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The Muse is one of the oldest archetypes in human civilization, and, in the past, was a representation of an idealized woman - blessed with beauty and creativity and exerting irresistible attraction for many a man. Nowadays, in the wake of feminism, the idea of the Muse seems a bit obsolete, quaint or downright sexist, and is said to enhance a vicious stereotype of the creative, productive and active man and the passive, submissive and docile woman. However, this book shows that this, in fa ...
The Muse is one of the oldest archetypes in human civilization, and, in the past, was a representation of an idealized woman - blessed with beauty and creativity and exerting irresistible attraction for many a man. Nowadays, in the wake of feminism, the idea of the Muse seems a bit obsolete, quaint or downright sexist, and is said to enhance a vicious stereotype of the creative, productive and active man and the passive, submissive and docile woman. However, this book shows that this, in fact, was rarely the case. The contributions brought together here focus on "Muses, Mistresses and Mates" whose vivid personalities and exceptional talent brought them into creative and fruitful partnership with men who were equally remarkable, though sometimes more renowned. The authors examine intellectual (and sometimes) erotic currents flowing between the Muse and the man or woman she inspired, and often dissect mythologies that have so far surrounded this relationship and offer a corrective view of widely circulated biographies. As such, the essays collected in this volume prove that, in many cases, these fascinating women lived not only in the shadow of their partners, but also cultural stereotypes.This volume was inspired by Stefan and Franciszka Themerson, Polish intellectuals and avant-garde artists, whose collaborative and ambitious ventures serve as a paragon of a long-standing and mutually enriching partnership.
This collection of new essays explores the many ways in which composers have been depicted in film and what audiences have taken away from such depictions. Beginning with some of the earliest silent film examples--including some of the first feature-length "bio-pics" ever produced--these essays range from the 12th century abbess Hildegard of Bingen to the great classical and romantic eras of Verdi, Wagner, Berlioz and Strauss, up to the 20th century's Elgar, Delius, Gershwin and Blitzstein.
This collection of essays focuses on addressing the imaginative wake of the rebellious late 1960s, with a particular, but not exclusive, focus on word-and-image relations. The volume showcases and discusses the impact of such processes on literature and the arts of that mythologized historical period. It explores the impact of its defining causes, hopes and regrets on the creative imagination. The awakening moment for that extraordinary momentous period in the global socio-political memory was May 1968, which came to be seen as the culmination and epitome of a series of processes involving protest, and the affirmation of previously silent or subaltern causes. Such processes and causes were predicated on challenges to established powers and mindsets, and hence on demands for change, which have had rich consequences in literature and the arts.
Jack London's stories of adventure in the frozen landscapes of the Yukon and the steamy islands of the South Seas have captured the imaginations of readers all over the world. Born into the working class, London was a major force in the lively Socialist movement of his day. In 1903 he shocked the morals of his country when he left his wife and two young daughters for a spunky spinster five years his senior. A new breed of woman, Charmian Kitteridge was notorious in the Bay area for daring to ride her horse astride and work in an office, unlike proper women of the day. As his "Mate-Woman," Charmian contributed to Jack's accomplishments -- she was his editor, transcriber, confidante, as well as the model for many of Jack's female characters. Together they overcame threats to their love that stemmed from Jack's alcoholism, infidelities, and illness. This is a compelling portrait that challenges the long"Cheld view of London as a rough, hard-drinking womanizer, and of Charmian as a passive, childish dependent. Instead, this is a love story and a fascinating portrait of a couple whose courage, passion, and vitality remain a model of love fulfilled.
She has been known as the "kept woman," the "fancywoman," and the "other woman." The French acknowledge herexistence by remarking, "The chains of marriage are so heavy that it oftentakes three people to carry them." She is Jeanne Antoinette de Pompadour,and Simone de Beauvoir, not to mention Marilyn Monroe and Camilla Parker-Bowles.She is a mistress, and she has been – and is – very much apart of our humancultural history. But who is she, really? What is the true nature of themistress-lover relationship? How do women experience mistressdom? And where doeslove figure in all of this? Elizabeth Abbott, who made celibacy sexy in her acclaimed A History ofCelibacy, has the fascinating storehouse of answers in a deliciously richblend of history, personality and cultural study. In a lively and accessiblestyle, History of Mistresses draws intimate portraits of mistressesthroughout history, from Chinese concubines to Europe’s royal mistresses andthe clandestine consorts of (un)celibate clerics. Mobster molls, trophy dollsand modern mistresses are deconstructed, with often surprising results. Beyondthe personalities, some interesting themes emerge: the relationship betweenmistresses of colour and their married men; the coercion of Jewish women duringthe Holocaust; and a contemporary look at today’s "power"mistresses. From lust to love, from money to power, Abbott’s A History of Mistressesferrets out the motives and morals of these women, carrying the reader along ona journey that is hugely informative and always entertaining.
An engaging overview of dance from the Medieval era through the Baroque
Throughout history, humans have pondered the question of their existence. In nearly every society, part of the answer has included some form of god or goddess. For the Mayans, one such deity was Ajtzak, who tried to create humans from wood; for the Yorubas of Africa, Shango controlled the thunder and lightning. The Chinese of the Shang dynasty era worshipped Shang Ti. Evil deities were also part of the answer, as in the case of the Kuvera, the Hindu chief of evil in the Vedic period, and Tu, the Persian or Islamic demon of fatal accidents. All of the known ancient gods, many heretofore obscure or known only from mythological literature, are included in this exhaustive reference work. The focus is on their origins, histories, and functions. The people who believed in each deity are identified, along with alternate names or spellings both old and modern. The descriptions that follow are of the functions, origins and physical nature of the deities. Extensive cross references are provided for alternate spellings and names.