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Mistress, Mother, Muse: An Exploration of the Female in Modern and Contemporary Mediterranean Literature fills a vacuum in comparative literary studies in that it lays the foundations for Mediterraneanism to develop as an area in literary studies. The book is an exploration of aspects of female liminality, including motherhood, sexuality and creativity, in three distinctive Mediterranean cultures, namely Spanish, Greek and Arabic. It adopts myth as an approach to literary analysis, and, thus, introduces a new, ground-breaking method of analysis in literary studies. Mistress, Mother, Muse: An Exploration of the Female in Modern and Contemporary Mediterranean Literature represents a useful reference to students, scholars and academics in the fields of comparative literature, modern Greek literature, Spanish literature, Arabic literature, myth studies, classical Greek literature, and women’s studies.
Mistress, Mother, Muse: An Exploration of the Female in Modern and Contemporary Mediterranean Literature fills a vacuum in comparative literary studies in that it lays the foundations for Mediterraneanism to develop as an area in literary studies. The book is an exploration of aspects of female liminality, including motherhood, sexuality and creativity, in three distinctive Mediterranean cultures, namely Spanish, Greek and Arabic. It adopts myth as an approach to literary analysis, and, thus, introduces a new, ground-breaking method of analysis in literary studies. Mistress, Mother, Muse: An Exploration of the Female in Modern and Contemporary Mediterranean Literature represents a useful reference to students, scholars and academics in the fields of comparative literature, modern Greek literature, Spanish literature, Arabic literature, myth studies, classical Greek literature, and womens studies.
Tanya is a typical teenager living with her bookish professor mother in a cramped Soviet apartment. She is obsessed with Dostoyevksy, and noticing that he always portrays his mistress and muse in his novels–never his wife–she determines to become a companion to a great writer. Her opportunity comes when, as a college graduate newly emigrated to America, she attends a Manhattan bookstore reading by Mark Schneider, a Significant New York Novelist. Tanya quickly moves in with Mark, ready to dazzle in bed, to serve and inspire . . . if only he would spend a little more time writing. But as she struggles to better understand her role as Muse, Tanya also learns more than she expected about the destiny she has imagined for herself. A touching and very funny novel in the great tradition of Russian realism, Memoirs of a Muse is also a lively meditation on the mysteries and absurdities of artistic inspiration.
What sets this study apart from the vast literature on Monet is Gedo's focused, jargon-free, accessible, psychoanalytic assessment of Monet and his relationship with his first wife and mistress, Camille Doncieux, and the impact of this complex relationship on the artist's work. Using this psychobiographical approach in conducting a careful reading of primary source material and Monet's paintings, Gedo (independent scholar) does much to debunk a good deal of the mythology surrounding the artist's life at this period. She offers fresh insights into the content of many of Monet's major paintings, particularly his figurative works that feature Camille as a model or subject. So, for example, Gedo proposes that Monet's Camille (or The Woman in the Green Dress) from 1866, via its composition, "functioned as a metaphor for the uncertainty characterizing the relationship between lovers," in addition to exposing publicly Camille as Monet's mistress. As is the danger when applying psychoanalysis to the study of art history, some of Gedo's assertions and interpretations approach the level of implausibility; however, these flights of psychoanalytic fancy are few and far between. The writing is engaging, endnotes are extensive but not oppressive, and the book is sufficiently illustrated with many images in color. Summing Up: Highly recommended. Lower-level undergraduates and above; general readers. General Readers; Lower-division Undergraduates; Upper-division Undergraduates; Graduate Students; Researchers/Faculty; Professionals/Practitioners. Reviewed by D. E. Gliem.
Richly engaging historical adventure in the vein of The Winter Palace and The Malice of Fortune. Muse is the story of the charismatic woman who was the inspiration behind Petrarch's sublime love poetry. Solange Le Blanc begins life in the tempestuous streets of 14th century Avignon, a city of men dominated by the Pope and his palace. When her mother, a harlot, dies in childbirth, Solange is raised by Benedictines who believe she has the gift of clairvoyance. Trained as a scribe, but troubled by disturbing visions and tempted by a more carnal life, she escapes to Avignon, where she becomes entangled in a love triangle with the poet Petrarch, becoming not only his muse but also his lover. Later, when her gift for prophecy catches the Pope's ear, Solange becomes Pope Clement VI's mistress and confidante in the most celebrated court in Europe. When the plague kills a third of Avignon's population, Solange is accused of sorcery and is forced once again to reinvent herself and fight against a final, mortal conspiracy. Muse is a sweeping historical epic that magically evokes the Renaissance, capturing a time and place caught between the shadows of the past and the promise of a new cultural awakening.
Lara is the heartbreaking story of lovers Boris Pasternak, the author of Doctor Zhivago, and Olga Ivinskaya—the true tragedy behind the timeless classic. “Anna Pasternak does not spare an ounce of drama nor detail from the story of her great-uncle’s love affair with Olga Ivinskaya, the inspiration for Doctor Zhivago’s Lara. The result is a profoundly moving meditation on love, loyalty and, ultimately, forgiveness.” —New York Times–bestselling author Amanda Foreman When Stalin came into power in 1924, the Communist government began persecuting dissident writers. Though he spared the life of Boris Pasternak—whose novel-in-progress, Doctor Zhivago, was suspected of being anti-Soviet—Stalin persecuted Boris’s mistress, typist, and literary muse, Olga Ivinskaya. Boris’s affair devastated the Pasternaks, and they were keen to disavow Olga’s role in Boris’s writing. Twice sentenced to work in Siberian labor camps, Olga was interrogated about Boris’s book, but she didn’t betray the man she loved. Released from the gulags, Olga assumed that Boris would leave his wife for her but, trapped by his family’s expectations and his own weak will, he never did. Drawing on previously neglected family sources and original interviews, Anna Pasternak explores her great-uncle’s hidden act of moral compromise, and restores to history the passionate affair that inspired and animated Doctor Zhivago. Devastated that Olga suffered on his behalf and frustrated that he could not match her loyalty to him, Boris instead channeled his thwarted passion for her into his novel’s love story. Filled with the rich detail of Boris’s secret life, Lara unearths a moving love story of courage, loyalty, suffering, drama, and loss, casting a new light on the legacy of Doctor Zhivago.
This collection of short, accessible essays serves as a supplementary text to Morgan Lloyd Malcolm’s play, Emilia. Critically acclaimed and beloved by audiences, this innovative and ground-breaking show is a speculative history, an imaginative (re)telling of the life of English Renaissance poet Aemilia Bassano Lanyer. This book features essays by theatre practitioners, activists, and scholars and informed by intersectional feminist, critical race, queer, and postcolonial analyses will enable students and their teachers across secondary school and higher education to consider the play’s major themes from a wide variety of theoretical and interdisciplinary perspectives. This volume explores the current events and cultural contexts that informed the writing and performing of Emilia between 2017 and 2019, various aspects of the professional London productions, critical and audience responses, and best practices for teaching the play to university and secondary school students. It includes a foreword by Emilia playwright Morgan Lloyd Malcolm This book will be of great interest to students and scholars of theatre, arts activism, feminist literature, and theory.
"By examining literary portraits of the woman as artist, Linda M. Lewis traces the matrilineal inheritance of four Victorian novelists and poets: George Eliot, Elizabeth Barrett Browning, Geraldine Jewsbury, and Mrs. Humphry Ward. She argues that while the male Romantic artist saw himself as god and hero, the woman of genius lacked a guiding myth until Germaine de Stael and George Sand created one. The protagonists of Stael's Corinne and Sand's Consuelo combine attributes of the goddess Athena, the Virgin Mary, Virgil's Sibyl, and Dante's Beatrice. Lewis illustrates how the resulting Corinne/Consuelo effect is exhibited in scores of English artist-as-heroine narratives, particularly in the works of these four prominent writers who most consciously and elaborately allude to the French literary matriarchs." "Exploring a connection between French and English literature and providing fresh insight, Germaine de Stael, George Sand, and the Victorian Woman Artist makes a major contribution to our understanding of nineteenth-century feminism."--Jacket.
Available Again at Last: Eugenia Riley’s Breathtaking Guardian/Ward Romance Set in the Steamy Old South! ROGUE OF NEW ORLEANS They called him “Julian the Terrible.” Handsome, well-born, and hot-blooded, Julian Devereux gambled, drank, seduced women, and fought duels beneath The Oaks. The one soft spot in his heart was for his beautiful young ward, Mercy O’Shea. Julian had rescued nine-year-old Mercy on that terrible, long-ago night when he was compelled to kill her father. Wracked by guilt, Julian sponsored Mercy’s education and saw to her every need—even though the spirited young miss swore to hate him forever. But now Mercy has blossomed into a passionate, headstrong young woman, and Julian must wonder if he can save her from himself. ROGUE’S MISTRESS At eighteen, Mercy O’Shea is ready to escape her relationship with her handsome but arrogant guardian, Julian Devereux. Deliberately slighting Julian, Mercy accepts a marriage proposal from a young man Julian deems unsuitable. Furious when Julian rejects her suitor, Mercy vows to defy him, and soon discovers the horrifying, fascinating truth—that her guardian actually wants her for himself, and is even willing to blackmail her into marriage! Pride and passion explode between the strong-willed lovers as Mercy becomes Julian’s unwilling bride. Convinced that Julian only desires her physically, Mercy is determined to hide the devastating attraction she feels toward her dark, sexy husband. Julian guards his own heart, unable to reveal to Mercy that he wants her not just as a mistress but as a cherished wife. Can their fragile relationship survive all the secrets of their tortured pasts and bring love and healing to their shattered hearts? Rogue’s Mistress is a fiery, touching and sensual historical romance set in glittering antebellum New Orleans. Approximately 120,000 words. Eugenia Riley is the renowned, bestselling author of dozens of historical, contemporary, and time-travel romances, including the classics A Tryst in Time and Bushwhacked Bride. She has written for publishers including Avon, Bantam, Warner, Harlequin and Dorchester. She has numerous ebooks available.