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Step right up, Ladies and Gentlemen! Gasp in awe at an epic pairing of impossibly beautiful ladies and gloriously grotesque monstrosities! Connoisseurs of the unusual are cordially invited to marvel at the spectacle of "Beauties Beasts", a first-of-its-kind melding of the creative talents of Olivia De Berardinis (world's greatest living pinup artist) and Jordu Schell (legendary creature creator). These two world-renowned artists have never been showcased together... until now. This book is a full-color catalog of the wildly popular "Beauties Beasts" exhibition that premiered at the Oceanside Museum of Art. Dare to enter a visually mesmerizing realm of sexy sirens and sinister super-freaks unlike anything you've ever imagined. Behold the spectacle of "Beauties Beasts"!
You think you know these stories, don’t you? You are wrong. You don’t know them at all. Twelve tales, twelve dangerous tales of mystery, magic, and rebellious hearts. Each twists like a spindle to reveal truths full of warning and triumph, truths that free hearts long kept tame, truths that explore life . . . and death. A prince has a surprising awakening . . . A beauty fights like a beast . . . A boy refuses to become prey . . . A path to happiness is lost. . . . then found again. New York Times bestselling author Soman Chainani respins old stories into fresh fairy tales for a new era and creates a world like no other. These stories know you. They understand you. They reflect you. They are tales for our times. So read on, if you dare. THE SCHOOL FOR GOOD AND EVIL is the #1 movie now streaming on Netflix—starring Academy Award winner Charlize Theron, Kerry Washington, Laurence Fishburne, Michelle Yeoh, Sofia Wylie, Sophie Anne Caruso, Jamie Flatters, Earl Cave, Kit Young, and many others!
Bewitching can be a beast. . . . Once, I put a curse on a beastly and arrogant high school boy. That one turned out all right. Others didn’t. I go to a new school now—one where no one knows that I should have graduated long ago. I’m not still here because I’m stupid; I just don’t age. You see, I’m immortal. And I pretty much know everything after hundreds of years—except for when to take my powers and butt out. I want to help, but things just go awry in ways I could never predict. Like when I tried to free some children from a gingerbread house and ended up being hanged. After I came back from the dead (immortal, remember?), I tried to play matchmaker for a French prince and ended up banished from France forever. And that little mermaid I found in the Titanic lifeboat? I don’t even want to think about it. Now a girl named Emma needs me. I probably shouldn’t get involved, but her gorgeous stepsister is conniving to the core. I think I have just the thing to fix that girl—and it isn’t an enchanted pumpkin. Although you never know what will happen when I start . . . bewitching.
Set in the early 1900s, Among the Beautiful Beasts is the untold story of the early life of Marjory Stoneman Douglas, known in her later years as a tireless activist for the Florida Everglades. After a childhood spent in New England estranged from her father and bewildered by her mother, who fades into madness, Marjory marries a swindler thirty years her senior. The marriage nearly destroys her, but Marjory finds the courage to move to Miami, where she is reunited with her father and begins a new life as a journalist in that bustling, booming frontier town. Buoyed by a growing sense of independence and an affair with a rival journalist, Marjory embraces a life lived at the intersection of the untamed Everglades and the rapacious urban development that threatens it. When the demands of a man once again begin to swallow Marjory’s own desires and dreams, she sees herself in the vulnerable, inimitable Everglades and is forced to decide whether to commit to a life of subjugation or leap into the wild unknown. Told in chapters that alternate between an urgent midnight chase through the wetlands and extensive narrative flashbacks, Among the Beautiful Beasts is at once suspenseful and deeply reflective.
Today's consumers are growing increasingly animal-conscious. In recent polls, sixty percent of women said they preferred products that were not tested on animals, while seventy-two percent of Americans said they preferred synthetic fur instead of animal fur. Yet, caring, compassionate people still wonder how they can look and feel great without wearing or consuming animal products. Heather Chase has the answer. In her groundbreaking book, Chase provides information and tools to help consumers choose animal-friendly skin care products, apparel, foods, entertainment, and more. Beauty without the Beasts contains specific product guidelines as well as background information on what products contain animal parts and how you can avoid them. Beautifully illustrated and written, Beauty without the Beasts will inform the mind, please the eye, touch the heart, and inspire the spirit.
This volume offers 28 versions of the fable of "Beauty and the Beast", with minimal adaptations from Europe, Asia, Africa, the Middle East and America. Afterwards, the author discusses Disney's film version of this familiar theme of a lonely beast transformed by the magic of human love.
Collects issues 7-12 of the SLG Publishing series Nightmares & Fairy Tales.
Beasts and Beauties examines the relationship between domesticity and power by focusing on the contemporaneous development of the invention of the 'pet' and the delineation of the home as a uniquely private enclosure, where the pater familias ruled over his own secluded world of domesticated wife, children, servants, and animals.
All societies around the world and through time value beauty highly. Tracing the evolutions of the Colombian standards of beauty since 1845, Michael Edward Stanfield explores their significance to and symbiotic relationship with violence and inequality in the country. Arguing that beauty holds not only social power but also economic and political power, he positions it as a pacific and inclusive influence in a country “ripped apart by violence, private armies, seizures of land, and abuse of governmental authority, one hoping that female beauty could save it from the ravages of the male beast.” One specific means of obscuring those harsh realities is the beauty pageant, of which Colombia has over 300 per year. Stanfield investigates the ways in which these pageants reveal the effects of European modernity and notions of ethnicity on Colombian women, and how beauty for Colombians has become an external representation of order and morality that can counter the pathological effects of violence, inequality, and exclusion in their country.
Discussions on non-human animals, other-than-human persons and religion originally emerged within the context of Christian theology, eco-theology and Western-based environmentalism. In response to that, and by adhering to post-modern discourses on, for instance, indigeneity, mimicry and hybridity, the volume explores South Asian cultural manifestations and aspects of localised knowledge in relation to the construction and the Otherisation of the concept of body and behaviour in non-human animals. The study of non-human animals as other-than-human persons (actual animals, but also animal-spirits, animal deities, etc.) has marked a significant shift in the ethics/politics of the academic study of religion. The chapters in this book investigate how South Asian religions, with their sacred narratives, ritualised practices and popular performances, bear witness to the active presence of non-human animals as both culture makers/bearers and symbols of spirituality. Further to that, with bourgeoning debates on religion, indigeneity, eco-theology and environmentalism, the volume urges for a consolidation and promotion of an analysis of the twofold epistemic violence exerted towards animals as subaltern to human animals and to animals in Western and Christian traditions. The book is divided into fifteen chapters, each dealing with non-human animals and the concept of animality in different South Asian traditions, or various aspects of the same tradition. The structure of the book reflects that of what is probably the most popular collection of folk tales on animals in South Asia, the Pancatantra. Like the original text, the volume is divided into five books (tantras) whose single stories (our chapters) act as sub-strings inscribed in larger narrative frames. As in the original Pancatantra, the principal themes of each book are signalled by key words which provide the link between successive narrative cycles. Such a structural arrangement creates the backbone for the main body of the book allowing for an articulate, clear and reasoned discussion of single themes, such as 1) non-human animals as divine portents in situations of imbalance; 2) non-human animals as restorers of order and symbols of cultural identity; 3) non-human animals as exemplary beings and spiritual teachers in sacred narratives; 4) non-human animals as symbols of love and object of human reverence; 5) non-human animals as portents symbolising the life cycle, including its inevitable end. In the conclusion, the editors summarise what has been achieved with this academic 'narrative' and reflect constructively on its outcomes as well as future developments with respect to past and present scholarship.