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Ihara Saikaku "wrote of the lowest class in the Tokugawa world -- the townsmen who were rising in wealth and power but not in official status."--Back cover.
Amorous Aesthetics traces the development of intellectual love from its first major expression in Baruch Spinoza’s Ethics, through its adoption and adaptation in eighteenth-century moral and natural philosophy, to its emergence as a Romantic tradition in the work of six major poets.
Among the more interesting incunabula preserved in the Salle de la Réserve of the Bibliothèque National in Paris are the apparently unique copies of two editions, very similar in content, of a work entitled Les Adevineaux amoureux. In much more comprehensive form Les Adevineaux amoureux is preserved in a manuscript belonging to the Musée Conde at Chantilly. All three texts, in medieval French, appear to date from the 1470s. The present work, Amorous Games, is a critical edition of Les Adevineaux amoureux. Amorous Games is a miscellany whose principal unifying force is the compiler's aim to provide a manual of conversation and entertainment for polite society. Included are series of questions and answers belonging to the well-established medieval tradition of the "Demandes amoureuses"; a very large number of riddles, mainly folk riddles; and "venditions en amours," little poems that apparently came into bing as part of a social game. Students of medieval French literature, particularly those with a penchant for some of the minor genres, will find new material in the Amorous Games. Folklorists will discover what is probably the largest collection of riddles bequeathed to us by medieval France and also much that is of value to specialists in the proverb and folk tale. For this critical edition of Les Adevineaux amoureux Professor Hassell has selected the Chantilly manuscript, because it is the most complete and also because it had not yet been published. The Appendix contains the text of the more complete of the two incunabula and the significant variants appearing in the other fifteenth-century printed edition. The manuscript text has been collated with that of the incunabula, and copious notes and an index to the riddles have been supplied. In his introduction Professor Hassell discusses in detail the major classes and subclasses of the riddle, drawing on the work of Petsch, Taylor, Abrahams, and other scholars of the genre.
In The Amorous Imagination, D. Andrew Yost builds upon Jean-Luc Marion's phenomenology of love to argue that through the interpretive activities of the imagination the Beloved appears to the lover as this Other, not the Other. Weaving together insights from Romantic thought and contemporary French philosophy, Yost describes the distinctive role the imagination plays in individuating another person so that they appear radically unique, special, and unsubstitutable. This radical uniqueness—or haecceitas—emerges out of the lovers' engagement in an "endless hermeneutic," an ongoing process of creative and responsive meaning-making that grounds the lovers' lives in each other and opens them up to new possibilities. All of this, Yost argues, is made possible by the amorous imagination. Drawing from the deep well of love poetry, mythology, philosophy, and literature The Amorous Imagination comes to the provocative conclusion that without the productive power of the imagination love itself could not emerge.
When Louis XVIII returned to the throne in 1814, and again in 1815, France embarked upon a period of uneasy cohabitation between the old and the new. The writers of the age, who included Chateaubriand, Stendhal, Balzac, and Mme de Duras, agreed that they lived at a historical turning point, a transitional moment whose outcome, though still uncertain, would transform the French way of life--beginning with the French way of love. The literary works of the Bourbon Restoration ceaselessly return to the themes of love, sex, and marriage, partly as vital cultural questions in their own right, but also as a means of critiquing the deficiencies of past regimes, negotiating the politics of the present, and imagining the shape of the political future. In the literature of the Restoration, love and politics become entwined in a mutually metaphorical embrace. The Amorous Restoration, the first book in English devoted to literary and cultural life under the last Bourbon kings, considers this relationship in all its richness and many contradictions. Long neglected as a drab historical backwater, the Restoration emerges here as a vibrant era, one rife with sharp cultural and political disagreements, and possessed of an especially refined sense of allusion, discretion, and even humour. Drawing on literature, journalism, political writing, life writing, and gossip, The Amorous Restoration vividly recreates the erotic sensibilities of a pivotal moment in the transition from an amorous old regime to erotic--and political--modernity.
An eminent scholar unearths the captivating history of the two-lobed heart symbol from scripture and tapestry to T-shirts and text messages, shedding light on how we have expressed love since antiquity The symmetrical, exuberant heart is everywhere: it gives shape to candy, pendants, the frothy milk on top of a cappuccino, and much else. How can we explain the ubiquity of what might be the most recognizable symbol in the world? In The Amorous Heart, Marilyn Yalom tracks the heart metaphor and heart iconography across two thousand years, through Christian theology, pagan love poetry, medieval painting, Shakespearean drama, Enlightenment science, and into the present. She argues that the symbol reveals a tension between love as romantic and sexual on the one hand, and as religious and spiritual on the other. Ultimately, the heart symbol is a guide to the astonishing variety of human affections, from the erotic to the chaste and from the unrequited to the conjugal.
Illustrating the cultural significance of film and its power as a vehicle for social change, this book reveals the intricacies of the cultural movement and explores its connections to other art forms such as photography, drama, and literature.