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Boone has been spending more and more time at work. He’s been making more money than ever, but his wife, Lacy, isn’t thrilled—especially after Boone forgets about their wedding anniversary. Now, she’s ready to split up, but Boone is willing to try anything to save the marriage, though he isn’t thrilled when Lacy suggests couples counselling. She’s even got a place picked out: one week of counselling at a resort called The Last Resort, on the California coast. It’s a private resort with a radical treatment style, which involves a clean shave, some makeup, and lots of women’s clothing.
American novels written in the wake of the Revolution overflow with self-conscious theatricality and impassioned excess. In The Plight of Feeling, Julia A. Stern shows that these sentimental, melodramatic, and gothic works can be read as an emotional history of the early republic, reflecting the hate, anger, fear, and grief that tormented the Federalist era. Stern argues that these novels gave voice to a collective mourning over the violence of the Revolution and the foreclosure of liberty for the nation's noncitizens—women, the poor, Native and African Americans. Properly placed in the context of late eighteenth-century thought, the republican novel emerges as essentially political, offering its audience gothic and feminized counternarratives to read against the dominant male-authored accounts of national legitimation. Drawing upon insights from cultural history and gender studies as well as psychoanalytic, narrative, and genre theory, Stern convincingly exposes the foundation of the republic as an unquiet crypt housing those invisible Americans who contributed to its construction.
A monograph that re-evaluates the final decade of Henry James' creative life. It examines the narrative of "The American Scene", the autobiographical writing, a number of short stories and two incomplete novels: works which offer contrasting notations of the self.
Originally published and edited by Jeffrey D. Smith in 1975, Khatru 3&4's symposium on women in science fiction was a detailed conversation among some of the most well-known authors of 70s feminist science fiction, including Suzy McKee Charnas, Samuel R. Delany, Vonda N. McIntyre, Joanna Russ, James Tiptree Jr. (before her true identity of Alice B. Sheldon was known), Kate Wilhelm, Chelsea Quinn Yarbro, and others, The opinions expressed by participants are still radical today. This 1993 update of the symposium includes new material by some of the original participants and commentary by others, including Pat Murphy, Karen Joy Fowler, Gwyneth Jones, and Jeanne Gomoll. Cover by Judith M Weiss, illustrations by Georgie Schnobrich.
Arguing that vision was the dominant mode for understanding suffering in the Romantic era, Elizabeth A. Dolan shows that Mary Wollstonecraft, Charlotte Smith, and Mary Shelley experimented with aesthetic and scientific visual methods in order to expose the social structures underlying suffering. Dolan's exploration of illness, healing, and social justice in the writings of these three authors depends on two major questions: How do women writers' innovations in literary form make visible previously unseen suffering? And, how do women authors portray embodied vision to claim literary authority? Dolan's research encompasses a wide range of primary sources in science and medicine, including nosology, health travel, botany, and ophthalmology, allowing her to map the resonances and disjunctions between medical theory and literature. This in turn points towards a revisioning of enduring themes in Romanticism such as the figure of the Romantic poet, the relationship between the mind and nature, sensibility and sympathy, solitude and sociability, landscape aesthetics, the reform novel, and Romantic-era science. Dolan's book is distinguished by its deep engagement with several disciplines and genres, making it a key text for understanding Romanticism, the history of medicine, and the position of the woman writer during the period.
Investigating how intimacy is constructed across the restless world of empire
Recent years have seen a surge of interest in Japanese feminism and gender history. This new volume brings to light Japan's feminist public sphere, a discursive space in which academic, journalistic, and political voices have long met and sparred over issues that remain controversial to the present day: prostitution, pornography, reproductive rights, the balance between motherhood and paid work, relationships between individual, family, and state. Japanese Feminist Debates: A Century of Contention on Sex, Love, and Labor contributes to this discussion in a number of unique ways. The book is organized around intellectually and politically charged debates, including important recent developments in state feminism and the conservative backlash against it, spearheaded by the current prime minister, Abe Shinzō. Focusing on essential questions that have yet to be resolved, Ayako Kano traces the emergence and development of these controversies in relation to social, cultural, intellectual, and political history. Her focus on the " rondan"—the Japanese intellectual public sphere—allows her to show how disputes taking place therein interacted with both popular culture and policy making. Kano argues that these feminist debates explain an important paradox: why Japan is such a highly developed modern nation yet ranks dismally low in gender equality. Part of the answer lies in the contested definitions of gender equality and women's liberation, and this book traces these contentions over the course of modern Japanese history. It also situates these debates in relation to modern Japanese social policy and comparative discussions about welfare regimes. By covering an entire century, Japanese Feminist Debates is able to trace the origins and development of feminist consciousness from the late nineteenth century to the present day. Based on over a decade of research, this wide-ranging, lively, up-to-date book will both spark discussion among specialists grappling with long-enduring subjects of intellectual debate and animate undergraduate and graduate classrooms on modern Japanese women's history and gender studies.
This book shows how institutional religion and the religiosity of political and cultural life provide a necessary dimension to Walter Benjamin, one of the twentieth century’s greatest thinkers. Lived religion surrounded Benjamin, whose upper-middle-class Jewish family celebrated Christmas and Hanukkah in Berlin as the turmoil of war, collapsing empires, and modern urban life gave rise to the Nazi regime that would destroy most of Europe’s Jews, including Benjamin himself. Documenting the vitality and diversity of religious life that surrounded Benjamin in Germany, France, and beyond, Brian Britt shows the extent to which religious communities and traditions, especially those of Christians, influenced his work. Britt surveys and analyzes the intellectual, cultural, and social contexts of religion in Benjamin’s world and broadens the religious frame around discussions of his work to include lived religion—the daily practices of ordinary people. Seeing religion around Benjamin requires looking at forms of life and institutions that he rarely discussed. As Britt shows, dramatic changes in religious practices, particularly in Berlin, reflected broader political and cultural currents that would soon transform the lives of all Europeans. An original perspective on the religious context of a thinker who habitually raised questions about the survival of religion in modernity, Religion Around Walter Benjamin contributes to wider discussions of religious tradition and secular modernity in religious and cultural studies. It provides a foundational overview and introduction to the context of Benjamin’s writing that will be appreciated by scholars and students alike.
It is increasingly difficult to use the word "victim" these days without facing either ridicule for "crying victim" or criticism for supposed harshness toward those traumatized. Some deny the possibility of "recovering" repressed memories of abuse, or consider date rape an invention of whining college students. At the opposite extreme, others contend that women who experience abuse are "survivors" likely destined to be psychically wounded for life. While the debates rage between victims' rights advocates and "backlash" authors, the contributors to New Versions of Victims collectively argue that we must move beyond these polarizations to examine the "victim" as a socially constructed term and to explore, in nuanced terms, why we see victims the way we do. Must one have been subject to extreme or prolonged suffering to merit designation as a victim? How are we to explain rape victims who seemingly "get over" their experience with no lingering emotional scars? Resisting the reductive oversimplifications of the polemicists, the contributors to New Versions of Victims critique exaggerated claims by victim advocates about the harm of victimization while simultaneously taking on the reactionary boilerplate of writers such as Katie Roiphe and Camille Paglia and offering further strategies for countering the backlash. Written in clear, accessible language, New Versions of Victims offers a critical analysis of popular debates about victimization that will be applicable to both practice and theory.
Frederic Church (1826–1900), the most celebrated painter in the United States during the mid-19th century, created monumental landscapes of North and South America, the Arctic, and the Middle East. These paintings were unsurpassed in their attention to detail, yet the significance of this pictorial approach has remained largely unexplored. In this important reconsideration of Church’s works, Jennifer Raab offers the first sustained examination of the aesthetics of detail that fundamentally shaped 19th-century American landscape painting. Moving between historical context and close readings of famous canvases—including Niagara, The Heart of the Andes, and The Icebergs—Raab argues that Church’s art challenged an earlier model of painting based on symbolic unity, revealing a representation of nature with surprising connections to scientific discourses of the time. The book traces Church’s movement away from working in oil on canvas to shaping the physical landscape of Olana, his self-designed estate on the Hudson River, a move that allowed the artist to rethink scale and process while also engaging with pressing ecological questions. Beautifully illustrated with dramatic spreads and striking details of Church’s works, Frederic Church: The Art and Science of Detail offers a profoundly new understanding of this canonical artist.