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An exploration of domestic derangement, as sinister as Daphne Du Maurier’s classic Rebecca, that plumbs the depths of sibling rivalry with wit and menace. Oh, to be a Beloved—one of those lucky people for whom nothing ever goes wrong. Everything falls into their laps without effort: happiness, beauty, good fortune, allure. Betty Stash is not a Beloved—but her little sister, the delightful Gloria, is. She’s the one with the golden curls and sunny disposition and captivating smile, the one whose best friend used to be Betty’s, the one whose husband should have been Betty’s. And then, to everyone’s surprise, Gloria inherits the family manse—a vast, gorgeous pile of ancient stone, imposing timbers, and lush gardens—that was never meant to be hers. Losing what Betty considers her rightful inheritance is the final indignity. As she single-mindedly pursues her plan to see the estate returned to her in all its glory, her determined and increasingly unhinged behavior—aided by poisonous mushrooms, talking walls, and a phantom dog—escalates to the point of no return. The Beloveds will have you wondering if there’s a length to which an envious sister won’t go.
Winner of the Pulitzer Prize, Toni Morrison’s Beloved is a spellbinding and dazzlingly innovative portrait of a woman haunted by the past. Sethe was born a slave and escaped to Ohio, but eighteen years later she is still not free. She has borne the unthinkable and not gone mad, yet she is still held captive by memories of Sweet Home, the beautiful farm where so many hideous things happened. Meanwhile Sethe’s house has long been troubled by the angry, destructive ghost of her baby, who died nameless and whose tombstone is engraved with a single word: Beloved. Sethe works at beating back the past, but it makes itself heard and felt incessantly in her memory and in the lives of those around her. When a mysterious teenage girl arrives, calling herself Beloved, Sethe’s terrible secret explodes into the present. Combining the visionary power of legend with the unassailable truth of history, Morrison’s unforgettable novel is one of the great and enduring works of American literature.
DIVExamines the "golden age" of the culture of the Ottoman empire in the 16th century, exploring sexuality, gender and literary society, as well as the demographics, economics, politics, society of love and other cultural productions of the Ottoman/div
The foundation of the Way of the Beloved is discovered in the heart of love itself, where there lives and moves a will to exaltation of the other. To truly love another is to will the spiritual ideal upon that beloved one. When there is a mutual intention to exalt infusing the daily life of a man and woman, they enter into the Way of the Beloved. This handbook is an attempt to put into book form what authors Robert and Diana Van Arsdale have been teaching to small groups of couples since 1976. Their workshops offer an ageless set of protocols for the transformation of the love relationship between a woman and a man into a path of spiritual development. Here they present an integrated body of progressive, experiential exercises and meditations that were taught originally taught by Herman Rednick. Simply stated, The Way of the Beloved teaches a couple how to actualize the potential of their relationship through the intensification of love and compassion. Designed for couples in search of spiritual and emotional exploration, this guide offers methods intended to help them realize a vision of love fulfilled.
In the long literary history of the Middle East, the notion of 'the beloved' has been a central trope in both the poetry and prose of the region. This book explores the concept of the beloved in a cross-cultural and interdisciplinary manner, revealing how shared ideas on the subject supersede geographical and temporal boundaries, and ideas of nationhood. The book considers the beloved in its classical, modern and postmodern manifestations, taking into account the different sexual orientations and forms of desire expressed. From the pre-Islamic 'Udhri (romantic unrequited love), to the erotic same-sex love in thirteenth century poetry and prose, the divine Sufi reflections on the topic, and post-revolutionary love encounters in Iran, Egypt and Saudi Arabia, The Beloved in Middle Eastern Literatures connects the affective and cultural with the political and the obscene. In focusing on the diverse manifestations of love and tropes of the lover/beloved binary, this book is unique in foregrounding what is often regarded as a 'taboo subject' in the region. The multi-faceted outlook reveals the variety of philological, philosophical, poetic and literary forms that treat this significant motif.
In this new monograph, author Debra Dudek defines a new era of vampire texts in which vampires have moved from their iconic dark, feared, often seductive figure lingering in alleys, to the beloved and morally sensitive vampire winning the affections of teen protagonists throughout pop culture. Dudek takes a close look at three hugely-popular vampire series for young adults, drawing parallels between the TV series Buffy the Vampire Slayer, the Twilight Saga novels/films, and The Vampire Diaries TV series/book series. By defining a new era of vampire texts and situating these three series within this transition, The Beloved Does Not Bite signals their significance and lays the groundwork for future scholarship on the flourishing genre of paranormal romances for young adults.
Tattooed on a woman-sized tumour, these tales, told to it as bedtime stories, are by turns surreal, satiric, erotic, obscene, ingenious, hilarious, and quite, quite brilliant. Together, they combine to create a weird and wonderful love story, unlike anything told before.
Under what circumstances can love generate moral reasons for action? Are there morally appropriate ways to love? Can an occurrence of love or a failure to love constitute a moral failure? Is it better to love morally good people? This volume explores the moral dimensions of love through the lenses of political philosophy, psychology, and neuroscience. It attempts to discern how various social norms affect our experience and understanding of love, how love, relates to other affective states such as emotions and desires, and how love influences and is influenced by reason. What love is affects what love ought to be. Conversely, our ideas of what love ought to be partly determined by our conception of what love is.
Despite his towering presence in premodern Persian letters, Shams al-Din Muhammad Hafiz of Shiraz (d. 1390) remains an elusive and opaque character for many. In order to look behind the hyperbole that surrounds Hafiz's poetry and penetrate the quasi-hagiographical film that obscures the poet himself, this book attempts a contextualisation of Hafiz that is at once socio-political, historical, and literary. Here, Hafiz's ghazals (short, monorhyme, broadly amorous lyric poems) are read comparatively against similar texts composed by his less-studied rivals in the hyper competitive, imitative, and profoundly intertextual environment of fourteenth-century Shiraz. By bringing Hafiz's lyric poetry into productive, detailed dialogue with that of the counterhegemonic satirist, 'Ubayd Zakani (d. 1371), and the marginalised Jahan-Malik Khatun (d. after 1391; the most prolific female poet of premodern Iran), our received understanding of this most iconic of stages in the development of the Persian ghazal is disrupted, and new avenues for literary exploration open up. Looking beyond the particular milieu of Shiraz, this study re-assesses Hafiz's place in the Persian poetic canon through reading his poems alongside those produced by professional poets in other major centres of Persian literary activity who enjoyed comparable fame in the fourteenth century. Recognising the aesthetic achievements of his contemporaries does not diminish the splendour of Hafiz's, rather it forces us to accept that Hafiz was but one member of a band of poets who jostled for the limelight in competing, often intersecting, patronage and reception networks that facilitated intense cultural exchange between the cities of post-Mongol Iran and Iraq. Hafiz's ghazals, characterised as they are by conscious and deliberate hybridity, ambiguity, and polysemy, are products of a creative mind bent on experimenting with genre. While in no way seeking to deny the mystical stratum of the Persian ghazal in its fourteenth-century manifestation, this study emphasises the courtly and profane dimensions of the form, and regards Hafiz through a sober lens with keen attention to his dynamic role at the heart of a vibrant poetic community that was at once both fiercely local and boldly cosmopolitan.
The Routledge Handbook of the Philosophy of Friendship is a superb compilation of chapters that explore the history, major topics, and controversies in philosophical work on friendship. It gives both the advanced scholar and the novice in the field an overview and also an in-depth exploration of the connections between friendship and the history of philosophy, morality, practical rationality, value theory, and interpersonal relationships more generally. The Handbook consists of 31 newly commissioned chapters by an international slate of contributors, and is divided into six sections: I. Historical Perspectives II. Who Can Be Our Friends? III. Friendship and Other Relationships IV. The Value and Rationality of Friendship V. Friendship, Morality, and Virtue VI. New Issues in Philosophy of Friendship This volume is essential reading not only for anyone interested in the philosophical questions involving friendship, but also for anyone interested in related topics such as love, sex, moral duties, the good life, the nature of rationality, interpersonal and interspecies relationships, and the nature of the person.