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C.S. Thompson, Lauren Halkon, John Grant, Chris Amies, Teri Smith, David V Barrett, Lou Anders, Robert I. Katz, Paul Kincaid, Stuart Jaffe, Marianne Plumridge, K. Z. Perry, Robert I. Katz, Ron Miller, Randy M Dannenfelser, John Grant, Fay Sampson, Edwina Harvey, Ian Johnson, Jean Marie Ward, and Martha Garvey.
Edited by award-winning editors John Grant and Dave Hutchinson, Strange Pleasures 2 takes you into the worlds of: N. Lee Wood, Nick Mamatas, David V. Barrett, Keith Brooke, Lou Anders Fay Sampson, Sarah Singleton, Jean Marie Ward, Paul Kincaid, Ian Johnson, John Brunner, and Vera Nazarian.
The fact of pleasure is obvious to us, but its relation to reason is less understood. We are beings who laugh and run, sing and dance, but we too seldom reflect on why we do these things. Above all, we are beings who think and who want to know whether our lives make sense. In this thought-provoking study of the relationship between our reason and our experience of pleasure, popular professor and author Fr. James Schall shows how reason, religion and pleasure are not in conflict with one another. Religion has to do with how man relates to God. Catholicism is not so much a religion as a revelation. It records and recalls how God relates to man. The popular mood of our time is that neither religion nor revelation has much to do with real life. Yet when we look at things as having meaning and order, they fit together in surprising ways. This coherence should bring us joy, and teach us how reason, religion and pleasure can work together for our benefit. Schall shows us in this book why we have many reasons to think that our lives make sense, that our pleasures can be reasonable, and our reason itself is a pleasure. Ê
Takes up a series of literary and physical pleasures that do not appear to be pleasurable, ranging from Christian saintly asceticism to Sadean narrative to contemporary s/m practices.
Shakespeare / Sex interrogates the relationship between Shakespeare and sex by challenging readers to consider Shakespeare's texts in light of the most recent theoretical approaches to gender and sexuality studies. It takes as its premise that gender and sexuality studies are key to any interpretation of Shakespeare, be it his texts and their historical contexts, contemporary stage and cinematic productions, or adaptations from the Restoration to the present day. Approaching 'sex' from four main perspectives – heterosexuality, third-wave intersectional feminism, queer studies and trans studies – this book tackles a range of key topics, such as medical science, rape culture, the environment, disability, religion, childhood sexuality, race, homoeroticism and trans bodies. The 12 essays range across Shakespeare's poems and plays, including the Sonnets and The Rape of Lucrece, Coriolanus, A Midsummer Night's Dream, Measure for Measure, Richard III and The Two Noble Kinsmen. Encouraged to push the envelope, contributors to this essay collection open new avenues of inquiry for the study of gender and sexuality in Shakespeare.
While recent works of criticism on Frank O'Hara have focused on the technical similarities between his poetry and painting, or between his use of language and poststructuralism, Frank O'Hara and the Poetics of Saying 'I' argues that what is most significant in O'Hara's work is not such much his 'borrowing' from painters or his proto-Derridean use of language, but his preoccupation with self exploration and the temporal effects of his work as artifacts. Following Pasternak's understanding of artistic inspiration as an act of love for the material world, O'Hara explores moments of experience in an effort to both complicate and enrich our experience of the material world. On the one hand, in poems such as Second Avenue, for example, O'Hara works to 'muddy' language through which experience is, in part, mediated with the use of parataxis, allusions, and absurd metaphors and similes. On the other, in his 'I do this I do that' poems, he names the events of his lunch hour in an effort, among other things, to experience time as a moment of fullness rather than as a moment of loss. The book argues, furthermore, that O'Hara's view of the self as both an expression of the creative force at work in the world and as the temporal aggregate of finite experiences, places him between so-called 'Romantic' and 'postmodern' theories of the lyric. While it is often argued that O'Hara is a forerunner of a new, critically informed, 'materialist' poetics, this study concludes that O'Hara's work is somewhat less radical in its understanding of poetic meaning than is often claimed. Moreover, while O'Hara is preoccupied with his experience in his poems, the book argues that he espouses, in some respects, a rather traditional view of love. In addition to being a metaphor for the creative act, love, for O'Hara, is the chance coming together of two entities. Yet, one of the ironies of this is that while love is, for O'Hara, a feeling that is the result of movement, or the unexpected coming together of two otherwise separate entities, and is itself characterized in his work as a moving, 'life-giving vulgarity,' it produces a feeling of peace and stillness—a feeling that will not remain because of the fact that the self changes and that love is itself a moving, living thing. Thus, love contains within itself the ominous promise of future loss and is, therefore, the highest feeling that contains within itself the seeds of the lowest.
As a child, the astonishing Joan Grant became aware of her uncanny "Far Memory," the ability to recall past incarnations who had lived in long-ago times and far-flung places. Her seven historical novels stand out for their vividness and rich detail. For Joan, these books were not works of the imagination but personal recollections of her previous lives. In Winged Pharaoh, Joan Grant tells the story of Sekeeta, the Pharaoh's daughter. The ancient Egyptians reserved the title of "Winged Pharaoh" for ruler-priests who possessed extra-sensory powers. When Sekeeta demonstrates psychic abilities, she is sent to the temple and trained to recall past lives. Upon the death of her father, she becomes a "Winged Pharaoh" - both priestess and Pharaoh - and leads her country with enlightenment. The most famous of Joan Grant's "Far Memory" novels, this book brings the grandeur, beauty, and mystery of ancient Egypt to life. Upon Winged Pharaoh's original publication in 1937, the New York Times called it "an unusual book that shines with fire."