title can be purchased individually or as a box set. 120,000 words. A USA Today Bestselling series Books 7&8 SEBASTIAN Sebastian Duval has devoted his life to ensuring the survival of his people. He’ll do whatever is necessary to protect the Wildlands, even if it means working with the human FBI. Reny Smith refuses to allow her amnesia to ruin her life. She’s created a new identity and is determined to become a successful FBI agent. Unfortunately, she’ll have to choose whether to run from the man who threatens to strip away her defenses, or listen to her heart and become the woman she was always meant to be. ARISTIDE Gorgeous Nurturer Aristide, is a rare male. He wants to be mated, wants love and a family. But Aristide must decide between the abiding want of his puma heart and the vow he’s made to his shifter species. Reporter Katherine Burke lives for one thing. Her five-year-old son, Noah. She will do anything to protect him, including writing heinous lies about a group of puma shifters she doesn’t even believe exist. Books 9&10 LIAN The Hunter: Lian isn’t a happy puma. He’s a lethal Hunter who should be out fighting the enemy, not babysitting a human scholar. Still, he’ll do whatever necessary to rid the world of the evil goddess, Shakpi. The Scholar: Dr. Sage Parker has always known she’s different. Not only because she’s a genius with languages, but because she has a weird ability to see auras around people. Then Lian charges into her life, dragging her out of the safety of her home and she must translate the ancient Pantera scrolls before Shakpi destroys the male she loves. ROCH Brilliant Diplomat Roch is devoted to his work. The sexy, blond male wants nothing more than to keep his life just as it is. But when he falls ill, he’s forced to find help in the human world. Attorney Lydia Page has not only been fired from her job for being pregnant, but the clinic where she was inseminated wants her to end the pregnancy because she’s carrying an ‘animal.’ She loves her unborn child, and soon realizes that the only way to keep herself and her baby safe is to accept the help of a mysterious and very handsome puma shifter. Books 11&12 HAKAN Hakan never apologizes for being a lethal, barely civilized Hunter, but he understands that he has to be careful when it comes to his future mate, Payton. When he discovers she’s been captured, however, he’s done waiting. Payton understands that there’s nothing more important than discovering why their newest enemies are targeting the Pantera. Does she listen to her pride, or give in to the urgings of her fragile heart? SÉVERIN Séverin has lived the last ten years of his life in his puma form. He is feral, predatory and angry at the human world. When he comes upon a human female running scared through his Wildlands domain, he wants nothing more than to get her back to the border. But as she finds shelter with him in his rustic treehouse, the male inside him starts to emerge, threatening his still-caged heart. Running from her abusive ex, Taylor is desperate for a place to hide. Luckily, there is one Pantera who might want the beautiful teacher to stay. Can they both listen to their hearts and allow the first real love of their lives in?
Sprung from vicious and dysfunctional generations, the narcissistic muse, Estefania Viennese, and the self-negating artist, Severin von Zweighaupt, succumb to the unwholesome love they harbour for each other. During Estefania's pregnancy with triplets, her mental illness resurfaces. As she degenerates, the couple grapples with a trauma-stricken family of their own creation. Gabriela, their middle child, suffers from grief and individuation within a family of controversial artists and performative megalomaniacs. She brings an antique object into their house that will irrevocably influence the course of events for years to come. This literary novel of artistry and dysfunction is not for the faint of heart. It dives deep into a family of decadents distorted by sexuality, deprivation, sickness, memory, identity and death.
Può l’amore per un’artista spingersi a tal punto da organizzare il suo rapimento? Un giorno Laura, cantautrice italo americana di fama internazionale, si sveglia e scopre di essere stata rapita da un gruppo di fan. A capo della gang c’è Emma, la fondatrice del suo più grande fan club. I giorni di prigionia saranno l’occasione per entrambe di conoscersi e di ripercorrere alcuni episodi della propria vita. Tuttavia, a Laura qualcosa non quadra: la situazione ha degli aspetti poco chiari che non la convincono del tutto e non smette mai di desiderare la sua libertà. Ma quando riuscirà finalmente a ottenerla, troverà la sua vita sconvolta da un profondo e inesorabile cambiamento. Tornano Laura e Paola, e altri personaggi legati alle vite delle protagoniste. Un’incursione nel mondo saffico (e dintorni) e in quello un po’ pazzo dei fan. Ma è soprattutto un viaggio alla scoperta della nostra straordinaria capacità di amare oltre le convenzioni; di superare i nostri condizionamenti e andare oltre noi stessi. Nonché di accettare ciò che la vita ci mette davanti anche quando non corrisponde esattamente ai nostri sogni.
The author explores the connections between Smiths work and mass media production; twentieth-century historical events; her romantic and Victorian predecessors; and such contemporaries as Virginia Woolf, Dorothy Parker, Aldous Huxley, and Evelyn Waugh. By presenting Smith in the cultural milieu surrounding World War II, Severin illuminates the still dark period of British womens writing from 1930 to 1960. Focusing on the complete works of Stevie Smith, Severin suggests that Smiths boundary-crossing art forms, which transgress genres and even media, represent an attempt to undo the coherence of femininity as defined in the conservative period of World War II.
Differences in attitudes to death and dying in two distinct social classes, the ecclesiastics and the nobility. The theory of the three estates made clear distinctions between the functions of the two estates which comprised the elite of medieval society: the oradores (ecclesiastics) and the defensores (warriors or nobility).They had different lifestyles, clothing and ways of thinking about life. With regard to death, the responses dictated by Christian theology conflicted with the demands of the defensor ideology, based on the defence of individual honour, the pursuit of fama and the display of earthly power. This book charts the progress of the dying from their preparations for death, through their 'good' or 'bad' deaths, to their burials and otherworldly fates and also analyses the responses of the bereaved. Through the use of pre-fifteenth-century texts it is possible to demonstrate that the conflict between the orador and defensor ideologies did not begin in the fifteenth century, but rather had a much older origin, and it is suggested that the conflict continued after 1500. Textual sources include the Siete partidas, wills, chronicles, religious works such as the Arte de bien morir and literary works such as Cárcel de Amor and Celestina.
Interrupting Class Inequality in Higher Education explores why socioeconomic inequality persists in higher education despite widespread knowledge of the problem. Through a critical analysis of the current leadership practices and policy narratives that perpetuate socioeconomic inequality, this book outlines the trends that negatively impact low- and middle-income students and offers effective tools for creating a more equitable future for higher education. By taking a solution-focused approach, this book will help higher education students, leaders, and policy makers move from despair and inertia to hope and action.
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