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The history books tell us that Piers Gaveston was many things: arrogant, ambitious, avaricious, flamboyant, extravagant, reckless, brave, and daring, indiscreet, handsome, witty, vivacious, vain, and peacock-proud, a soldier and champion jouster, the son of a condemned witch, who used witchcraft, his own wicked wiles, and forbidden sex to entice and enslave King Edward II, alienate him from his nobles and advisors, and keep him from the bed of his beautiful bride Isabelle. Edward's infatuation with Gaveston, and the deluge of riches he showered on him, nearly plunged England into civil war. Now the object of that scandalous and legendary obsession tells his side of the story in The Confession of Piers Gaveston: "Mayhap even now, when I have only just begun, it is already too late to set the story straight. My infamy, I fear, is too well entrenched. Whenever they tell the story of Edward's reign I will always be the villain and Edward, the poor, weak-willed, pliant king who fell under my spell, the golden victim of a dark enchantment. There are two sides to every coin; but when the bards and chroniclers, the men who write the histories, tell this story, will anyone remember that?"
A brilliant retelling of a true medieval tale that has entered gay mythology. "What Hunt has done is no less than the finest of literature: creating myth, in its most powerful form, whose vision enriches us" -- John Preston "Chris Hunt has carved out a comfortable niche as the author of highly readable historical epics set against a well-researched background" -- Gay times, London "First of all, let it be set down that Piers Gaveston was the most beautiful creation on God's earth, and if it had not been so, his joys and his pains would have been in proportion the less. Set it down that Gaveston had eyes as green as emeralds, and a smile that dazzled like the sun..". And so Edward II begins the famous tale of his excellent Gaveston. They were young lovers blinded by dreams of Camelot and knights in shining armor, but caught in a web of courtly jealousy and prejudice that eventually destroyed them both. Their story has inspired writers and dramatists from Christopher Marlowe to Derek Jarman, and is recreated here in Chris Hunt's inimitable and well-researched style.
This is the eighth edition of the classic work on the royal ancestry of certain colonists who came to America before the year 1700, and it is the first new edition to appear since 1992, reflecting the change in editorship from the late Walter Lee Sheppard, Jr. to his appointed successors William and Kaleen Beall. Like the previous editions, it embodies the very latest research in the highly specialized field of royal genealogy. As a result, out of a total of 398 ancestral lines, 91 have been extensively revised and 60 have been added, while almost all lines have had at least some minor corrections, amounting altogether to a 30 percent increase in text. Previous discoveries have now been integrated into the text and recently discovered errors have been corrected. And for the first time, thanks to the efforts of the new editors, this edition contains an every-name index, replacing the cumbersome indexes of the past. In addition to Alfred the Great, Charlemagne, Malcolm of Scotland, and Robert the Strong, descents in this work are traced from the following ancestral lines: Saxon and English monarchs, Gallic monarchs, early kings of Scotland and Ireland, kings and princes of Wales, Gallo-Romans and Alsatians, Norman and French barons, the Riparian branch of the Merovingian House, Merovingian kings of France, Isabel de Vermandois, and William de Warenne.
A contemporary of Shakespeare, Marlowe's life was cut short when he died at the age of 29. Take a closer look at Tamburlaine Part I and II, The Jew of Malta, Dr. Faustus and Edward II.
Cognitive cultural theorists have rarely taken up sex, sexuality, or gender identity. When they have done so, they have often stressed the evolutionary sources of gender differences. In Sexual Identities, Patrick Colm Hogan extends his pioneering work on identity to examine the complexities of sex, the diversity of sexuality, and the limited scope of gender. Drawing from a diverse body of literary works, Hogan illustrates a rarely drawn distinction between practical identity (the patterns in what one does, thinks, and feels) and categorical identity (how one labels oneself or is categorized by society). Building on this distinction, he offers a nuanced reformulation of the idea of social construction, distinguishing ideology, situational determination, shallow socialization, and deep socialization. He argues for a meticulous skepticism about gender differences and a view of sexuality as evolved but also contingent and highly variable. The variability of sexuality and the near absence of gender fixity--and the imperfect alignment of practical and categorical identities in both cases--give rise to the social practices that Judith Butler refers to as "regulatory regimes." Hogan goes on to explore the cognitive and affective operation of such regimes. Ultimately, Sexual Identities turns to sex and the question of how to understand transgendering in a way that respects the dignity of transgender people, without reverting to gender essentialism.