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Challenging the respectable image of Victorian society, this irreverent, revisionist collection explores the sinful side of middle-class Victorian leisure, highlighting the problematic relationship between public respectability and private pleasure.
Mara L. Keire’s history of red-light districts in the United States offers readers a fascinating survey of the business of pleasure from the 1890s through the repeal of Prohibition in 1933. Anti-vice reformers in the late nineteenth century accepted that complete eradication of disreputable pleasure was impossible. Seeking a way to regulate rather than eliminate prostitution, alcohol, drugs, and gambling, urban reformers confined sites of disreputable pleasure to red-light districts in cities throughout the United States. They dismissed the extremes of prohibitory law and instead sought to limit the impact of vice on city life through realistic restrictive measures. Keire’s thoughtful work examines the popular culture that developed within red-light districts, as well as efforts to contain vice in such cities as New Orleans; Hartford, Connecticut; New York City; Macon, Georgia; San Francisco; and El Paso, Texas. Keire describes the people and practices in red-light districts, reformers' efforts to limit their impact on city life, and the successful closure of the districts during World War I. Her study extends into Prohibition and discusses the various effects that scattering vice and banning alcohol had on commercial nightlife.
The hilarious and razor-sharp story of how one girl went from geek to patriarchy-smashing criminal mastermind in two short years, from the #1 New York Times bestselling author of We Were Liars and Genuine Fraud. * National Book Award finalist * * Printz Honor * Frankie Landau-Banks at age 14: Debate Club. Her father's "bunny rabbit." A mildly geeky girl attending a highly competitive boarding school. Frankie Landau-Banks at age 15: A knockout figure. A sharp tongue. A chip on her shoulder. And a gorgeous new senior boyfriend: the supremely goofy, word-obsessed Matthew Livingston. Frankie Landau-Banks. No longer the kind of girl to take "no" for an answer. Especially when "no" means she's excluded from her boyfriend's all-male secret society. Not when she knows she's smarter than any of them. When she knows Matthew's lying to her. And when there are so many pranks to be done. Frankie Landau-Banks, at age 16: Possibly a criminal mastermind. This is the story of how she got that way.
Honorable Mention, 2018 MLA Prize for a First Book Against the defensive backdrop of countless apologetic justifications for the value of literature and the humanities, Futile Pleasures reframes the current conversation by returning to the literary culture of early modern England, a culture whose defensive posture toward literature rivals and shapes our own. During the Renaissance, poets justified the value of their work on the basis of the notion that the purpose of poetry is to please and instruct, that it must be both delightful and useful. At the same time, many of these writers faced the possibility that the pleasures of literature may be in conflict with the demand to be useful and valuable. Analyzing the rhetoric of pleasure and the pleasure of rhetoric in texts by William Shakespeare, Roger Ascham, Thomas Nashe, Edmund Spenser, and John Milton, McEleney explores the ambivalence these writers display toward literature’s potential for useless, frivolous vanity. Tracing that ambivalence forward to the modern era, this book also shows how contemporary critics have recapitulated Renaissance humanist ideals about aesthetic value. Against a longstanding tradition that defensively advocates for the redemptive utility of literature, Futile Pleasures both theorizes and performs the queer pleasures of futility. Without ever losing sight of the costs of those pleasures, McEleney argues that playing with futility may be one way of moving beyond the impasses that modern humanists, like their early modern counterparts, have always faced.
Seymour Martin Lipset's highly acclaimed work explores the distinctive character of American and Canadian values and institutions. Lipset draws material from a number of sources: historical accounts, critical interpretations of art, aggregate statistics and survey data, as well as studies of law, religion and government. Drawing a vivid portrait of the two countries, Continental Divide represents some of the best comparative social and political research available.
Resource added for the Psychology (includes Sociology) 108091 courses.
The Philebus is the only Platonic dialogue that takes as its central theme the fundamental Socratic question of the good, understood as that which makes for the best or happiest life. It offers an extended psychological and epistemological investigation of such topics as sensation, memory, desire, anticipation, the truth and falsity of pleasures, and the types and gradations of knowledge, as well as a methodological exposition of dialectic and a metaphysical schema—found nowhere else in the dialogues—that is intended to illuminate the nature of mixture. In its interweaving of ethical, metaphysical, and epistemological issues, the Philebus offers a unique opportunity to assess the relation of these topics in Plato’s mature thought and so to gain insight into his philosophical vision as a whole. This edition also includes parallel passages from other Platonic dialogues and related material from Aristotle, the Stoics, and Epicurus.
​Criminology in Canada, Eighth Edition, is an introductory text that provides a broad overview of the field of criminology. It analyzes the most important scholarly works and scientific research reports, while presenting topical information on recent cases and events. Known to provide the perfect balance between theory and application, this text will give students the enthusiasm to further their knowledge of the world of criminology.
Ruth shows that the media gangster was less a reflection of reality than a projection created from Americans' values, concerns, and ideas about what would sell.
In Recreational Terror, Isabel Cristina Pinedo analyzes how the contemporary horror film produces recreational terror as a pleasurable encounter with violence and danger for female spectators. She challenges the conventional wisdom that violent horror films can only degrade women and incite violence, and contends instead that the contemporary horror film speaks to the cultural need to express rage and terror in the midst of social upheaval.