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A gargoyle and a gorgon discover common ground. After losing a family member, Rhea finds herself at a grief support session where she runs into Jack, a charming gargoyle dealing with a lot of the same things she is. Jack has been looking for someone to help him, not just with grief, but with his magic too. Despite being a gargoyle, he hasn't been able to turn into stone for months. When the two meet, he sees a chance to ask the perfect person for help, and Rhea can't resist a chance to be helpful, even if it means using her gorgon magic. If only it would work the way they want it to... - Stoney Gazes For Helpful Gorgons is a light-hearted shifter academy m/f romance set at Obscure Academy. It features a gargoyle struggling to take his stone form, and the gorgon who is trying to help him. If you enjoy upbeat and light-hearted paranormal romances with new adult characters, an academy/university setting, guaranteed happy endings, and quirky supernaturals, start the Obscure Academy today!
Forgotten memories lead to a romantic revelation for a phoenix shifter and her best friend. When Sera uses her phoenix magic too much and ends up losing her memories, it's up to her best friend Hugo to help her get them back. But without the benefit of knowing their history, Sera soon uncovers her true feelings towards him. After an almost-kiss, Hugo realises that she's not the only one who has caught feelings, but he knows they can't do anything about it until she has her memories back. Can the two phoenixes find their way to one another? - Recalling Memories For Forgetful Phoenixes is a light-hearted phoenix academy m/f romance set at Obscure Academy. It features a phoenix who has lost her memory and the best friend who is helping her win it back. ​​​​​​​ If you enjoy upbeat and light-hearted paranormal romances with new adult characters, an academy/university setting, guaranteed happy endings, and quirky supernaturals, start the Obscure Academy today! Obscure Academy Series Search Terms & Keywords: paranormal romance, pnr, supernatural, light-hearted, coming of age, shifter romance, vampire romance, mermaids, sirens, vampires, tiger shifter, leopard shifter, fae, fairies, fairy, pixie, ghoul, necromancer, sprite, friends to lovers, close proximity, teammates, frenemies to lovers, amnesia, hellhounds, succubus, cupid, incubus, warlock, witch, witch romance, merman, mer, merfolk, coming of age, new adult romance, new adult paranormal romance, sweet romance, opposites attract, quirky paranormals, university, school, academy, paranormal academy, cheerleader, cheer squad, nerd, dragon shifters, dragons, gorgons, gargoyle, elves, enemies to lovers, sports romance, meet cute, minotaur, monster romance, bear shifters, bears, grumpy sunshine, friends with benefits
Mallins Wood is home to the last surviving gorgon, and Col's mother, the gorgon's supernatural Companion, is determined to save it from encroaching development--even to the point of endangering Col and his best friend Connie, the most powerful Companion alive.
In these new poems, Tony Harrison confronts the unspeakable terrors of the twentieth century. The title poem is the text of his new BBC film poem, The Gaze of the Gorgon, which takes the terrifying creature of legend who turns men to stone as a metaphor for the horrors unleashed in modern warfare. In other poems, such as The Mother of the Muses and the Sonnets for August 1945, Harrison forges his own response to these dark times through the element of fire, seeking - in the source of terror itself - the heart of eloquence and celebratory love. The book includes his powerful Gulf War poems which the Sunday Times called 'mordant masterpieces' and the Times Literary Supplement 'fierce and sardonic'. Winner of the Whitbread Poetry Award.
Re-envisions epic from Homer to Nonnus through theories of the gaze.
The Medusa Gaze offers striking insights into the desires and frustrations of women through the narratives of the impressive contemporary novelists Angela Carter, Toni Morrison, Sylvia Plath, Margaret Atwood, A.S. Byatt, Iris Murdoch, Jeanette Winterson, Jean Rhys and Michèle Roberts. It illuminates women’s power and vulnerability as they construct their own egos in opposition to their hostile alter egos or others facing them in their mirrors, and fixes a panoptic gaze on the women stalking its pages, as they learn how to deflect the menacing gaze of others by returning their look defiantly back at them. Some stare back and win assurance; others are stared down, reduced to psychic trauma, madness and even suicide. The book shows how Freud’s, Sartre’s and Lacan’s androcentric views define the Medusa m/other as monstrous, and how the efforts of mothers to nurture may be slighted as inadequate or devouring. It presents Medusa and other goddess figures as inspirational, repelling harm through the ‘evil eye’ of their powerful gaze. Conversely, it also shows women who are condemned as monstrous Gorgons, trapped in enmity, rivalry and rage. Representing English, American and African American, Canadian and Caribbean writing, the works explored here include realistic, social narrative and magical realist writings, in addition to tales of the past and dystopian narratives.
This book provides an exploration of the historical conditions that gradually defined subordinating symbols and conflictual values in social relations between the sexes. It reveals how snakes and the gelid eyes of Medusa—the archetypical snake-woman—have reverberated across the visual arts and written sources throughout the ages in association with negative emotions: fear, anger, scorn and shame. The outcomes and implications of the disturbing correlation between the dangerous female gaze, the malignitas of the snake and the lethal power of menstruation that have been woven through the fabric of the Western imaginary are analysed here. This analysis reveals an intriguing history of female reptilian hybrids—from the pleasing Minoan snake goddesses to the depressing Gorgon, Echidna, Amazons, Eve, Melusine, Basilisk, Poison-Damsel, Catoblepas and Sadako/Samara—and gives the reader an opportunity to explore things that never happened but have always been.
This collection offers a multi-faceted exploration of transmediations, the processes of transfer and transformation that occur when communicative acts in one medium are mediated again through another. While previous research has explored these processes from a broader perspective, Salmose and Elleström argue that a better understanding is needed of the extent to which the outcomes of communicative acts are modified when transferred across multimodal media in order to foster a better understanding of communication more generally. Using this imperative as a point of departure, the book details a variety of transmediations, viewed through four different lenses. The first part of the volume looks at narrative transmediations, building on existing work done by Marie-Laure Ryan on transmedia storytelling. The second section focuses on the spatial dynamics involved in media transformation as well as the role of the human body as a perceptive agent and a medium in its own right. The third part investigates new, radical boundaries and media types in transmediality and hence shows its versatility as a method of analyzing complex and contemporary communicative discourses. The fourth and final part explores the challenges involved in transmediating scientific data into the narrative format in the context of environmental issues. Taken together, these sections highlight a range of case studies of transmediations and, in turn, the complexity and variety of the process, informed by the methodologies of the different disciplines to which they belong. This innovative volume will be of particular interest to students and scholars in multimodality, communication, intermediality, semiotics, and adaptation studies.
Galia Ofek's wide-ranging study elucidates the historical, artistic, literary, and theoretical meanings of the Victorians' preoccupation with hair. Victorian writers and artists, Ofek argues, had a well-developed awareness of fetishism as an overinvestment of value in a specific body part and were fully cognizant of hair's symbolic resonance and its value as an object of commerce. In particular, they were increasingly alert to the symbolic significance of hairstyling. Among the writers and artists Ofek considers are Elizabeth Gaskell, George Eliot, Margaret Oliphant, Charles Darwin, Anthony Trollope, Elizabeth Barrett Browning, Eliza Lynn Linton, Mary Elizabeth Braddon, Herbert Spencer, Dante Gabriel Rossetti, Edward Burne-Jones, Charles Dickens, Thomas Hardy, and Aubrey Beardsley. By examining fiction, poetry, anthropological and scientific works, newspaper reviews and advertisements, correspondence, jewellery, paintings, and cartoons, Ofek shows how changing patterns of power relations between women and patriarchy are rendered anew when viewed through the lens of Victorian hair codes and imagery during the second half of the nineteenth century.
In the Southeast of Aerbon, the elvish country of Gilan prepares for war against the drug-addled orcs of the Gorgon Desolation after the disappearance of the king's daughter, Princess Eaïnne. Together, with the help of the Nardic Tribes of the South, the elves hope to rescue their lost princess and eradicate the orcish race as a whole in an effort to free the continent of Aerbon from its impending doom at the hands of the orcs. The orcs of the Gorgon lands grew and produced a demonic drug called Guaka-Guaka; causing them to become blood-thirsty and schizophrenic where it tainted them more and more with each use. They were addicted to the foul substance and they claimed that it was a gift from their gods, the Masters, who had initially bestowed it upon them in the long-forgotten Age of Myth. It was refined in factories that blackened the skies and the production of the drug was steadily causing their world to die off as a result. So it was that the elves sought to end their foul existence whilst the orcs fought to maintain their lifestyle, seeing nothing wrong with their actions as they claimed that it was the will of their gods.