With practical experience both of field work and of the intelligence bureaucracy at home and abroad, Stewart examines successes and failures via case studies, considers the limitations and usefulness of the intelligence product, and warns against the tendency to abuse or ignore it when its conclusions do not fit with preconceived ideas.
The monograph series Oxford Studies in Medieval Literature and Culture showcases the plurilingual and multicultural quality of medieval literature and actively seeks to promote research that not only focuses on the array of subjects medievalists now pursue in literature, theology, and philosophy, in social, political, jurisprudential, and intellectual history, the history of art, and the history of science but also that combines these subjects productively. It offers innovative studies on topics that may include, but are not limited to, manuscript and book history; languages and literatures of the global Middle Ages; race and the post-colonial; the digital humanities, media and performance; music; medicine; the history of affect and the emotions; the literature and practices of devotion; the theory and history of gender and sexuality, ecocriticism and the environment; theories of aesthetics; medievalism. When Geoffrey Chaucer is named the 'Father of English poetry', an inherent assumption about paternity is transmitted. Chaucer's 'fatherhood' is presented as a means of poetic legitimization, a stable mode of authority that connects the medieval author with all the successive generations of English writers. This book argues, however, that for Chaucer himself, paternity was a far more fraught ambition, one capable of devastating male identity as surely as it could enshrine it. Moving away from anachronistic assumptions about reproduction and authority, this book argues that Chaucer profoundly struggled with his own desire to create something that would last past his own death. For Chaucer also believed that men were the humble, mortal playthings of an all too distant God. Medieval Christianity taught that the earth was but a temporary, sorrowful abode for corrupted men, and that the fall from grace was reborn within each generation of Adam's sons. Chaucer knew that God had set sharp limits upon man's ability to create with certainty, and to determine his own posterity. Yet, what could be more human than the longing to wrest some small authority from one's own mortal flesh? This book argues that this essential intellectual, ethical, and religious crisis lies at the very heart of Chaucer's Canterbury Tales. Within this masterpiece of English literature, Chaucer boldly confronts the impossibility of his own aching wish to see his offspring, biological and poetic, last beyond his own death, to claim the authority simultaneously promised and denied by the very act of creation.
Les apparences sont trompeuses, Elixir le sait mieux que personne. Grâce à son don d’empathe, elle peut lire les âmes, comprendre les sentiments profonds d’un être, et ainsi, départager les coupables des innocents. Mais où s’arrêtent ses propres sentiments ? Quand les émotions se mêlent, difficile de rester impartiale. Samantha Bailly est une autrice, scénariste et vidéaste française. Naviguant de genre en genre, elle a écrit des romans de fantasy ou réalistes contemporains, des contes, des scénarios de mangas et de films, notamment Oraisons et Ce qui nous lie. Très engagée pour la défense des auteurs, elle participe à la fondation de la Ligue des auteurs professionnels en 2018. Elle a aussi une chaîne YouTube, où elle publie conseils et anecdotes !
À tout juste 19 ans, Elise est l'auteur d'une saga romanesque qui fait un véritable carton. Mais elle fait tout pour rester dans l’ombre du succès. Des années plus tôt, elle a eu un grave accident qui lui a laissé de profondes et visibles cicatrices. Depuis, elle fait tout pour garder son anonymat... Mais son éditeur l’oblige à suivre en personne le tournage du film adapté de ses livres. Un blockbuster dans lequel Gavin Hartley, son acteur préféré, sera le héros ! Alors, pour ne pas dévoiler son secret, elle demande à une doublure, Veronica, de jouer son rôle d'auteur à succès, tandis qu'elle fera semblant d’être son assistante. Mais ce petit jeu énerve assez vite Elise, car c'est Veronica qui récolte tous les honneurs. Pour conquérir le beau Gavin, Elise va devoir assumer sa véritable identité. Au risque de perdre ses fans et d’exhumer les lourds secrets de son enfance... Pour conquérir le garçon qu'elle aime, elle va enfin devoir s'assumer...
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