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Scotland, 1504. Lady Janet Fraser didn’t earn her reputation as Scotland’s most notorious sinner by following the rules. A former mistress of King James IV, she’s content to live her life from pleasure to pleasure. Even if those pleasures—and people—are forbidden. People like Sir Lachlan Ross, given the moniker The Highland Beast, a man as intimidating in battle as he is in size. A beast she discovers secretly wishes to be tamed and submit to her dominance. Or like her new ward, Lady Marjorie Hepburn, a convent-raised virgin with a desire to be taught all the sensual secrets of the marriage bed. Things that Janet is fully willing to teach her, again and again. There’s much for her to learn. And forbidden pleasures like the three of them together in one bed. But Lachlan and Marjorie both have ties to the king. As wicked lusts are indulged and affection unexpectedly grows into love, breaking the rules this time could mean all of their undoing...
“Have you no decency?” Straight-laced missionary Sarah Fisher has never met a man like Captain Martin Bouchard. He is the most beautiful person—male or female—she’s ever seen. Overwhelmingly masculine, elegantly attired despite months at sea, he is in complete command of everyone and everything around him: everyone, that is, except Sarah. But that’s about to change because Sarah has bought Bouchard’s mercy with the only thing she has to sell: her body. “None at all . . .” In spite of her outrageous offer, Martin has no doubt Sarah is a virgin, and a most delectable one at that. But instead of bedding her, he finds himself staring down the muzzle of his own pistol. Clearly, the longer she stays on his ship, the greater the chances that she’ll end up its damned captain! Most infuriating of all, she looks past his perfect exterior to the wounded man inside. Can Martin outrun his scandalous past in time to have a future with the first woman to find and capture his heart? Praise for The Outcasts series “Fans of Amanda Quick’s early historicals will find much to savor.” —Booklist (Starred Review) “Wicked repartee, savvy wit, and energetic libidos.” —Publishers Weekly “A remarkably resourceful heroine who can more than hold her own against any character invented by bestselling Bertrice Small . . . deliciously fun retro flavor.” —Booklist (Starred Review) “Sexy and wildly entertaining.” —Bookpage “Spencer shines . . . an author to watch.” —Kirkus Reviews
This true story of sex, murder, and corruption in 18th century Virginia centers on Nancy Randolph, an attractive woman from a wealthy and socially prominent family, who lived with her sister and brother-in-law, Richard Randolph. After rumors that Nancy bore Richard's child, and that he killed the child, a trial ensued with Patrick Henry defending Richard. Maps and illustrations.
Scotland, 1504 Bold and wild, Lady Isla Sutherland disguised herself as a lad to hone her gift of sword fighting. But when she is discovered and dragged to court, it is decreed she must wed at once. To gain time and a chance at finding love, Isla proposes a royal tourney-to the victor her richly-dowered hand in marriage-and the king agrees. After constant raids, laird Callum MacIntyre's small but prosperous clan is now on the brink of ruin. His only choice is duty; to set aside his private desires and secure an alliance with a powerful Highland family. Winning the week-long tourney would solve all his problems...if only he was a warrior not a scholar. Squire Alastair Graham yearns for a wife and children, yet he cannot forget one torrid, forbidden night in his laird's bed, unspoken of since. Alastair dreads losing his closest friend, but meeting the beautiful Isla is a revelation. She offers to train Callum in secret, and when sword lessons lead to scorching passion for the trio, both men know Isla is the unconventional woman of their dreams.But the battle for her hand is fierce...and their enemies will do anything to win... Please note this book contains explicit language and sex scenes. Series reading order: 1. Wicked Passions 2. Her Wicked Highlander
Volume 1: Translations of the Bible take place in the midst of tension between politics, ideology and power. With the theological authority of the book as God’s Word, not focusing on the process of translating is stating the obvious. Inclinations, fluency and zeitgeist play as serious a role as translators’ person, faith and worldview, as do their vocabulary, poetics and linguistic capacity. History has seen countless retranslations of the Bible. What are the considerations according to which Biblical retranslations are being produced in current, 21st century, contexts? From retranslations of the Hebrew Bible to those of the Old and New Testaments, to mutual influences of Christian and Jewish translational traditions – the papers collected here all deal with the question of what is to be [re]gained with the production of a new translation where, at times, many a previous one has already existed. Volume 2: Times are changing, and with them, the norms and notions of correctness. Despite a wide-spread belief that the Bible, as a “sacred original,” only allows one translation, if any, new translations are constantly produced and published for all kinds of audiences and purposes. The various paradigms marked by the theological, political, and historical correctness of the time, group, and identity and bound to certain ethics and axiomatic norms are reflected in almost every current translation project. Like its predecessor, the current volume brings together scholars working at the intersection of Translation Studies, Bible Studies, and Theology, all of which share a special point of interest concerning the status of the Scriptures as texts fundamentally based on the act of translation and its recurring character. It aims to breathe new life into Bible translation studies, unlock new perspectives and vistas of the field, and present a bigger picture of how Bible [re]translation works in society today.
Vladimir Nabokov's famous and brilliant commentary on Pushkin's Eugene Onegin When Vladimir Nabokov first published his controversial translation of Pushkin’s Eugene Onegin in 1964, the great majority of the edition was taken up by Nabokov’s witty and exhaustive commentary. Presented here in its own volume, the commentary is a unique scholarly masterwork by one of the twentieth century’s greatest writers—a work that Nabokov biographer Brian Boyd calls “the most detailed commentary ever made on” Onegin and “indispensable to all serious students of Pushkin’s masterpiece.” In his commentary, Nabokov seeks to illuminate every possible nuance of this nineteenth-century classic. He explains obscurities, traces literary influences, relates Onegin to Pushkin’s other work, and in a characteristically entertaining manner dwells on a host of interesting details relevant to the poem and the Russia it depicts. Nabokov also provides translations of lines and stanzas deleted by the censor or by Pushkin himself, variants from Pushkin’s notebooks, fragments of a continuation called “Onegin’s Journey,” the unfinished and unpublished “Chapter Ten,” other continuations, and an index. A work of astonishing erudition and passion, Nabokov’s commentary is a landmark in the history of literary scholarship and in the understanding and appreciation of the greatest work of Russia’s national poet.
How did the buying and collecting of books figure in the lives and works of the Romantics, those supposed apostles of spiritualized poetic genius? Why was book collecting controversial during the Romantic period, and what role has book collecting played in the history of homophobia? The Queer Bookishness of Romanticism: Ornamental Community addresses these and more questions about the suppressed bookish dimension of Romanticism, as well as Romanticism’s historical forebears and Victorian inheritors. The analysis ranges widely, addressing the bookish proclivities of the "romantic friends" the Ladies of Llangollen, the camp works about book collecting produced by a subculture calling themselves “ornamental gentlemen,” narratives of prototypically punk collecting and flâneuring by the essayist and collector Charles Lamb, and rare-book forgeries by Thomas J. Wise and Harry Forman, queer bibliographer-scholars responsible for canonizing some of the Romantic poets during the Victorian period. In the process, this book uncovers surprising connections between conceptions of literature and sexuality; literary materiality and queerness; and forgery, sexuality, and authorship.