A Working History of Working Girls (and Guys) Have you ever wondered how Heidi Fleiss came to be the face of upscale prostitution or if Casanova really was the world's greatest lover? How about why Latin playboy Rubi Rubirosa got the nickname "The Ding Dong Daddy"? Anything but judgmental, Whore Stories sheds light on one of our more stigmatized icons: The Prostitute. Featuring the true stories of famous streetwalkers, call girls, rent boys, and go-go dancers, this book offers a revealing look at the men and women who have blazed the bawdy trail of prostitution since the dawn of time. While you may think that you know everything about this occupation, Whore Stories includes plenty of details and even celebrities, such as Maya Angelou and Bob Dylan, that will leave you in awe. From private schools and child preachers to mime fantasies and unfortunate amputations, this book uncovers the truth behind the world's oldest profession.
Provides a close-up look at the many stage productions of the musical and its film adaptation of Patrick Dennis's best-selling novel Auntie Mame, looking at the creation of this legendary fictional character and the impact it had on the lives and careers of such celebrities as Rosalind Russell, Angela Lansbury, and Lucille Ball who took on the role of Mame. Reprint. 15,000 first printing.
The American moral governmental theory of the atonement (MGT) was arguably the most contextualized doctrine of atonement in the history of the Protestant tradition. Hewn from the theology of Jonathan Edwards, and engineered to address the theological, political, philosophical, moral, and even economic milieu in the early republic, MGT became the doctrinal centerpiece of “the first indigenous American school of Calvinism.” As a result, it stands as a kind of theological time capsule to the people and principles that shaped the tumultuous period between the first Great Awakening and the Civil War when it flourished in America. For over a century in the Anglo-American world, the doctrine of atonement was under heavy construction in the broader Reformed community. By endowing new meaning to old theological terms like imputation, substitution, justice, punishment, and even atonement, MGT represents a theological watermark of sorts in Reformed dogmatics, defining its limits, testing its boundaries, and demanding a level of precision from today’s theologians. This book offers a contextualization, distillation, and conversation with this Edwardsean doctrine of atonement.
Revolting Subjects is a groundbreaking account of social abjection in contemporary Britain, exploring how particular groups of people are figured as revolting and how they in turn revolt against their abject subjectification. The book utilizes a number of high-profile and in-depth case studies - including 'chavs', asylum seekers, Gypsies and Travellers, and the 2011 London riots - to examine the ways in which individuals negotiate restrictive neoliberal ideologies of selfhood. In doing so, Tyler argues for a deeper psychosocial understanding of the role of representational forms in producing marginality, social exclusion and injustice, whilst also detailing how stigmatization and scapegoating are resisted through a variety of aesthetic and political strategies. Imaginative and original, Revolting Subjects introduces a range of new insights into neoliberal societies, and will be essential reading for those concerned about widening inequalities, growing social unrest and social justice in the wider global context.
After killing her mother with a carving knife, Mary Lamb spent the rest of her life in and out of madhouses; yet the crime and its aftermath opened up a new life. Freed to read extensively, she discovered her talent for writing and, with her brother, the essayist Charles Lamb, collaborated on the famous Tales from Shakespeare. This narrative of a nearly forgotten woman is a tapestry of insights into creativity and madness, the changing lives of women, and the redemptive power of the written word.
This book discusses WWI-era music in a historical context, explaining music's importance at home and abroad during WWI as well as examining what music was being sung, played, and danced to during the years prior to America's involvement in the Great War. Why was music so important to soldiers abroad during World War I? What role did music—ranging from classical to theater music, rags, and early jazz—play on the American homefront? Music of the First World War explores the tremendous importance of music during the years of the Great War—when communication technologies were extremely limited and music often took the place of connecting directly with loved ones or reminiscing via recorded images. The book's chapters cover music's contribution to the war effort; the variety of war-related songs, popular hits, and top recording artists of the war years; the music of Broadway shows and other theater productions; and important composers and lyricists. The author also explores the development of the fledgling recording industry at this time.
The founders and forerunners of the Southern Baptist Convention were fundamentally shaped by the thought of Puritan theologian Jonathan Edwards and his theological successors. While Baptists in the antebellum South boasted a different theological pedigree than Presbyterians or Congregationalists, and while they inhabited a Southern landscape unfamiliar to the bustling cities and tall forests of New England, they believed their similarities with Edwards far outweighed their differences. Like Edwards, these Baptists were revivalistic, Calvinistic, loosely confessional, and committed to practical divinity. In these four things, Southern Edwardseanism lived, moved, and had its being. In the nineteenth-century, when so many Presbyterians scoffed at Edwards's "innovation" and Methodists scorned his Calvinism, Baptists found in Edwards a man after their own heart. By 1845, at the first Southern Baptist Convention, Southern Edwardseans had laid the groundwork for a convention marked by the theology of Jonathan Edwards.
This is a chronology of the most famous songs from the years before rock 'n' roll. The top hits for each year are described, including vital information such as song origin, artist(s), and chart information. For many songs, the author includes any web or library holdings of sheet music covers, musical scores, and free audio files. An extensive collection of biographical sketches follows, providing performing credits, relevant professional awards, and brief biographies for hundreds of the era's most popular performers, lyricists, and composers. Includes an alphabetical song index and bibliography.
A formal analysis A Singing Contest comprises close readings of Seamus Heaney's poetry. Tyler argues that in an era of fractured poetry and politics, Seamus Heaney stands out: his impulse is towards unity and regeneration. Her book considers the interplay between different kinds of literary tradition and community in his poetry. For Heaney, poetry represents a structure allowing imaginative mediation of conflicts that appear irreconcilable in the social, political and historical realms. By detailed structural analysis of diction, meter, imagery and generic form, Tyler illustrates how Heaney's poems create concords from discords, unities from fracture. From the preface by Rosanna Warren: A Singing Contest is written with imaginative and emotional urgency, and in some large sense, as it examines Heaney's spells, it seems itself to want to cast a spell against death. Hence Tyler's return, in various ways, to readings of elegy, whether the fictive elegies of classical pastoral poems, or Heaney's personal elegies. She pores in detail over Clearances, the sonnet sequence composed in memory of the poet's mother in The Haw Lantern, and she concludes her book with a chapter on literary elegies, Heaney's farewells to his friends and admired contemporaries Ted Hughes, Zbigniew Herbert, and Joseph Brodsky. In these analyses, one sees the wholeness of Tyler's project: her argument that for Heaney, literary tradition itself, rightly received and transformed, reaches into the voids made by death, and establishes connection across rupture. Her thesis is an ancient one, and she gives it particular shape and force in asking us to contemplate it at work in Heaney, where it binds individual to collective experience, and past to present.
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