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The articles in this number of Romantik include new research on reverie and dream as the locus of metaphor in Percy Bysshe Shelley's Prometheus Unbound; an enquiry into the Royal Swedish Society for the Publication of Manuscripts Relating to Scandinavian History and the role it played in the construction of national memory and heritage; a discussion of Philippe Jacques de Loutherbourg's and John Martin's iconographies of the sublime in the intersection between art and popular visual spectacle; archival discoveries related to the publication of medieval romance in early nineteenth-century Britain; and a reassessment of The Prelude as a formation narrative, arguing that William Wordsworth displays a conflicted attitude to the growth and progress usually found in the Bildungsroman. The journal also contains reviews of new books on the romantic period published in the Nordic countries.
We skipped right over the whole fiancée thing and went straight from girlfriend to wife. At least, I think that’s what happened. I woke up after my brother’s Vegas wedding reception with my luscious girlfriend in bed with me. We’re both wearing wedding rings. So is her coworker, Josh. And our Vegas chauffeur, Geordi. Who the hell am I married to? Unraveling this mystery will be as difficult as figuring out why Amanda and I are having panic attacks over the thought of being husband and wife. Or, whoever we’re actually married to. Oh, ^%$#. It’s true that what happens in Vegas stays in Vegas, with one exception: If she’s my wife, we’ll make it work. If she’s not? I’ll make it happen. ***** Read what others are saying about Julia Kent: "Heartwarming and intensely emotional, Our Options Have Changed is witty, sexy and hilarious with a heroine you admire and a hero you can't help falling in love with." -- Helena Hunting, New York Times bestselling author "Reading a Julia Kent book is like taking a vacation with your best friends. They'll make you laugh, tug on your heartstrings, and leave you wanting more." -- New York Times bestselling author Melissa Foster "Kent and Reed create rom com magic in this friends to lovers romance. Laughter, tears, and all the swoons." -- USA Today Best Selling author Daisy Prescott "Witty, sexy, funny and delightfully delicious--love it from beginning to end."-- USA Today bestselling author T Gephart "An utterly charming celebration of the messiness of love, life, and motherhood... every woman deserves a Nick." -- Laurelin Paige, New York Times bestselling author Reader and Blogger reviews: "Move over Sophie Kinsella and make way for Julia Kent. I haven't laughed so much since the Shopaholic series." -- Reader review "Shannon reminds me of Janet Evanovich's Stephanie Plum character..." -- Reader review "Another best seller by the Queen of romantic comedy." -- Reader review "Kent took this fun, sexy tale and gave it a depth that made it so darn easy to read." -- Glass Paper Ink Bookblog "Nothing has made me laugh out loud this much since I read Bridget Jones' Diary many, many years ago." -- Reader review "This book is a MUST READ and I can't WAIT for the next one!!!" -- Reader review "...Julia Kent has once again brought the laugh until you cry scenes, but has added a new aspect to her writing..." -- Avid Reader Book Reviews "The characters in this book are absolutely magnetic and you can't help but be drawn into their lives." -- Reader review "This book is bursting at the seams with all the fun and witty banter!" -- Eargasms Audiobook Reviews Read the entire billionaire romance series, starting with the New York Times bestselling start! Shopping for a Billionaire 1 Shopping for a Billionaire 2 Shopping for a Billionaire 3 Shopping for a Billionaire 4 Christmas Shopping for a Billionaire Shopping for a Billionaire's Fiancee Shopping for a CEO Shopping for a Billionaire's Wife Shopping for a CEO's Fiancee Shopping for an Heir Shopping for a Billionaire's Honeymoon Shopping for a CEO's Wife Shopping for a Billionaire's Baby Shopping for a CEO's Honeymoon Shopping for a Baby's First Christmas Topics: contemporary romance, romantic comedy, shopping romance, billionaire romance, billionaire, series, romantic comedy series, comedy, comedy series, bbw romance, funny romance, laugh romance, modern romance, urban romance, boston, boston romance, wealthy, USA today, USA today bestseller, CEO romance, office romance, city romance, smart romance, mystery shopping, mystery shopping romance, dogs in romance, cats in romance, lighthearted romance, light romance, hot romance, julia kent, julia kent romance, wedding, wedding romance, vegas, vegas romance, vegas wedding, escape wedding, humor, humorous romance, satire, american humor, wedding romance, literature & fiction, entertainment, humor and comedy, romantic comedy Perfect for readers of Emma Chase, Penny Reid, Lauren Blakely, Sally Thorne, Susan Elizabeth Phillips, Kendall Ryan, Kristan Higgins, Helena Hunting, Sophie Kinsella and Alice Clayton. Audiobook narrated by Sebastian York.
Emma has designed a series of projects in her romantic style featuring ruffles, flowers, beautiful stitch patterns, in her signature soft, neutral color palette. Whether you are creating for yourself or looking for a gift to make for someone else, these patterns showcase the beauty and flexibility of crochet. From a romantic lacy shawl to a ruffled teapot cosy, each project has been lovingly designed to bring out the dreamer in you.
Air bags cause accidents, because well-protected drivers take more risks. This well-documented truth comes as a surprise to most people, but not to economists, who have learned to take seriously the proposition that people respond to incentives. In The Armchair Economist, Steven E. Landsburg shows how the laws of economics reveal themselves in everyday experience and illuminate the entire range of human behavior. Why does popcorn cost so much at the cinema? The 'obvious' answer is that the owner has a monopoly, but if that were the whole story, there would also be a monopoly price to use the toilet. When a sudden frost destroys much of the Florida orange crop and prices skyrocket, journalists point to the 'obvious' exercise of monopoly power. Economists see just the opposite: If growers had monopoly power, they'd have raised prices before the frost. Why don't concert promoters raise ticket prices even when they are sure they will sell out months in advance? Why are some goods sold at auction and others at pre-announced prices? Why do boxes at the football sell out before the standard seats do? Why are bank buildings fancier than supermarkets? Why do corporations confer huge pensions on failed executives? Why don't firms require workers to buy their jobs? Landsburg explains why the obvious answers are wrong, reveals better answers, and illuminates the fundamental laws of human behavior along the way. This is a book of surprises: a guided tour of the familiar, filtered through a decidedly unfamiliar lens. This is economics for the sheer intellectual joy of it.
This collection of essays turns on a shift in Romantic studies from viewing wholeness as an absolute value to critiquing it as a limiting construction. Wholeness and its concomitant sense of harmony, rather than a natural given, is a construct that was assembled and disassembled, theorized and criticized, by diverse authors and artists in a wide variety of disciplines and socio-historical contexts, and instrumentalized for diverse purposes. The plurality of these constructions – that Goethe’s Urpflanze, for example, is not synonymous with Friedrich Schlegel’s universal progressive poetry – is but one manifestation of how “assembly” strives but fails to be absolute. The “other” of assembly referenced in the title suggests two divergent but inseparable tendencies: firstly, how a construction can take on the appearance of a natural given; and secondly, how assemblages of wholeness harbor within themselves their own principle of disarticulation. These two tendencies underlie the “inexhaustible” character of Romantic “gatherings”. As a construction passes itself off as nature, the natural fails to account for itself as a whole. The scope of this volume encompasses the establishment, mapping, and interrogation of assembly and its other in German Romanticism through interdisciplinary studies on literature, aesthetics, philosophy, drama, music, synaesthesia, mathematics, science, and exploration. List of contributors: Beate Allert, Frederick Burwick, Alexis B. Smith, Margaret Strair, Christina Weiler, Joshua Wilner.
Nonfictional Romantic Prose: Expanding Borders surveys a broad range of expository, polemical, and analytical literary forms that came into prominence during the last two decades of the eighteenth century and the first half of the nineteenth. They stand in contrast to better-known romantic fiction in that they endeavor to address the world of daily, empirical experience rather than that of more explicitly self-referential, fanciful creation. Among them are genres that have since the nineteenth century come to characterize many aspects of modern life like the periodical or the psychological case study; others flourished and enjoyed wide-spread popularity during the nineteenth century but are much less well-known today like the almanac and the diary. Travel narratives, pamphlets, religious and theological texts, familiar essays, autobiographies, literary-critical and philosophical studies, and discussions of the visual arts and music all had deep historical roots when appropriated by romantic writers but prospered in their hands and assumed distinctive contours indicative of the breadth of romantic thought. SPECIAL OFFER: 30% discount for a complete set order (5 vols.).The Romanticism series in the Comparative History of Literatures in European Languages is the result of a remarkable international collaboration. The editorial team coordinated the efforts of over 100 experts from more than two dozen countries to produce five independently conceived, yet interrelated volumes that show not only how Romanticism developed and spread in its principal European homelands and throughout the New World, but also the ways in which the affected literatures in reaction to Romanticism have redefined themselves on into Modernism. A glance at the index of each volume quickly reveals the extraordinary richness of the series' total contents. Romantic Irony sets the broader experimental parameters of comparison by concentrating on the myriad expressions of “irony” as one of the major impulses in the Romantic philosophical and artistic revolution, and by combining cross-cultural and interdisciplinary studies with special attention also to literatures in less widely diffused language streams. Romantic Drama traces creative innovations that deeply altered the understanding of genre at large, fed popular imagination through vehicles like the opera, and laid the foundations for a modernist theater of the absurd. Romantic Poetry demonstrates deep patterns and a sharing of crucial themes of the revolutionary age which underlie the lyrical expression that flourished in so many languages and environments. Nonfictional Romantic Prose assists us in coping with the vast array of writings from the personal and intimate sphere to modes of public discourse, including Romanticism's own self-commentary in theoretical statements on the arts, society, life, the sciences, and more. Nor are the discursive dimensions of imaginative literature neglected in the closing volume, Romantic Prose Fiction, where the basic Romantic themes and story types (the romance, novel, novella, short story, and other narrative forms) are considered throughout Europe and the New World. This enormous realm is seen not just in terms of Romantic theorizing, but in the light of the impact of Romantic ideas and narration on later generations. As an aid to readers, the introduction to Romantic Prose Fiction explains the relationships among the volumes in the series and carries a listing of their tables of contents in an appendix. No other series exists comparable to these volumes which treat the entirety of Romanticism as a cultural happening across the whole breadth of the “Old” and “New” Worlds and thus render a complex picture of European spiritual strivings in the late eighteenth and the nineteenth centuries, a heritage still very close to our age.