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A funny contribution to solve the gruesome War of the Sexes. All wars have a beginning and an end. The War of the Sexes has begun in Eden, and it will never end. In this memorial written by a male survivor of the feminist dictatorship, the events of the bloodiest phase of the endless war are recounted. It all begins with the election of the Popess Lucretia Prima, founder of the Feminist Empire or Tulipan Regime. Men are purged from society and rendered useless, thanks to the new reproduction techniques of the human species. The fierce persecution against the “Machos” will bring the narrator, Romeo Monrose, to experience a flurry of misadventures, the worst of which is his selection as a breeding prisoner. After suffering heaven and hell, Romeo Monrose takes part in the partisan struggle under the codename “Homer”, and as a terrorist, he executes the attack on the Popess, missing the target because he is in love with her. From Palace Counsellor to Consort of the Popess–Empress, Romeo serves the Tulipan power with a zeal that makes him hated by the integral feminists as well as his fellow Machos. With the birth of the “Little Pope” to the reigning couple, a glimmer of peace lights up in the sky.
Four hundred of the 3,800 people who permanently live or work in the State of Vatican City, the smallest sovereign and independent state on the globe, are women. They are nuns and members of the laity; some are housekeepers of churchmen; others are secretaries, translators, editors, lawyers, and middle-level officials of the papal administration. Expansive in scope and enlightening in detail, The Vatican's Women recalls women who wielded power in the Vatican, including St. Catherine of Siena, Queen Christina of Sweden, Mother Pascalina (Pope Pius XII's longtime housekeeper and confidante), and Mother Teresa. With an unflinching eye, Paul Hofmann examines the papacy's reaction to Catholic women's (and nuns') liberation, and women's struggles, especially today, to fortify their positions within the Church. The Vatican's Women is a thorough and revealing exploration that will herald a new level of insight and dialogue amongst feminists, theologians, and laypeople alike.
The private letters of ancient women in Egypt from Alexander the Great to the Arab conquest
No other people over so long a history have shown a greater knack for survival than the Italians. In this wryly affectionate book, Hofmann reveals his adopted countrymen in all their glorious paradoxes, capturing their national essence as no other book has done since Luigi Barzini's classic, The Italians. The national art of "arrangement"-- dodging taxes, double-dealing, working only as hard as one must-- is counteracted by Italian inventive genius, gusto for life, fierce individuality, deep family bonds (as well as animosities), and a marvelously hedonistic sophistication.
Sheds light on the complex web of allusions that link medieval authors to their literary predecessors
Both in opera studies and in most operatic works, the singing body is often taken for granted. In Postopera: Reinventing the Voice-Body, Jelena Novak reintroduces an awareness of the physicality of the singing body to opera studies. Arguing that the voice-body relationship itself is a producer of meaning, she furthermore posits this relationship as one of the major driving forces in recent opera. She takes as her focus six contemporary operas - La Belle et la Bête (Philip Glass), Writing to Vermeer (Louis Andriessen, Peter Greenaway), Three Tales (Steve Reich, Beryl Korot), One (Michel van der Aa), Homeland (Laurie Anderson), and La Commedia (Louis Andriessen, Hal Hartley) - which she terms 'postoperas'. These pieces are sites for creative exploration, where the boundaries of the opera world are stretched. Central to this is the impact of new media, a de-synchronization between image and sound, or a redefinition of body-voice-gender relationships. Novak dissects the singing body as a set of rules, protocols, effects, and strategies. That dissection shows how the singing body acts within the world of opera, what interventions it makes, and how it constitutes opera’s meanings.
Analyzes the pornographic poetry, letters, plays, and verse dialogues written in poet Domenico Venier's social circle, showing how male writers created female characters who were defiled and available to all. Also shows how two women writers with ties to the salon appropriated and transformed these tropes of female sexuality.
Shopping was as important in the Renaissance as it is in the 21st century. This book breaks new ground in the area of Renaissance material culture, focussing on the marketplace in its various aspects, ranging from middle-class to courtly consumption and from the provision of foodstuffs to the acquisition of antiquities and holy relics. It asks how men and women of different social classes went out into the streets, squares and shops to buy the goods they needed and wanted on a daily or on a once-in-a-lifetime basis during the Renaissance period. Drawing on a detailed mixture of archival, literary and visual sources, she exposes the fears, anxieties and social possibilities of the Renaissance marketplace. Thereafter, Welch looks at the impact these attitudes had on the developing urban spaces of Renaissance cities, before turning to more transient forms of sales such as fairs, auctions and lotteries. In the third section, she examines the consumers themselves, asking how the mental, verbal and visual images of the market shaped the business of buying and selling. Finally, the book explores two seemingly very different types of commodities - antiquities and indulgences, both of which posed dramatic challenges to contemporary notions of market value and to the concept of commodification itself.