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This is a materialist-feminist, psychoanalytic analysis of a modern Japanese literary trope—the dangerous woman, linked to archaisms and magical realms and found throughout the Japanese canon—in the works of three 20th-century writers: Izumi Kyoka (1873–1939), Enchi Fumiko (1905–86), and Nakagami Kenji (1946–92).
Named one of 2021’s Most Anticipated Historical Novels by Oprah Magazine ∙ Cosmopolitan ∙ and more! Nearly two hundred condemned women board a transport ship bound for Australia. One of them is a murderer. From debut author Hope Adams comes a thrilling novel based on the 1841 voyage of the convict ship Rajah, about confinement, hope, and the terrible things we do to survive. London, 1841. One hundred eighty Englishwomen file aboard the Rajah, embarking on a three-month voyage to the other side of the world. They're daughters, sisters, mothers—and convicts. Transported for petty crimes. Except one of them has a deadly secret, and will do anything to flee justice. As the Rajah sails farther from land, the women forge a tenuous kinship. Until, in the middle of the cold and unforgiving sea, a young mother is mortally wounded, and the hunt is on for the assailant before he or she strikes again. Each woman called in for question has something to fear: Will she be attacked next? Will she be believed? Because far from land, there is nowhere to flee, and how can you prove innocence when you’ve already been found guilty?
What does it mean for the Sun to call Shami Chakrabarti ‘the most dangerous woman in Britain’ or the Daily Mail to label Nicola Sturgeon ‘the most dangerous wee woman in the world’? What, really, does it mean to be a dangerous woman? This powerful anthology presents fifty answers to that question, reaching past media hyperbole to explore serious considerations about the conflicts and power dynamics with which women live today. In Dangerous Women, writers, artists, politicians, journalists, performers and opinion-formers from a variety of backgrounds – including Irenosen Okojie, Jo Clifford, Bidisha, Nada Awar Jarrar, Nicola Sturgeon and many more – reflect on the long-standing idea that women, individually or collectively, constitute a threat. In doing so, they celebrate and give agency to the women who have been dismissed or trivialised for their power, talent and success – the women who have been condemned for challenging the status quo. They reclaim the right to be dangerous.
With an important introduction by C. Everett Koop and passionate endorsements from Senator Edward M. Kennedy and public officials from every major city in the U.S., this authoritative and timely guide calls for the diagnosis and treatment of urban violence as a public health crisis.
This 1980 book examines witchcraft beliefs and experiences in the Bocage, a rural area of western France. It also introduced a powerful theoretical attitude towards the progress of the ethnographer's enquiries, suggesting that a full knowledge of witchcraft involves being 'caught up' in it oneself. In the Bocage, being bewitched is to be 'caught' in a sequence of misfortunes. According to those who are bewitched, the culprit is someone in the neighbourhood: the witch, who can cast a spell with a word, a touch or a look, and whose 'power' comes from a book of spells inherited from an ancestor. Only a professional magician, an 'unwitcher', has any chance of breaking the succession of misfortunes which befall those who have been bewitched. He undertakes a battle of magic with the suspected witch, a battle which is eventually fatal.
Though best known for his "Chronicles," Froissart was also one of the great poets of the 14th century. The first and perhaps most important disciple of Machaut, he produced courtly narrative "dits," an enormous Arthurian romance ("M liador"), and numerous lyrics. La Prison Amoureuse is probably the most important of his narrative "dits." Inspired by Machaut's "Le Voir Dit," the Prison presents a literary correspondence between a poet and patron, whose names are hidden behind allegorical pseudonyms. The Prison cleverly intercalates the men's prose letters to each other, as well as their lyric compositions, into its narrative frame. Critics have read the work as everything from pure fancy and courtly fluff to a recreation of the letters exchanged between Froissart and his patron, Wenceslas of Luxemburg, during the latter's captivity of 1372. The very difficulty of interpretation makes the "Prison "of importance to scholars interested in the relationship between artists and patrons, and the place of literature in society, during the Hundred Years War. This new edition also provides the first English translation of a major work by a writer who almost certainly knew and influenced Chaucer.
Women and Democracy in Cold War Japan offers a fresh perspective on gender politics by focusing on the Japanese housewife of the 1950s as a controversial representation of democracy, leisure, and domesticity. Examining the shifting personae of the housewife, especially in the appealing texts of women's magazines, reveals the diverse possibilities of postwar democracy as they were embedded in media directed toward Japanese women. Each chapter explores the contours of a single controversy, including debate over the royal wedding in 1959, the victory of Japan's first Miss Universe, and the unruly desires of postwar women. Jan Bardsley also takes a comparative look at the ways in which the Japanese housewife is measured against equally stereotyped notions of the modern housewife in the United States, asking how both function as narratives of Japan-U.S. relations and gender/class containment during the early Cold War.
A story taking place on either side of Lethal Seduction finds celebrity magazine writer Madison Castelli digging into her mob hitman father's past in order to discover the truth about her mother's death and encountering a vortex of greed, lust, and deception that threatens her life. Reprint.
"Portions of chapter 4 were previously published in slightly different form in "So bad she's good: the masochist's heroine in Japan, Abe Sada," in Bad girls of Japan, edited by Laura Miller and Jan Bardsley (London: Palgrave Macmillan, 2005), 141-67"--T.p. verso.
Evil is not only an abstract concept to be analyzed intellectually, but a concrete reality that we all experience and wrestle with on an ongoing basis. To truly understand evil we must always approach it from both angles: the intellective and the phenomenological. This same assertion resounds through each of the papers in this volume, in which an interdisciplinary and international group (including nurses, psychologists, philosophers, professors of literature, history, computer studies, and all sorts of social science) presented papers on cannibalism, the Holocaust, terrorism, physical and emotional abuse, virtual and actual violence, and depravity in a variety of media, from film to literature to animé to the Internet. Conference participants discussed villains and victims, dictators and anti-heroes, from 921 AD to the present, and considered the future of evil from a number of theoretical perspectives. Personal encounters with evil were described and analyzed, from interviews with political leaders to the problems of locating and destroying land mines in previous war zones. The theme of responsibility and thinking for the future is very much at the heart of these papers: how to approach evil as a question to be explored, critiqued, interrogated, reflected upon, owned. The authors urge an attitude of openness to new interpretations, new perspectives, new understanding. This may not be a comfortable process; it may in fact be quite disturbing. But ultimately, it may be the only way forward towards a truly ethical response. The papers in this collection provide a wealth of food for thought on this most important question.